Still on the Road 2008 Us Summer Tour
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Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad. -
Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966. -
Things Have Changed Bob Dylan
Things have changed Bob Dylan Gm Gm A worried man with a worried mind I’ve been walkin’ forty miles of bad road Cm Cm No one in front of me and nothing behind If the Bible is right the world will explode Gm Gm D7 There’s a woman on my lap and she’s drinking I’m tryin’ to get as far away from myself as I can D7 champagne Gm Gm Some things are too hot to touch Got white skin, got assassin’s eyes Cm Cm The human mind can only stand so much I’m looking up into the sapphire tinted skies Gm D7 Gm Gm D7 Gm You can’t win with a losing hand I’m well dressed, waiting on the last train Eb D7 Gm Eb D7 Gm Feel like falling in love with the first woman I meet Standin’ on the gallows with my head in the noose Eb D7 Eb D7 Puttin’ her in a wheelbarrow and wheelin’ her down the Any minute now I’m expectin’ all hell to break street loose Gm Gm People are crazy and times are strange People are crazy and times are strange Cm Cm I’m locked in tight, I’m out of range I’m locked in tight, I’m out of range Gm D7 Gm Gm D7 Gm I used to care but - things have changed. I used to care but - things have changed. Gm This place ain’t doin’ me any good Gm Cm I hurt easy, I just don’t show it I’m in the wrong town, I should’ve been in Cm Hollywood You can hurt someone and not even know it Gm Gm D7 Just for a second there I thought I saw something The next sixty seconds could be like an eternity D7 move Gm Gm Gonna get lowdown, gonna fly high Gonna take dancin’ lessons, do the jitterbug rag Cm Cm All the truth in the world adds up to one big lie Ain’t no shortcuts, gonna dress in drag Gm D7 Gm Gm D7 I’m in love with a woman that don’t even appeal to me Only a fool in here would think he got anythin’ to Eb D7 Gm Gm prove Mr. -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
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 ..................................................................................................................................... -
Read an Excerpt
The Artist Alive: Explorations in Music, Art & Theology, by Christopher Pramuk (Winona, MN: Anselm Academic, 2019). Copyright © 2019 by Christopher Pramuk. All rights reserved. www.anselmacademic.org. Introduction Seeds of Awareness This book is inspired by an undergraduate course called “Music, Art, and Theology,” one of the most popular classes I teach and probably the course I’ve most enjoyed teaching. The reasons for this may be as straightforward as they are worthy of lament. In an era when study of the arts has become a practical afterthought, a “luxury” squeezed out of tight education budgets and shrinking liberal arts curricula, people intuitively yearn for spaces where they can explore together the landscape of the human heart opened up by music and, more generally, the arts. All kinds of people are attracted to the arts, but I have found that young adults especially, seeking something deeper and more worthy of their questions than what they find in highly quantitative and STEM-oriented curricula, are drawn into the horizon of the ineffable where the arts take us. Across some twenty-five years in the classroom, over and over again it has been my experience that young people of diverse religious, racial, and economic backgrounds, when given the opportunity, are eager to plumb the wellsprings of spirit where art commingles with the divine-human drama of faith. From my childhood to the present day, my own spirituality1 or way of being in the world has been profoundly shaped by music, not least its capacity to carry me beyond myself and into communion with the mysterious, transcendent dimension of reality. -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ............................................................................................................................... -
2008 Europe Summer Tour
STILL ON THE ROAD 2008 EUROPE SUMMER TOUR MAY 26 Reykjavik, Iceland Laugardalshöll 28 Odense, Denmark Arena Fyn 30 Stavanger, Norway Viking Stadion JUNE 1 Helsinki, Finland Hartwall Areena 3 St. Petersburg, Russia Ice Palace 4 Tallinn, Estonia Saku Arena 5 Vilnius, Lithuania Siemens Arena 7 Warsaw, Poland Stodola 9 Ostrava, Czech Republic CEZ Arena 10 Vienna, Austria Stadthalle 11 Salzburg, Austria Salzburg Arena 13 Varazdin, Croatia Gradski Stadium 15 Trento, Italy Palazzo delle Albere 16 Bergamo, Italy Lazzaretto 18 Chatillon, Italy Parco Castello Baron Gamba 19 Grenoble, France Palais des Sports 20 Toulouse, France Le Zénith 22 Encamp, Andorra Camp de Fútbol de Prada de Moles 23 Zaragoza, Spain Feria de Muestras 24 Pamplona, Spain Plaza de Toros 27 Vigo, Spain Recinto Ferial 28 Hoyos del Espino, Spain Finca de Mesegosillo JULY 1 Cuenca, Spain La Fuensanta 2 Alicante, Spain Centro de Technificacion 4 Lorca, Spain Plaza de Toros 5 Jaén, Spain Recinto Ferial 6 Arganda del Rey, Spain Ciudad del Rock 8 Jérez de la Frontera, Spain Estadio Municipal Chapín de Jerez 10 Mérida, Spain Plaza de Toros 11 Oeiras, Portugal Passeio Marítimo of Algés Bob Dylan: Still On The Road – 2008 Europe Summer Tour Bob Dylan: Still On The Road – 2008 Europe Summer Tour 30160 Laugardalshöll Reykjavik, Iceland 26 May 2008 1. Stuck Inside Of Mobile With The Memphis Blues Again 2. Don't Think Twice, It's All Right 3. The Levee's Gonna Break 4. Tryin' To Get To Heaven 5. Rollin' And Tumblin' 6. Nettie Moore 7. I'll Be Your Baby Tonight 8. -
Autopsy of an Orchestra: an Analysis of Factors Contributing to the Bankruptcy of the Oakland Symphony Orchestra Association
AUTOPSY OF AN ORCHESTRA AN ANALYSIS OF FACTORS CONTRIBUTING TO THE BANKRUPTCY OF THE OAKLAND SYMPHONY ORCHESTRA ASSOCIATION M.MELANIE BEENE, PATRICIA A. MITCHELL, AND FENTON JOHNSON, 1988 DIGITAL EDITION REPUBLISHED SEPTEMBER 2012 Autopsy of an Orchestra: An Analysis of Factors Contributing to the Bankruptcy of the Oakland Symphony Orchestra Association © 1988, 2012 Melanie Beene 1339 Diamond Street San Francisco, CA 94131 (415) 648-0174 ISBN: 978-0-9705157-5-9 This digital edition, republished in 2012, was made possible with the support of the William and Flora Hewlett Foundation and in-kind contributions from Grantmakers in the Arts and Warren Wilkins Design. 4055 West 21st Ave., Seattle, WA 98199·1247 206·624·2312 phone 206·624·5568 fax www.giarts.org NEW PREFACE Picking up the Autopsy of an Orchestra again after 25 years I am flooded with memories. First, what a unique and enormous research privilege it was to be in the position to do such a study. And second, how very hard Patricia Mitchell, Fenton Johnson, and I worked to make the study as fair and useful as possible. When we unlocked the door and entered the abandoned Symphony offices months after the 1986 bankruptcy there was still food in the refrigerator, stacks of unopened mail (some with checks) on the desk, and unretrieved messages on the answering machine, the most poignant of which was: “The Symphony died because Calvin died.” (Calvin Simmons, the dynamic young black music director, died in a mysterious boating accident.) There were even press releases left in the typewriter saying everything was okay. -
Our Featured Artist, Skye, Wasn't a Fan of Bob Dylan's Music When He Burst Into Popularity in the Mid 1960S— It Was the Be
Shakespeare’sin the Alley: Our featured artist, Skye, wasn’t a fan of Bob Dylan’s music when he burst into popularity in the mid 1960s— it was the Beatles who held the then teenager’s ear. Forty years later, in 2008, her viewing of the Martin Scorcese documentary about Dylan, No Direction Home, captured her attention. “I was amazed at what Dylan did at such a young age,” she A Tribute to Bob Dylan February 9-March 17 said. “His courage to speak out [about social planning a tribute concert in honor of Dylan’s change] was profound and his extreme talent 70th birthday. Titled Buckets of Rain, the was obvious.” concert was held at Woodwalk Gallery in Egg Harbor. Skye created 15 banners that served Yet, the concept for the exhibition as a backdrop for the Labor Day weekend Shakespeare’s in the Alley: A Tribute to Bob event. Dylan did not come immediately into focus for the artist. Skye had a hunger to experience Wanting to make the lyrics the focus, Skye all his music, eventually collecting 35 of his chose a simple design for the banners— 36 CDs. Only after immersing herself in both gray fabric made of recycled hemp and his sound and words, was she inspired to organic cotton with the words formed in create art honoring his influence. black, felt tip markers. After the second Buckets of Rain concert the following year, Skye had incorporated stenciled words into Skye was committed to creating an even earlier projects, but not as the main creative larger installation. -
Pdf of TODO Austin November 2017
Volume II, 04 August 2010 “You’ve been with thethe professorsprofessors AndAnd they’vethey’ve allall likedliked youryour looks”looks” so many people to thank. In this golden age when American popular culture is a worldwide culture, Bob Dylan is in many ways its fons et origo From Osaka, Japan to Oslo, Norway, from Rio de Janeiro to (its spring and source). “It’s an immense privilege to live at the the Rubber Bowl in Akron, Ohio, from Istanbul to the Isle of same time as this genius,” states British literary critic and former Wight, Dylan has performed his unique distillation of American Oxford Professor of Poetry, Christopher Ricks. musical traditions. His music transcends time and place and On the eve of his August 16th concert date in Austin-a crosses cultural boundaries. Around the world and up and community which has adopted Dylan as one of its own-TODO down Highway 35, Dylan remains the most important artist Austin has invited three American scholars to reflect on Dylan’s alive today, “anywhere and in any field,” to quote England’s wide cultural impact. Poet Laureate, Andrew Motion. One sure sign of Dylan’s influence is that all three scholars, a I had the honor of presenting the key to the City of Austin to noted University of Texas at Austin English professor and poet, Dylan on February 24, 2002, Bob Dylan Day. In our short visit, a UT MacArthur fellow who studies ancient Greek culture and Dylan expressed then to the mayor pro-tem and me how the human response, including song, to war and violence, and a Harvard professor who is the world’s foremost authority happy he was to have been made an honorary Texan by the on the Roman poet Virgil and the later influence of classical previous Governor. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.