The Bob Cats Newsletter 2021-06-11
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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. -
Settin' My Dial on the Radio
SETTIN ’ MY DIAL ON THE RADIO BOB DYLAN 2006 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , NEW RELEASES , RECORDINGS & BOOKS . © 2010 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. Settin’ My Dial On The Radio — Bob Dylan 2006 page 2 of 86 1 INTRODUCTION ...................................................................................................................................................................4 2 2006 AT A GLANCE ..............................................................................................................................................................4 3 THE 2006 CALENDAR ..........................................................................................................................................................4 4 NEW RELEASES AND RECORDINGS ..............................................................................................................................6 4.1 MODERN TIMES ................................................................................................................................................................6 4.2 BLUES ..............................................................................................................................................................................6 4.3 THEME TIME RADIO HOUR : BASEBALL ............................................................................................................................8 -
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 ..................................................................................................................................... -
Matrices of 'Love and Theft': Joan Baez Imitates Bob Dylan
Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films. -
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. -
Joan Baez Imitates Bob Dylan
Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films. -
The Bob Cats Newsletter 2020-07-10
THE BOB CATS NEWSLETTER JULY 10, 2020. CELEBRATING THE ART AND THE MANY LIVES OF BOB DYLAN • NOBEL PRIZE LAUREATE SONG & DANCE MAN. INSPIRED BY THEME TIME RADIO HOUR AND THE SPIRIT IN WHICH IT WAS MADE. ESTABLISHED 2006 BY PETER HOLST • 13 YEARS AND RUNNING. HTTPS://THEBOBCATSNEWSLETTER.WORDPRESS.COM Welcome to another edition of the Bob Cats Newsletter. It's night time in the big city. The heavy bass line from an electric Fender bass guitar rattles the walls of the humble abode of the cracked actor on his hands and knees looking for the bottle cap to his Mexican root beer. A streetcar named Macondo goes by adding tremble and wobble to the painted boards on top of The Black Swan. He recognizes the fateful steps of madam McIntyre-Mire, landlord and loan shark from the Baltic Midlands, bringing wine and bread on a silver tray for his nocturnal shift. She’s wearing a quarantine mask in leather and doesn’t bother to knock. Nothing in this living world would upset her except late rents and polkas. The night nurse’s crying in her coffee in an all-night café. Life is but a string well-tuned or cut. The sign of the Saint James Hotel’s twinkles, it’s a bad wire and a burned connection. The night manager tears off his toupee and screams at the slow and tardy ceiling fan in mahogany carrying yesteryear’s dust and July flies to of a waltz by Strauss on the radio. ••• ROUGH AND ROWDY WAYS • THE REVIEWS BOB DYLAN - ROUGH AND ROWDY WAYS. -
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. -
“You've Been with the Professors”: Influence, Appropriation, and The
۰ૡഀ “You’ve Been with the Professors”: Influence, Appropriation, and the Cultural Interpretation of Bob Dylan Sean Wilentz, Bob Dylan in America. New York: Doubleday, 2010. 390 pp., 99 bw illus., index. Greil Marcus, Bob Dylan: Writings 1968-2010. New York: PublicAffairs, 2010. xx, 483 pp, 14 bw illus., index. Jeffrey L. Meikle )Vojwfstjuz!pg!Ufybt!bu!Bvtujo* American Studies as a discipline, at least as practiced in the United States, has sometimes attracted criticism that it encourages narcissistic navel-gazing by a culture whose socioeconomic base is affluent enough to afford that luxury. This complaint is especially prevalent in attacks on scholars who direct their attention to popular examples of the products of mass culture. A former colleague of mine, for example, often aimed sarcastic barbs at people who “write about their record collections.” At the least, he believed, such unprofessional scholars are too lazy to look beyond narrow personal interests; at worst, they project their own guilty pleasures onto the +FGGSFZ-.FJLMF larger culture in a solipsistic gesture motivated by self-justification. Although my colleague’s opinion reflected a bitter, ultimately dismissive attitude toward recent scholarship on contemporary mass culture, there is indeed a gray area where celebrity worship, fanboy obsession, and personal desire to claim cultural capital may blur traditional notions of scholarship’s neutral objectivity. Attempts to overcome such attacks often seek to prove by applying audience or reception theory that popular culture products do have substantive impact on the lives of those who consume them. That defense may appear questionable not only because reception is notoriously difficult to measure but also because critical theory’s densely-worded, jargon-laden arguments may seem like self-serving obfuscation to readers already inclined to be skeptical of serious claims for popular or mass culture. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
Dylan Review, Summer 2020
DYLAN REVIEW, SUMMER 2020 MASTHEAD CO-EDITORS Raphael Falco, University of Maryland, Baltimore County Paul Haney, University of Massachusetts, Boston Lisa O'Neill Sanders, Founder DR, Saint Peter's University Shelby Nathanson, Digital Editor Nicole Font, Assistant to the Editors EDITORIAL BOARD Mitch Blank, New York City Michael Gilmour, Providence University College (Canada) Nina Goss, Fordham University Charles O. Hartman, Connecticut College Jonathan Hodgers, Trinity College, Dublin Robert Reginio, Alfred University Christopher Rollason, Luxembourg Richard Thomas, Harvard University Dylan Review 2.1 (Summer 2020) DYLAN REVIEW, SUMMER 2020 TABLE OF CONTENTS SPECIAL TOPIC: CALL FOR SUBMISSIONS………………….……………………………..2 REVIEWS Charles O. Hartman, Rough and Rowdy Ways: Containing History….………....3 John Hunt and Tim Hunt, Travelin’ Thru ...…………………..……………………....16 THE DYLANISTA………………………………………………………………………………28 ARTICLES Richard F. Thomas, “And I Crossed the Rubicon”: Another Classical Dylan....35 Graley Herren, Young Goodman Dylan: Chronicles at the Crossroads..……..65 SONG CORNER Anne Margaret Daniel, “Murder Most Foul”….…………………………………….83 INTERVIEWS Mark Davidson…………………………………………………………………………... 95 LETTERS………………………………………………………………………………….…...106 CONTRIBUTORS…………………………………………………………………….………107 BOOKS RECEIVED………………………………………………………………………….109 BOB DYLAN LYRICS, COPYRIGHT INFORMATION……………………………………110 1 Dylan Review 2.1 (Summer 2020) SPECIAL TOPIC: CALL FOR SUBMISSIONS THE COPS DON’T NEED YOU AND MAN THEY EXPECT THE SAME For the next issue of the Dylan Review, Winter 2.2, the Editors invite articles and Song Corner essays on the special topic of political authority and race in Dylan’s work. Up on Housing Project Hill It’s either fortune or fame You must pick one or the other Though neither of them are to be what they claim If you’re lookin’ to get silly You better go back to from where you came Because the cops don’t need you And man they expect the same This familiar stanza from “Just Like Tom Thumb’s Blues” sets the tenor for the Editors’ special topic. -
The Old, Weird America the World of Bob Dylans Basement Tapes 1St Edition Download Free
THE OLD, WEIRD AMERICA THE WORLD OF BOB DYLANS BASEMENT TAPES 1ST EDITION DOWNLOAD FREE Greil Marcus | 9780312572914 | | | | | Greil Marcus Completing a pickup band with pianist Barry Goldberg, plus Butterfield's drummer Sam Lay and his bassist Jerome Arnold, Dylan rehearsed through the night and showed up the next day, on Newport's main stage, ready to experiment. Using bootleg recordings of Bob Dylan as a starting point, he dissected the American subconscious in Invisible Republic : Bob Dylan's Basement Tapespublished in From the balladeer who first presented himself not as the son of a respectable middle-class Jewish family from northern Minnesota but as a vagabond runaway who had no idea if his parents were dead or alive, to the dandy who when controversy over his turn to the pop arena erupted declared that his investment in folk music had been a con from the start, he was, it was sometimes said, a different person every time you saw him. The best thing I got from this book was exposure to Mr. Gathering in New York with the members of his touring band, the Hawks, he wrote joke songs and reimagined American folk and blues. With Dylan singing a barbed Plains States drawl and his rhythm guitar pressing for speed, Bloomfield jumps the train and drives it: "I remember," said Sim Webb, Casey Jones's fireman when the Illinois Central smashed into a freight train near Vaughn, Mississippi, on April 30,"that as I jumped from the cab Casey held down the whistle in a long, piercing scream. Wikiquote has quotations related to: Greil Marcus.