On Desolation Row: the Blurring of the Borders Between Civil and Criminal Mental Disability Law, and What It Means to All of Us
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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 ............................................................................................................................... -
Still on the Road 1990 Us Fall Tour
STILL ON THE ROAD 1990 US FALL TOUR OCTOBER 11 Brookville, New York Tilles Center, C.W. Post College 12 Springfield, Massachusetts Paramount Performing Arts Center 13 West Point, New York Eisenhower Hall Theater 15 New York City, New York The Beacon Theatre 16 New York City, New York The Beacon Theatre 17 New York City, New York The Beacon Theatre 18 New York City, New York The Beacon Theatre 19 New York City, New York The Beacon Theatre 21 Richmond, Virginia Richmond Mosque 22 Pittsburg, Pennsylvania Syria Mosque 23 Charleston, West Virginia Municipal Auditorium 25 Oxford, Mississippi Ted Smith Coliseum, University of Mississippi 26 Tuscaloosa, Alabama Coleman Coliseum 27 Nashville, Tennessee Memorial Hall, Vanderbilt University 28 Athens, Georgia Coliseum, University of Georgia 30 Boone, North Carolina Appalachian State College, Varsity Gymnasium 31 Charlotte, North Carolina Ovens Auditorium NOVEMBER 2 Lexington, Kentucky Memorial Coliseum 3 Carbondale, Illinois SIU Arena 4 St. Louis, Missouri Fox Theater 6 DeKalb, Illinois Chick Evans Fieldhouse, University of Northern Illinois 8 Iowa City, Iowa Carver-Hawkeye Auditorium 9 Chicago, Illinois Fox Theater 10 Milwaukee, Wisconsin Riverside Theater 12 East Lansing, Michigan Wharton Center, University of Michigan 13 Dayton, Ohio University of Dayton Arena 14 Normal, Illinois Brayden Auditorium 16 Columbus, Ohio Palace Theater 17 Cleveland, Ohio Music Hall 18 Detroit, Michigan The Fox Theater Bob Dylan 1990: US Fall Tour 11530 Rose And Gilbert Tilles Performing Arts Center C.W. Post College, Long Island University Brookville, New York 11 October 1990 1. Marines' Hymn (Jacques Offenbach) 2. Masters Of War 3. Tomorrow Is A Long Time 4. -
“It Ain't the Melodies That're Important Man, It's the Words”
“It ain’t the melodies that’re important man, it’s the words”: Dylan’s use of figurative language in The Times They Are A-Changin’ and Highway 61 Revisited ”Det är inte melodierna som är viktiga, det är orden”: Dylans användning av figurativt språk i The Times They Are A-Changin’ och Highway 61 Revisited Jacob Forsberg Fakulteten för humaniora och samhällsvetenskap English 15 Points Supervisor: Åke Bergvall Examiner: Elisabeth Wennö 2016-03-14 C-Essay Jacob Forsberg Supervisor: Åke Bergvall Abstract This essay compares the figurative language of Bob Dylan’s albums The Times They Are A- Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance. Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. -
“To Live Outside the Law, You Must Be Honest”: Freedom and the Law in Dylan’S Lyrics 1964-1966
“To live outside the law, you must be honest”: freedom and the law in Dylan’s lyrics 1964-1966 Bob Dylan stands for an ideal of personal freedom, in some sense. He (or his lyrical persona) won’t stick around in a bad situation (“Don’t Think Twice”), consent to be owned (“It Ain’t Me Babe”), be someone’s boss (“It Takes a Lot to Laugh …”), try to please (“It’s Alright Ma”), answer reporters’ clichéd questions, stick to folk songs, or work on Maggie’s farm “no more.” There are many things he won’t do: but what will he do? This is a lot of negativity: if he just keeps on keeping on, where will he end up? Starting with Another Side of Bob Dylan, Dylan turned from overtly political songs to songs of a personal nature. At a 1966 concert, someone shouted: “Play protest songs!” Dylan answered: “Oh come on, these are all protest songs. Aw, it’s the same stuff as always. Can’t you HEAR?” Then he played “Ballad of a Thin Man.”1 The “same stuff,” apparently, was an assertion of freedom. These self-expressive, iconoclastic songs, written against folky expectations, tend to harp on rejecting the influence of others – lovers, families, “everybody [who] wants you to be just like them” (“Maggie’s Farm,” “To Ramona”). Sometimes, in these songs, there is an allegory of the personal to the political (“Maggie’s Farm”). Sometimes, Dylan takes a critical view of political protest, that it remains empty so long as it remains abstract (“My Back Pages”), and that the political rhetoric of freedom can itself impede freedom. -
Get Ready for Bob Dylan's Set at ACL Fest with Our Dylan Primer You Might Wonder Which Bob Dylan You're Going to Hear at ACL; Here's Our Advice for Tuning In
Get ready for Bob Dylan's set at ACL Fest with our Dylan primer You might wonder which Bob Dylan you're going to hear at ACL; here's our advice for tuning in By Thomas G. Palaima SPECIAL TO THE AMERICAN-STATESMAN http://www.austin360.com/news/content/music/stories/2007/09/0902dylan.html Sunday, September 02, 2007 "But me, I'm still on the road Headin' for another joint" - Bob Dylan, "Tangled Up in Blue" Bob Dylan is heading to Austin to close the ACL Festival on Sept. 16. Troubadour, blues songster, pop balladeer, old-timey minstrel, singer of gospel hymns and country and western tunes - and introduced in concerts now as "the man who forced folk into bed with rock" - Dylan and his evolving traveling band are in their 20th year of what his fans call the Never Ending Tour. If you are heading to the festival, you might wonder which Dylan you are going to hear. The straight answer is none and all of the above - and more. Forty-five years into his recording career and bearing down on 50 official albums, Dylan has mined virtually every American musical genre. His songwriting, singing and playing are always in the moment and full of experiment. Credited with writing more than 450 songs, Dylan has performed live at least that many songs by other artists. He has sung Ricky Nelson's "Lonesome Town," Gordon Lightfoot's "Early Morning Rain," the Davis Sisters' No. 1 1953 country hit "I Forgot More Than You'll Ever Know," Hank Williams' "House of Gold," Woody Guthrie's "Deportees" and the White Stripes' "Ball and Biscuit." When Warren Zevon was dying of lung cancer, Dylan on tour sang moving versions of Zevon's "Mutineer" and "Accidentally Like a Martyr." One of Dylan's birthday gifts for Willie Nelson's Big Six-O was a pathos-laden rendering of Stephen Foster's "Hard Times." No wonder that in his first major film, Dylan played a character named Alias ("Pat Garrett & Billy the Kid"). -
Dylan's Autobiography of a Vocation.Indb
Renza, Louis A. "Index of Bob Dylan Songs and Albums." Dylan’s Autobiography of a Vocation: A Reading of the Lyrics 1965–1967. New York: Bloomsbury Academic, 2017. 198–200. Bloomsbury Collections. Web. 25 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 14:35 UTC. Copyright © Louis A. Renza 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Index of Bob Dylan Songs and Albums Note: Page references with letter ‘n’ refer to notes. “A Hard Rain’s A-Gonna Fall” 8 , 10 , 51 , 87 “California” 20 “Absolutely Sweet Marie” 69 – 71 , “Can You Please Crawl Out Your 168 n.15 , 169 n.19 Window?” 39 – 40 , 116 , 165 n.11 “All Along the Watchtower” xiv , xv , “Chimes of Freedom” 2 – 4 , 147 146 – 9 , 180 n.61 “Clothes Line Saga” 92 , 118 – 20 Another Side of Bob Dylan 1 – 2 , 4 , 5 , 6 , 45 , 46 , 159 n.2 , 162 n.5 , 162 n.10 , 162 n.13 , “Dark Eyes” xiii 176 n.4 “Dear Landlord” 143 – 4 , 179 n.42 Another Side of Bob Dylan liner notes “Desolation Row” 51 – 7 , 87 , 112 , (“Some Other Kinds Of Songs . 165 n.10 , 166 n.26 , 167 n.30 Poems by Bob Dylan”) 6 , 162 n.13 “Don’t Ya Tell Henry” 114 – 15 , 118 “Apple Suckling Tree” 108 – 9 , 174 n.41 , “Down Along the Cove” 150 – 1 , 181 n.65 174 n.43 , 174 n.51 “Down in the Flood (Crash on the “As I Went Out One Morning” 141 – 3 , 150 Levee)” 104 “ D r i ft er’s Escape” 139 – 40 , 141 , 143 , “Ballad of a Th in Man” 37 -
Highway 61 Revisited
LANF_DISCOBOBDYLAN_pag006-207:105432_006-375 11/4/09 10:56 AM Page 47 HIGHWAY 61 REVISITED Lançamento EUA: 30 de agosto de 1965 Columbia CL 2389/CS 9189 (mono/estéreo) Lançamento RU: Setembro de 1965 CBS BGP/SBGP 62572 (mono/estéreo) Lançamento em CD: Columbia 460953-2 CD remasterizado/Lançamento Versão em mono relançada em vinil de 180g em em SACD: 512351-6 maio de 2001 como Columbia/Sundazed LP 5071 Tempo de duração: 51:34 (SACD) Produtor: Bob Johnston, e Tom Wilson em “Like A Rolling Stone” LADO UM: Like A Rolling Stone; Tombstone LADO DOIS: Queen Jane Approximately; Blues; It Takes A Lot To Laugh, It Takes A Train Highway 61 Revisited; Just Like Tom Thumb’s To Cry; From A Buick 6; Ballad Of A Thin Man. Blues; Desolation Row. Bob Dylan: vocal, violão, guitarra, gaita, piano, Mike Bloomfield: guitarra, Harvey Brooks: baixo, Bobby Gregg: bateria, Paul Griffin: órgão, piano, Al Kooper: órgão, Sam Lay: bateria, Charlie McCoy: violão e vibrafone, Frank Owen: piano e maracas, Ron Savakus: baixo Dylan não entrou em sintonia com Eric Clapton ou com o restante dos John Mayall and The Bluesbreakers durante uma sessão malograda realizada em Londres em maio de 1965, durante a qual Bobby Neuwirth queixou-se: “Você está tocando blues demais, cara. Ele precisa de um som mais country”. Dylan contratou Michael Bloomfield da Butterfield Blues Band para tocar a guitarra solo. Bloomfield lembraria que “Bob me pegou na rodoviária e me levou para a casa onde morava. Ele estava tocando em tons estranhos, apenas com as teclas pretas do piano. -
Timothy Hampton, Berkeley Book Chats, April 17, 2019
Timothy Hampton, Berkeley Book Chats, April 17, 2019 Timothy Hampton: I'm sure that if I had written a book on renaissance poetry that the room would be just as full as it is today. One of the fun things about working on Bob Dylan is that you can be sure in any given event that most of the audience knows the work better than the speaker, and I think in our case, this is definitely true. Anyway, Rob. Robert Kaufman: Just echoing Tim and Ramona, thanking everybody for coming today. And Tim, you actually gave me my opening line which is what's internationally renowned renaissance scholar with books on inventing the renaissance, early modern Europe, French, British, Italian, Spanish renaissance literature, doing in a place like mobile with the Memphis Blues again, looking at the Nashville Skyline, sitting in a prison cell with Hurricane Carter, getting taken off the radio waves in 1975 for a seemingly exotic song called Mozambique that's actually being accused of supporting the revolutionary overthrow of Portuguese colonialism in southern Africa. Winding up on desolation row, all these places. Robert Kaufman: This is an extended way of saying, how did you get here? And how did you feel like you wanted to take up Dylan as a literary critic that was also, those of you who have looked at the book or will, will see there's a very fascinating and deft and extremely ambitious attempt to keep the intensity and the intelligence of the literary and music and sociological and cultural criticism going while not limiting it to an academic audience, not trying to either lower the level of analysis, but not trying to be exclusionary and trying to open it. -
Full Press Release
THE MORGAN LIBRARY & MUSEUM PRESENTS BOB DYLAN’S AMERICAN JOURNEY, 1956–1966 Exhibition Chronicles Dylan’s Formative Early Career and Includes Work from the Morgan’s Collection of Dylan Holdings New York, NY, August 31, 2006—Bob Dylan’s American Journey, 1956–1966, the first comprehensive exhibition devoted to Bob Dylan’s early career, is on view at The Morgan Library & Museum from September 29, 2006, through January 6, 2007. The exhibition examines the critical ten-year period that coincides with Dylan’s transformation from folk troubadour to rock innovator during a momentous, turbulent period of American history. Bob Dylan’s American Journey, 1956–1966, is organized by Experience Music Project, Seattle, Washington. The press preview for this exhibition is scheduled for Thursday, September 28, 2006, from 9 a.m. until noon. The exhibition includes original typed and handwritten lyrics, rarely seen photographs, concert and television footage, posters and handbills of Dylan’s early performances in New York, and other artifacts. Several Dylan manuscripts and typescripts of lyrics from a selection of more than ninety songs given to The Morgan Library & Museum in the late 1990s by collector George Hecksher will also be on view. These include such well-known songs as “Blowin’ in the Wind,” “It’s Alright, Ma,” “Masters of War,” “Ballad in Plain D,” and “Gates of Eden.” “Few would argue that Bob Dylan is a gifted songwriter whose work has had an important social and cultural impact in America and Bob Dylan, with harmonica and guitar, in recording abroad,” said Charles E. Pierce, Jr., Director of The Morgan Library studio, 1963, © Sony Music Entertainment Inc., SN63029. -
With One Hand Waving Free Bob Dylan 1995
WITH ONE HAND WAVING FREE BOB DYLAN 1995 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES. NEW RELEASES, TAPES & BOOKS. © 1996 by Olof Björner All Rights Reserved. This article may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. With One Hand Waving Free — Bob Dylan 1995 page 2 CONTENTS: 1. INTRODUCTION ............................................................................................................................................. 4 2. THE YEAR AT A GLANCE ............................................................................................................................ 4 3. CALENDAR ...................................................................................................................................................... 5 4. NEW RECORDINGS ..................................................................................................................................... 10 4.1 NEW RELEASES ................................................................................................................................................... 10 4.1.1 MTV Unplugged ....................................................................................................................................... 10 4.1.2 Highway 61 Interactive ............................................................................................................................ 10 4.1.3 Greatest Hits Volume 3 CD+ .................................................................................................................. -
Highway 51 Bob Dylan 1992
HIGHWAY 51 BOB DYLAN 1992 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 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. Highway 51 — Bob Dylan 1992 CONTENTS 1 A SHORT SUBJECTIVE RETROSPECTIVE ................................................................................ 3 2 THE YEAR AT A GLANCE .............................................................................................................. 3 3 CALENDAR ......................................................................................................................................... 4 4 RECORDINGS..................................................................................................................................... 7 5 GOOD AS I BEEN TO YOU .............................................................................................................. 7 6 NEW TAPES ........................................................................................................................................ 8 6.1 THE 1992 COMPILATION TAPE ........................................................................................................ 8 6.2 FOLKSINGER 'S CHOICE .................................................................................................................... 9 6.3 BERKELEY COMMUNITY THEATRE , BERKELEY , CALIFORNIA , 4 DECEMBER 1965 ......................... -
TGB Black Logo 3 25.Eps
v3n4.book : Lubet.fm Page 459 Tuesday, July 18, 2000 11:18 AM Intimations of Contemporary Law s Politics in the Early Œuvre of Robert A. Zimmerman The Dylan Code Steven Lubet s Alex J. Lubet n the tradition of The Bible Code,1 Consider this excerpt from It’s Alright, Ma (I’m which claims that all of human history is Only Bleeding), Iforetold by embedded numerology in the While preachers preach of evil fates Hebrew scriptures, we have discovered a par- Teachers teach that knowledge waits allel phenomenon: the “Dylan Code.” It is But even the president of the United States even more reliable than the Bible Code, Sometimes must have to stand naked.2 accurately predicting otherwise unforeseeable The “preachers,” of course, are the religious events in American law, politics, and culture. conservatives who dominated the vast right- We were stunned to realize that Bob wing conspiracy against the President, while Dylan’s arcane early lyrics contain a series of the “teachers” must surely signify the members previously unnoticed, artfully encrypted refer- of the American Education Association, ences to the impeachment trial of William staunch Democrats who were in no hurry – JeÖerson Clinton, from the beginning of Ken remember, “knowledge waits” – to learn the Starr’s investigation all the way through to the truth about Clinton’s escapades. sad spectacle of the Senate’s deliberations. Clinton himself was full of excuses, perhaps Steven Lubet is a Professor of Law at Northwestern University. Alex J. Lubet is a Professor of Music at the University of Minnesota. 1 Michael Drosin, The Bible Code: Doron Equidistant Letter Sequences in the Vitstum (1997).