DOCSLIB.ORG

MUSC 424 Bob Dylan Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSC 424 Bob Dylan Syllabus Iconic Figures of Popular Music: Bob Dylan Spring 2020 Course no. MUSC 424 Section no. 47255R Units: 2 Time: Mondays 10:00-11:50am Room: KDC 241 Course instructor: Bill Biersach Instructor’s office: KDC 241 Instructor’s office hours: MW 9 – 9:45 am, 12 – 1 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] The Premise Bruce Springsteen said it best on January 20th, 1988, at the induction of Bob Dylan into the Rock and Roll Hall of Fame: Dylan was a revolutionary. Bob freed your mind the way Elvis freed your body. He showed us that because the music was innately physical did not mean it was anti-intellectual. He had the vision and the talent to make a pop song that contained the whole world. He invented a new way a pop singer could sound, broke through the limitations of what a recording artist could achieve and changed the face of rock and roll forever. Without Bob, the Beatles wouldn’t have made Sgt. Pepper, the Beach Boys wouldn’t have made Pet Sounds, the Sex Pistols wouldn’t have made “God Save the Queen,” U2 wouldn’t have done “Pride (in the Name of Love),” Marvin Gaye wouldn’t have done “What’s Going On,” the Count Five would not have done “Psychotic Reaction,” Grandmaster Flash might not have done “The Message,” and there never would have been a group named the Electric Prunes. To this day, Bob’s own modern work has gone unjustly underappreciated because it’s had to stand in the shadow … So I’m just here tonight to say thanks, to say that I wouldn’t be here without you, to say that there isn’t a soul in this room who does not owe you his thanks. Course Goal Is Mr. Springsteen’s accolade above an example of hyperbole, enthusiastic overstatement, understatement, fantasy, or the simple truth? In this course we will plumb the self-styled conundrum (musical, professional, and personal) that is Bob Dylan. We will explore examples of his work from various stages of his career, consider his lyrics and changing styles, view documentaries, and no doubt argue over the production quality of his recordings. In addition, the students themselves will research his albums and prepare to lead discussions on their quality and content. Grades Grades will be based on the following: Weekly assignments (written discussion points based on reading assignments) 25 Points Oral presentations (album reviews) 25 Points Three essay exams 25 Points Participation (attendance and class engagement) 25 Points Scores for course grade will be tabulated as follows: 94 - 100 A 90 – 93 A- 87 – 89 B+ 84 – 86 B 80 – 83 B- 77 – 79 C+ 74 – 76 C 70 – 73 C- 67 – 69 D+ 64 – 66 D 60 – 63 D- 0 - 59 F Texts Cott, Jonathan (Editor). Bob Dylan: The Essential Interviews. Wenner Books. New York, 2006. ISBN: 1-932958-09-6 Heylin, Clinton. Bob Dylan: Behind the Shades Revisited. Harper Entertainment. New York, 1990. ISBN: 0-06-052569-X BOB DYLAN Spring 2020 Schedule of Album Presentations and Reading Assignments WEEK [Group] ALBUM DATE Clinton Heylin Jonathan Cott ed. Behind the Shades Essential Interviews 1. Bob Dylan Jan. 13 ----- ----- 1962 2. (Holiday) Jan. 20 ----- ----- 3. [1] The Freewheelin’ Bob Dylan Jan. 27 Chpt. 1-7 Chpt. 1-2 1963 4. [2] Another Side of Bob Dylan Feb. 3 Chpt. 8-9 Chpt. 3-4 1964 5. [3] Bringin’ It All Back Home Feb. 10 Chpt. 10-12 Chpt. 5-8 1965 6. (Holiday) Feb. 17 ----- ----- 7. [4] Highway 61 Revisited Feb. 24 Chpt. 13 Chpt. 9-10 1965 8. FIRST MIDTERM Mar. 2 ----- ----- 9. [1] John Wesley Harding Mar. 9 Chpt. 14 Chpt. 11 1967 [2] Nashville Skyline 1969 10. (Spring break) Mar. 16 ----- ----- 11. [3] Planet Waves Mar. 23 Chpt. 15-23 Chpt. 12-13 1974 [4] Blood on the Tracks 1975 12. SECOND MIDTERM Mar. 30 ----- ----- 13. [1] Slow Train Coming Apr. 6 Chpt. 24-28 Chpt. 14-18 1979 14. [2] Infidels Apr. 13 Chpt. 29-30 Chpt. 19-24 1983 15. [3] Time Out of Mind Apr. 20 Chpt. 31-39 Chpt. 25-28 1997 16. [4] Tempest Apr. 27 The Finishing Chpt. 29-31 2012 End 17. FINAL EXAM Monday, May 11 8 – 9 am Statement of Academic Conduct Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in SCampus in Section 11, Behavior Violating University Standards <https://scampus.usc.edu/1100-behavior- violating-university-standards-and-appropriate-sanctions/> . Other forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct, <http://policy.usc.edu/scientific- misconduct/> . Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity <http://equity.usc.edu/> or to the Department of Public Safety <http://capsnet.usc.edu/department/department-public-safety/online-forms/contact-us> . This is important for the safety whole USC community. Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate the report, or can initiate the report on behalf of another person. The Center for Women and Men <http://www.usc.edu/student-affairs/cwm/> provides 24/7 confidential support, and the sexual assault resource center webpage <http://sarc.usc.edu> describes reporting options and other resources. Support Systems for Students A number of USC’s schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the American Language Institute <http://dornsife.usc.edu/ali> which sponsors courses and workshops specifically for international graduate students. The Office of Disability Services and Programs <http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html> provides certification for students with disabilities and helps arrange the relevant accommodations. If an officially declared emergency makes travel to campus infeasible, USC Emergency Information <http://emergency.usc.edu/> will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology. Bibliography (books consulted while creating and updating this course) BOOKS Brackett, David The Pop, Rock, and Soul Reader (Third Edition) Oxford University Press, New York, 2005 ISBN 978-0-19-981170-0 Brown, Peter The Love You Make Signet (McGraw-Hill), New York, 1983 ISBN 0-415-12797-8 Byrne, David How Music Works McSweeney’s, San Francisco, 2012 ISBN 978-1-938073-53-3 Charlton, Katherine Rock Music Styles: A History, Seventh edition. McGraw Hill Education, New York, 2019. ISBN: 978-1-259-92257-2 Cott, Jonathan (Editor) Bob Dylan: The Essential Interviews Wenner Books, New York, 2006 ISBN: 1-932958-09-6 Covach, John and What’s That Sound? An Introduction to Rock and Flory, Andrew It’s History (Third edition), Norton & Company, New York, 2012 ISBN-13: 978-0-393-91204-3 Dylan, Bob Chronicles Volume One Simon & Schuster, New York, 2005. ISBN 0-7432-2815-4 Dylan, Bob Lyrics: 1962 – 1985 Knopf (Random House), New York, 1985. ISBN 0-394-54278-9 Dylan, Bob The Bob Dylan Scrapbook, 1956-1966 Simon and Schuster, New York, 2005 ISBN 978-0743228282 Dylan, Bob The Songs of Bob Dylan, 1966 – 1975 Knopf (Random House), New York, 1978. ISBN 0-394-40888-8 Dylan, Bob Tarantula (Fifth edition Scribner, New York, 2004 0-7432-3041-8 Garafalo. Reebee Rockin’ Out: Popular Music in the USA, (Fourth Edition) Prentice Hall, Upper Saddle River, NJ, 2008 ISBN-13: 978-0-13-234305-3 Gitlin, Todd The Sixties: Days of Hope, Days of Rage Bantam Books, New York, 1987 ISBN 0-553-05233-0 Hampton, Timothy Bob Dylan’s Poetics: How the Songs Work Zone Books, New York, 2019 ISBN 978-1942130154 Hedin, Benjamin Studio A: The Bob Dylan Reader W. W. Norton, New York, 2005 ISBN 0393327426 Hentoff, Nat “Playboy Interview: Bob Dylan” Playboy Magazine, February, 1966 Herdman, John Voice without Restraint: A Study of Bob Dylan’s Lyrics and Their Background Delilah Books/Putnam, New York, 1982 ISBN 0862280370 Heylin, Clinton Bob Dylan: Behind the Shades Revisited. Harper Entertainment, New York, 1990. ISBN: 0-06-052569-X Kemp, Louie Bob Dylan & Me: 50 Years of Adventures Westrose Press, New York, 2019 ISBN 978-1733001212 Marcus, Greil Invisible Republic: Bob Dylan’s Basement Tapes Owl Books, New York, 1998 ISBN 033033642X Marcus, Greil Mystery Train: Images of America in Rock ’n’ Roll Times Obelisk (Dutton), New York, 1975 ISBN 0-525-48556-2 Marshall, Scott M. Bob Dylan: A Spiritual Life BP Books, New York, 2017 ISBN 978-1944229641 McDougal, Dennis Bob Bylan: The Biography Wiley, New York, 2014 ISBN 978-1630260682 Mellers, Wilfrid A Darker Shade of Pale: A Backdrop to Bob Dylan Oxford University Press, New York, 1984 ISBN 0-19-503622-0 Heylin, Clinton Bob Dylan: Behind the Shades (revisted) New York; Harper, 1991 ISBN: 0-06-052569-X Kubernik, Harvey Canyon of Dreams: The Magic and the Music of Laurel Canyon Sterling Publishing Co., Inc., New York, 2009 ISBN: 978-4027-9761-3 Larson, Thomas E. History of Rock & Roll Kendall Hunt, Dubuque, 2010. ISBN 987-4652-0532-2 Lazell, Barry Rock Movers and Shakers (editor) Billboard Publications, New York, 1989 ISBN 0-8230-7608-3 Margotin, Philippe and Bob Dylan: All the Songs – The Story Behind Every Guesdon, Track Jean-Michel Black Dog and Leventhal, 1st Edition, 2015 ISBN 978-1579129859 Parles, John and The Rolling Stone Encyclopedia of Rock and Roll Romanowski, Patricia Rolling Stone Press,
Load more

Recommended publications
  • Grandmaster Flash and the Furious Five
    Grandmaster Flash and the Furious Five To download an editable PowerPoint, visit edu.rockhall.com Grandmaster Flash and the Furious Five: Fast Facts • Formed in 1976 in the South Bronx, New York; broke up by 1986 • Members: DJ Grandmaster Flash and rappers Melle Mel, Kidd Creole, Mr. Ness/Scorpio, Cowboy, and Rahiem • Recorded at Sugar Hill Records, the first hip-hop record label • Grandmaster Flash revolutionized the use of turntables in hip-hop by developing techniques such as “scratching” and “punch phrasing.” • First hip-hop group to be inducted into the Rock & Roll Hall of Fame (2007) Grandmaster Flash and the Furious Five: Important Bronx Locations New Jersey ▪ South Bronx (Bronx), New York New York City Recognized birthplace of hip-hop music and culture; Grandmaster Flash and the Furious Five’s home neighborhood Queens ▪ Harlem (Manhattan), New York Recorded with Enjoy Records until 1980 ▪ Englewood, New Jersey Brooklyn Recorded with Sugar Hill Records (the first hip-hop record label) from 1980 to 1984 Staten Island Grandmaster Flash and the Furious Five: Two Essential Songs “Superappin’” “The Message” • Released in 1982 on Sugar Hill • Released in 1979 on Records Enjoy Records • Features Melle Mel and guest • One of the earliest rapper Duke Bootee rap records ever sold • Conveys the difficulties of life in the • Mimics the “hip-hop South Bronx, with lyrics about jam,” a live performance poverty, violence, and with audience interaction drug use • Hip-hop was originally heard • Early example of at lengthy dance parties, so a “conscious rap,” where 12-minute song seemed very lyrics convey a serious, short! often political message Grandmaster Flash’s Turntable Innovations • Grandmaster Flash developed turntable techniques and special effects that gave DJs more musical freedom.
    [Show full text]
  • 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.
    [Show full text]
  • POESIA E ROCK a Cura Di Alex R
    POESIA E ROCK a cura di Alex R. Falzon “MASKED AND ANONYMOUS” (2003): nendo canzoni dell’‘era della protesta’ coro femminile, ed una It’s Alright, Ma, DYLAN & IL CINEMA (quali Blowin’ in the Wind oppure A Hard I’m Only Bleeding dalla forte carica cor- Rain’s A-Gonna Fall) che da tempo ave- rosiva, e dove lui ‘sputa’ fuori le parole I. I paragrafi che seguono si prefiggono va tolto dalla propria scaletta. con la raffica virulenta di una mitraglia- un duplice scopo: non solo di recensire il Negli altri ‘film-concerto’ in cui appa- trice impazzita). E poi, sempre in questo film Masked And Anonymous, in cui Bob re – e cioè The Last Waltz e Hard Rain – gruppo di films, non vanno tralasciate The Dylan, dopo circa 17 anni, recita una parte egli svolge, rispettivamente, un ruolo ‘co- 30th Anniversary Concert Celebration determinante (anche per via della colon- rale’ e ‘centrale’. In The Last Waltz (1977, (1993; prodotto da Jeff Rosen) e, infine, na sonora stessa del film); ma di conte- diretto da Martin Scorsese e da molti con- MTV Unplugged (del 1994). stualizzare tale film all’interno dell’ormai siderato il miglior film musicale in asso- In The 30th Anniversary Concert Cele- lunga carriera cinematografica del cantau- luto), Dylan è solo uno dei tanti ospiti del bration, di nuovo al Madison Square Gar- tore statunitense. In altre parole, verrà de- concerto d’addio della Band (come Van den, un folto gruppo di musicisti ha reso lineata una breve cronistoria del rapporto Morrison, Dr. John, Neil Young, Muddy tributo all’allora trentennale carriera di rock e Poesia che, a partire dagli anni ’60, ha legato Waters, Joni Mitchell, eccetera), per Dylan (che ha chiuso lui stesso la serata Dylan al mondo dei Fratelli Lumière.
    [Show full text]
  • BO DIDDLEY's UNCONVENTIONAL 1950'S SOUND and ITS
    BO DIDDLEY’S UNCONVENTIONAL 1950’s SOUND AND ITS ANTICIPATION OF HIP HOP OVERVIEW ESSENTIAL QUESTION How were Bo Diddley’s recordings an anomaly in relation to 1950s Pop music, and how is his rhythm-driven sound and self-presentation a precursor to Hip Hop style? OVERVIEW From his first appearance on the Billboard R&B chart in 1955 and continuing over his five- decade career, Bo Diddley has been celebrated for the rhythm-driven, percussive sound of his ensemble, at the center of which was Diddley’s guitar playing. If by the Rock era the guitar solo became a symbolic centerpiece in recordings and performances, Diddley’s emphasis was always on the rhythm guitar. His approach didn’t revolve around the single- and double-note leads that came to dominate the music. Instead, Bo Diddley pioneered a sound that involved every member of his combo playing with a percussive sensibility. Rhythm was emphasized over melody, with a vocal style that often approximated Rap set against that rhythmic backdrop. Earlier even than James Brown, Diddley inadvertently pointed to a Hip Hop future. His best-known rhythm guitar pattern (three strokes/rest/two strokes, or “shave and a haircut, two bits”) influenced many. The “Bo Diddley beat,” as it came to be known, appeared on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others. In Bo Diddley’s own songs, the “Bo Diddley beat” was often combined with remarkably simple chord changes, as can be heard on his self-titled debut single, “Bo Diddley.” Throughout that single-chord song, which went to No.
    [Show full text]
  • LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art
    LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Tina Weymouth and Grandmaster Flash, NYC, 1981 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 7 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Joey Ramone, NYC, 1982 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 4 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor).
    [Show full text]
  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
    [Show full text]
  • Why Hip Hop Began in the Bronx- Lecture for C-Span
    Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component.
    [Show full text]
  • Outsiders' Music: Progressive Country, Reggae
    CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C.
    [Show full text]
  • 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.
    [Show full text]
  • Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof
    Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop.
    [Show full text]
  • 2002 Summer Sessions
    2002 SUMMER SESSIONS JULY 16 Canoga Park, California Stage 6, Ray-Art Studios, Masked & Anonymous concert 23 Studio City, California Scream Studios 24035 Stage 6 Ray-Art Studios Canoga Park, California 16 July 2002 Filming of concert sequence for Masked & Anonymous. Produced by Jeff Rosen. 1. Crash On The Levee (Down In The Flood) 2. Amazing Grace (trad.) 3. Diamond Joe (Tex Logan) 4. Dixie (Daniel Decatur Emmett) 5. I'll Remember You 6. Drifter's Escape 7. Watching The River Flow 8. Cold Irons Bound 9. Dirt Road Blues 10. Standing In The Doorway 11. If You See Her, Say Hello 12. Blueberry Hill (Al Lewis/Larry Stock/Vincent Rose) 13. Knockin’ On Heaven’s Door Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), George Recile (drums & percussion). Bootleg Masked Songs and the Ghosts of Electricity, Catart. Official releases 1, 3, 4, 8 released on the soundtrack CD Music From The Motion Picture Masked And Anonymous, Sony Music Soundtrax COL 512445 2, 21 July 2003. 1, 3, 4, 8 digitally released on the iTunes collection RARE TRACKS FROM THE VAULTS, 29 August 2006. 1-10 released on the DVD Masked And Anonymoos, Sony Pictures Classics, 17 February 2004. Notes Mixed at Scream Studios, Studio City, California, Late July 2002. Stereo recordings. Session info updated 9 November 2017. Still On The Road – 2002 Summer Sessions 24037 Scream Studios Studio City, California 23 July 2002 Produced by Jack Frost. 1. 'Cross The Green Mountain Bob Dylan (piano & vocal), Charlie Sexton (guitar, violin), Larry Campbell (violin), Tony Garnier (bass), Benmont Tench (organ), George Recile (drums & percussion).
    [Show full text]
  • A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1992 Gotta Travel On: A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975 Matthew David Shine College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Shine, Matthew David, "Gotta Travel On: A View of the American Road from Bob Dylan's Rolling Thunder Revue, 1975" (1992). Dissertations, Theses, and Masters Projects. Paper 1539625713. https://dx.doi.org/doi:10.21220/s2-sf1j-bd95 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. GOTTA TRAVEL ON A View of the American Road from Bob Dylan’s Rolling Thunder Revue, 1975 A Thesis Presented to The Faculty of the Department of American Studies The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Matthew D. Shine 1992 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Matthew D. Shine Approved, May 1992 Dale Cockrell 1 7 Robert Gross Scott Donaldson TABLE OF CONTENTS page ACKNOWLEDGEMENTS......................................................................... iv ABSTRACT........................... v INTRODUCTION........................................................................................ 4 CHAPTER I. IN SEARCH OF THE REAL AMERICA IN THE 1930S........................................... 5 CHAPTER H.
    [Show full text]