DOCSLIB.ORG

Hibbing Public Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hibbing Public Library Bob Dylan Exhibit Cover Art was used with the permission of Lori Nicolelli-Harter This timeline may not be sold or copied for redistribution without written permission of the Hibbing Public Library. The Bob Dylan Exhibit was originally created with funds from Hilligoss Family Foundation Minnesota Library Association Foundation National Endowments for the Humanities Upper Midwest Conservation Association Revised May 2013 Hibbing Public Library May 2013 Bob Dylan Exhibit Photographs 1. Birth Certificate of Robert Allen Zimmerman. 1941 2. Feldman’s Clothing Store in Robert Allen Zimmerman (aka Bob Dylan is born to Abram H. Zimmerman and Hibbing. Beatrice worked Beatrice Stone Zimmerman at St. Mary’s Hospital in Duluth, Minnesota on May here as a clerk. (Aubin 24th. Photography) 3. Beatrice and Abram Zimmerman, 1939. 1946 (Photographer unknown) 4. Bob Zimmerman is on the far In February, brother, David Benjamin Zimmerman is born. right with his mother, Beatty Bob attends Kindergarten at Duluth Nettleton School in Septem- behind him. (Photographer ber. unknown) 5. Stone’s Clothing Store in Hibbing. Run by Bob’s 1947 grandmother, Florence and The Zimmerman family moves to Hibbing, Minnesota. his Uncle Lewis. (Aubin Photography) Bob attends first grade at Alice School in Hibbing. 6. State Theater at 301 East Howard Street in 1950s. (Aubin Photography) 1954 7. Ad for Zimmerman Furniture On May 24th after having studied Hebrew with Rabbi Reuben Maier, above the and Electric from a 1950s L&B Café, Bob is Bar Mitzvahed. That evening the Zimmermans, along with 400 Hibbing Daily Tribune. guests, celebrate at the Androy Hotel in Hibbing. 8. Androy Hotel. This was the site of Bob’s Bar Mitzvah. (Photographer unknown) 9. Lybba Theater was named 1955 and 1956 after Lybba Edelstein, Bob’s Robert attends Camp Herzl in Webster, Wisconsin each summer. great grandmother. (Aubin Photography) 10. Agudath Achim Synagogue, where the Zimmerman family worshipped. Was located at “I always wanted to be a guitar player and a singer. Since I 2320 2nd Avenue West. was ten, eleven or twelve, it was all that interested me.” (Aubin Photography) Bob Dylan Biography, 1985 Hibbing Public Library May 2013 1957 April 5th is Bob’s first public performance at Hibbing High School’s annual Spring Talent Show. Appearing as the “Cashmeres” the group performs two Little Richard songs, “Jenny, Jenny, Jenny” and “True Fine Mama”. Bob bangs out the song on the piano and imitates Little Richard on vocals. Backing him up, wearing pink shirts and with slicked back hair are Larry Fabbro on guitar, Bill Marinac on bass and Chuck Nara on drums. The band breaks up over the summer. Photographs 1958 11. Alice School. The Alice which was located at 2320 2nd Bob teams up with LeRoy Hoikkala on drums and Monte Edwardson on the Avenue West has been guitar and they become “The Golden Chords”. The band often practices in the demolished. (Aubin Zimmerman’s garage. The Golden Chords got their name from Hoikkala’s Photography) golden drums and Bob being so good at playing chords on the piano. 12. L & B Café in the background The Golden Chords perform at the Jacket Jamboree on February 6th. They play is where Bob spent time with the song, “Rock & Roll is Here to Stay” in the style of Little Richard. The legend Echo Helstrom after school. is that the microphone was cut by Principal Pederson after he felt things got out (Aubin Photography) of hand. A few weeks later, the band performs at the Chamber of Commerce’s 13. Miss Johns 5th grade class. Winter Frolic Talent show. The Goden Chords take second place. Top row left, Nancy Ames, Dave Rian, Bonnie Marinac, On March 1st The Golden Chords perform at Hibbing’s National Guard Armory Shirley Zubich, Bill Marinac, during intermission of a sock hop. This was their first paid performance. Shortly Peggy Teske, Judy Hennesey after, the band appears on the Chmielewski Brothers “Polka Hour”. and seated, Griff Thomas, The Golden Chords drift apart. Edwardson and Hoikkala join with two other Bob Zimmerman. boys to form the “Rockets”. Bob starts playing with the “Satin Tones”, a band (Photographer unknown) out of Duluth. 14. Hibbing High School Auditorium. (Chuck Perry, 2001) 15. Zimmerman home located at 2425 7th Avenue East. It is “My country is the Minnesota-North Dakota territory, that is currently a private residence. (Roberta Maki, 2003) where I was born and learned how to walk and it’s where I was 16. Hibbing High School raised and went to school...my youth was spent wildly among the Auditorium. (Roberta Maki, snowy hills and sky blue lakes. Willow fields and abandoned 2003) open pit mines. Contrary to rumors, I am very proud of where I’m 17. Garage door at Zimmerman from.” home. (Clint A. Lindstrom, Bob Dylan, Letter to ECLE, 1963 2008) Hibbing Public Library May 2013 1959 Photographs In January Bob forms a band for the annual Jacket Jamboree. He names the 18. Latin Club (top). Bob is front band “Elston Gunn and the Rock Boppers. The band consists of Bob, John row third from the left. Bucklen on guitar, Bill Marinac on double bass and three girls singing doo-wop. Yearbook Photographs They did not rehearse for this performance. (bottom) from 1957 and 1958) Bob attends the Buddy Holly, Ritchie Valens and the Big Bopper Concert at the 19. Echo Helstrom, date Duluth National Guard Armory on January 31st. unknown. (Arnold Maki) Robert Allen Zimmerman graduates from Hibbing High School on June 5th. 20. Guitar of Larry Fabbro. He was a member of the In September Bob arrives in Minneapolis to attend “Cashmeres”. the University of Minnesota. He spent more time in 21. Hibbing High School. the local coffee houses than studying. After one year (Roberta Maki, 2003) he dropped out. 22. High School Yearbook photograph, 1959. 23. Hibbing High School 1960 Hematite, 1959. 24. Original window from the Bob leaves Minneapolis in December, traveling to Zimmerman home. Chicago and/or Madison, Wisconsin before arriving at 25. Donated to Dylan Exhibit in Greenwich Village. His intention is to visit Woody May 2011. Artist, Claude Guthrie. Angele Boni. 26. Tiles from the Zimmerman’s bathroom. 1961 27. Sculpture by Hibbing artist, April 11th is Dylan’s first New York City appearance. Ann Schnortz, 2007. 28. Door hardware from the Robert Zimmerman signs a Columbia Recording contract on October 26th. Zimmerman home. “There’s no place I feel closer to now, or get the feeling that I’m part of, except maybe New York; but I’m not a New Yorker. I’m North Dakota-Minnesota-Midwestern. I’m that color. I speak that way. I’m from someplace called the Iron Range. My brains and feelings have come from there. I wouldn’t amputate on a drowning man, nobody from out there would.” Bob Dylan, Playboy Interview, 1972 Hibbing Public Library May 2013 1962 Bob plays at Congress of Racial Equality Benefit at City College. Photographs Bob Dylan is released. The album contains two original songs, “Song for 29. Dylan in early 1960s. Woody” and “Talking New York”. The other songs were typical folk songs in (Photographer unknown) which Bob accompanies himself on harmonica and guitar. Gil Turner performs the Bob Dylan composition, “Blowin’ in the Wind”, at Gerdes Folk City. Robert Allen Zimmerman legally changes his name to Bob Dylan. 1963 Bob Dylan performs at the New York Town Hall Concert. This is the first time he plays only his songs. The Freewheelin’ Bob Dylan is released. Many of the songs are originals and influenced by Dylan’s relationship with girlfriend Suze Rotolo. It includes the protest song “Blowin’ in the Wind” which establishes Dylan as one of the most popular folk musicians and a songwriter in his own right. Dylan Performs at the Civil Rights Rally, Greenwood Mississippi. Dylan visits Hibbing, Minnesota. Dylan and Joan Baez sing a duet at the Newport Folk Festival. They perform “With God on Our Side” to a small crowd. In the evening, Bob performs his own Dylan and Pete Seeger present a workshop at the Newport Folk Festival. Dylan again joins Joan Baez on stage at the Newport Folk Festival. Dylan takes part in the Civil Rights March on Washington. Dylan flies his parents to New York to see him in concert at Carnegie Hall. Bob Dylan is a recipient of the Tom Paine Award from emergency Civil Liberties Committee. “Hibbing’s got schools, churches, grocery stores an’ a jail. It’s got high school football games and a movie house. Hibbing’s got souped up cars runnin’ full blast on Friday night. Hibbing’s got corner bars with polka bands.” My Life in a Stolen Moment 1962 Hibbing Public Library May 2013 1964 Photographs The Times They Are A-Changin’ is released. Another Side of Bob Dylan is released. The songs on this album were a 30. Concert at the Free Trade departure from earlier political works. Hall in Manchester, England, Dylan performs at Royal Festival Hall, London, England. He reveals three new May 17, 1966. (AP Photo by songs: “O Chimes of Freedom”, “Mr. Tambourine Man”, and “It Ain’t Me Babe”. Mark Makin) It is his first major Great Britain Appearance. Once again at the Newport Folk Festival, Dylan performs songs such as “Mr. Tambourine Man” rather than protest materials. Some attendees find this disappointing. 1965 Bringing It All Back Home is released. The album includes electric backing instruments. Dylan and Baez appear at the Berkeley Folk Festival. They will not appear in concert together again until 1975. Dylan has his first electric performance at the Newport Folk Festival. Highway 61 Revisited is released.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Guitar Center Partners with Eric Clapton, John Mayer, and Carlos
    Guitar Center Partners with Eric Clapton, John Mayer, and Carlos Santana on New 2019 Crossroads Guitar Collection Featuring Five Limited-Edition Signature and Replica Guitars Exclusive Guitar Collection Developed in Partnership with Eric Clapton, John Mayer, Carlos Santana, Fender®, Gibson, Martin and PRS Guitars to Benefit Eric Clapton’s Crossroads Centre Antigua Limited Quantities of the Crossroads Guitar Collection On-Sale in North America Exclusively at Guitar Center Starting August 20 Westlake Village, CA (August 21, 2019) – Guitar Center, the world’s largest musical instrument retailer, in partnership with Eric Clapton, proudly announces the launch of the 2019 Crossroads Guitar Collection. This collection includes five limited-edition meticulously crafted recreations and signature guitars – three from Eric Clapton’s legendary career and one apiece from fellow guitarists John Mayer and Carlos Santana. These guitars will be sold in North America exclusively at Guitar Center locations and online via GuitarCenter.com beginning August 20. The collection launch coincides with the 2019 Crossroads Guitar Festival in Dallas, TX, taking place Friday, September 20, and Saturday, September 21. Guitar Center is a key sponsor of the event and will have a strong presence on-site, including a Guitar Center Village where the limited-edition guitars will be displayed. All guitars in the one-of-a-kind collection were developed by Guitar Center in partnership with Eric Clapton, John Mayer, Carlos Santana, Fender, Gibson, Martin and PRS Guitars, drawing inspiration from the guitars used by Clapton, Mayer and Santana at pivotal points throughout their iconic careers. The collection includes the following models: Fender Custom Shop Eric Clapton Blind Faith Telecaster built by Master Builder Todd Krause; Gibson Custom Eric Clapton 1964 Firebird 1; Martin 000-42EC Crossroads Ziricote; Martin 00-42SC John Mayer Crossroads; and PRS Private Stock Carlos Santana Crossroads.
    [Show full text]
  • GOTTA SERVE SOMEBODY Genesis 3:14-15
    joshua hartwigsen, 6.23.19 (Sunday am) GOTTA SERVE SOMEBODY Genesis 3:14-15 In 1979 Bob Dylan released the song “Gotta Serve Somebody”, selecting a matter-of-fact title that summarized his song’s refrain: “You’re gonna have to serve somebody, Yes indeed you’re gonna have to serve somebody Well, it may be the Devil or it may be the Lord But you’re gonna have to serve somebody” Although well-regarded, his song does not communicate a new idea – a long time before Dylan wrote his song, Jesus himself hinted at the same idea when he said that “no one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other” 1 (Matthew 6:24). The Bible introduces the idea of two masters in its opening chapters where it records humanity division into two groups – the offspring of the serpent and the offspring of the woman (Genesis 3:15). The remainder of the Bible develops the story of those two families and the conflict between them in a way that allows readers to identify which family they belong to while offering them a way to join God’s family, the offspring of the woman. Family feud • God made humanity in His image and gave them the responsibility to representing His rule and character within the world (Genesis 1:26-28). • Humanity’s choice, however, to submit themselves to the serpent introduced division into the world that resulted in the separation of humanity into two groups – the offspring of the serpent and the offspring of the woman (Genesis 3:1-15).
    [Show full text]
  • Music for the People: the Folk Music Revival
    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
    [Show full text]
  • Bob Dylan Good As I Been to You Mp3, Flac, Wma
    Bob Dylan Good As I Been To You mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues / Folk, World, & Country Album: Good As I Been To You Country: Europe Released: 1992 Style: Country Blues, Folk MP3 version RAR size: 1738 mb FLAC version RAR size: 1374 mb WMA version RAR size: 1468 mb Rating: 4.4 Votes: 772 Other Formats: AAC DXD AC3 WAV AIFF AHX VOC Tracklist 1 Frankie & Albert 2 Jim Jones 3 Blackjack Davey 4 Canadee-I-O 5 Sittin' On Top Of The World 6 Little Maggie 7 Hard Times 8 Step It Up And Go 9 Tomorrow Night 10 Arthur McBride 11 You're Gonna Quit Me 12 Diamond Joe 13 Froggie Went A Courtin' Companies, etc. Distributed By – Sony Music Mastered At – Precision Mastering Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Made By – Sony Music Entertainment Inc. Pressed By – DADC Austria Credits Art Direction, Design – Dawn Patrol Mastered By – Stephen Marcussen Photography By [Front Cover] – Jimmy Wachtel Producer [Production Supervisor] – Debbie Gold Recorded By, Mixed By – Micajah Ryan Vocals, Guitar, Harmonica – Bob Dylan Notes Jewel case with 4-page booklet. Made in Austria. ℗ 1992 Sony Music Entertainment Inc. © 1992 Sony Music Entertainment Inc. Mastered at Precision Mastering, L.A. (US). Barcode and Other Identifiers Barcode (Text): 5 099747 271021 Barcode (Scanned): 5099747271021 Label Code: LC 0162 Matrix / Runout (Variant 1): DADC AUSTRIA 01-472710-10 22 B2 Matrix / Runout (Variant 2): DADC AUSTRIA 01-472710-10 22 A5 Matrix / Runout (Variant 3): DADC AUSTRIA 01-472710-10
    [Show full text]
  • A Comparison of Patients Relapsing to Addictive Drug Use with Non
    A Comparison of Patients Relapsing to Addictive Drug Use with Non-relapsing Patients Following Residential Addiction Treatment in Antigua TC Martin1,2, JA Josiah-Martin1, J Kosakoski1, K Norton1, T Sinnott1 ABSTRACT The outcome of a 29-day residential addiction treatment programme for persons from Antigua and Barbuda with addiction to drugs or alcohol was assessed. All 100 patients entering the drug and alco- hol treatment programme at Crossroads Centre Antigua between November 1998 and October 2002 were included. All patients were assessed with regards to drug or alcohol use or abstinence in November 2002 using telephone and mail follow-up as well as informal follow-up with families and other community contacts. Crossroads Centre Antigua is a 35 bed, 29-day residential treatment centre for drug and alcohol addiction serving patients from developed countries (85%) and from the Caribbean region (15%). Patients records were also reviewed to obtain age, gender, ethnicity, drug of choice, years of problematic use, completion of the 29 day programme, family member participation at Crossroads Centre Antigua (a four-day programme) and acceptance of halfway house placement. Of the 100 Antiguan patients admitted, 46 (46%) were abstinent (non-relapsers) at average 20.7 ± 14.7 months after treatment. Abstinence did not have to be continuous. Forty-nine were known to be using drug or alcohol (49%) and five (5%) were lost to follow-up and considered to be using drugs (relapsers). Age (37.5 vs 41.1 years), gender (28% vs 22% female), ethnicity (87% vs 87% Afro- Caribbean), years of harmful use (12.7 vs 12.5 years) did not differ significantly between relapsers and non-relapsers.
    [Show full text]
  • The Cambridge Companion to Bob Dylan Kindle
    THE CAMBRIDGE COMPANION TO BOB DYLAN PDF, EPUB, EBOOK Kevin J. H. Dettmar | 204 pages | 20 Apr 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521714945 | English | Cambridge, United Kingdom The Cambridge Companion to Bob Dylan PDF Book Was he dying? There can be no doubt that Dylan saw Another Side as marking a shift in his career. At 65, Bob Dylan becomes the oldest living artist to hit the top spot. This song still feels contemporary in its sarcasm, and all the more devastating for its brightness. The conventional wisdom of the music business in the s and s was that artists toured only to support new albums. Tambourine Man. Their touchstones are the musicians, musical styles, and values of a folkloric past, all made relevant by the sheer conviction with which they are evoked. And why should there be? Moreover, he evades history by cloaking his songs in the avowedly timeless music of blues, ballads, and gospel. But he was also living in a moment of plagiarism — accused of plagiarizing Homer, in a culture that was generally plagiarizing ancient Greece — and, at 60, in the same age group as the Dylan of Modern Times, railed against the unfair forces that cast him away. The feeling of these arrangements, however, was closer to latter- day Elvis whose death in shook Dylan badly and interrupted the writing of the Street Legal songs or even Neil Diamond whose manager, Jerry Weintraub, was working with Dylan at the time. While his musical range shows the influence of virtually every sort of American popular music, he found this material more than sufficient for his purposes.
    [Show full text]
  • Romans 6:12-23 12 Therefore Do Not Let Sin Reign in Your Mortal Body So That You Obey Its Evil Desires
    Romans 6:12-23 12 Therefore do not let sin reign in your mortal body so that you obey its evil desires. 13 Do not offer any part of yourself to sin as an instrument of wickedness, but rather offer yourselves to God as those who have been brought from death to life; and offer every part of yourself to him as an instrument of righteousness. 14 For sin shall no longer be your master, because you are not under the law, but under grace. 15 What then? Shall we sin because we are not under the law but under grace? By no means! 16 Don’t you know that when you offer yourselves to someone as obedient slaves, you are slaves of the one you obey—whether you are slaves to sin, which leads to death, or to obedience, which leads to righteousness? 17 But thanks be to God that, though you used to be slaves to sin, you have come to obey from your heart the pattern of teaching that has now claimed your allegiance. 18 You have been set free from sin and have become slaves to righteousness. 19 I am using an example from everyday life because of your human limitations. Just as you used to offer yourselves as slaves to impurity and to ever-increasing wickedness, so now offer yourselves as slaves to righteousness leading to holiness. 20 When you were slaves to sin, you were free from the control of righteousness. 21 What benefit did you reap at that time from the things you are now ashamed of? Those things result in death! 22 But now that you have been set free from sin and have become slaves of God, the benefit you reap leads to holiness, and the result is eternal life.
    [Show full text]
  • Bob Dylan's Conversions: the “Gospel Years” As Symptom And
    chapter 6 Bob Dylan’s Conversions: The “Gospel Years” as Symptom and Transition Gisle Selnes Professor i allmenn litteraturvitenskap, universitetet i Bergen. Professor in Comparative Literature, University of Bergen, Norway. Abstract: This contribution analyzes Bob Dylan’s evangelic conversion in light of other conversions throughout his oeuvre, emphasizing the theological moment of the event of conversion as such. Two important aspects of conversion inaugurate Dylan’s born-again output: on the one hand, the isolation and purification of the figure of Christ as the all-pervading “object” of his quest; on the other, the “re- coding” of a series of figures and motifs from his earlier work, most of them derived, of course, from the proverbial American songbook. Before and after Dylan’s evan- gelical ruse, the legacy of 18th Century American Transcendentalism as well as Christ as an emblem of the rebel and/or artist constitute two relatively stable reli- gious aspects of his art. Keywords: conversions, Dylan’s born-again period, gospel, the Christ Event, Saint Paul, transcendentalism Sammendrag: Dette bidraget analyserer Bob Dylans evangeliske omvendelse i lys av andre vendinger i forfatterskapet, med hovedvekt på det religiøse momen- tet ved omvendelsen som sådan. To aspekter ved den evangeliske perioden frem- heves: isoleringen av Jesu kroppslige nærvær som absolutt mål for eksistensiell og kunstnerisk søken – og omkodingen av figurer og topoi fra den store amerikanske sangtradisjonen slik at de får en udiskutabel kristologisk valør. På begge sider av Dylans evangeliske raptus undersøkes arven etter den amerikanske transcendenta- lismen og Kristus som opprørs- og kunstnerskikkelse som to relativt stabile religiøse uttrykksformer.
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • The Same Man
    THE SAME MAN BOB DYLAN 1980 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2004 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. The Same Man – Bob Dylan 1980 CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1980 AT A GLANCE .......................................................................................................................................... 3 3 THE 1980 CALENDAR ..................................................................................................................................... 3 4 SAVED ................................................................................................................................................................ 5 5 THE GOSPEL TOURS 1980 ............................................................................................................................. 6 5.1 INTRODUCTION ............................................................................................................................................ 6 5.2 THE SHOW .................................................................................................................................................... 6 5.3 THE MUSICIANS ..........................................................................................................................................
    [Show full text]
  • First Choice Monthly Newsletter WUSF
    University of South Florida Scholar Commons First Choice Monthly Newsletter WUSF 8-1-2012 First Choice - August 2012 WUSF, University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/wusf_first Part of the Broadcast and Video Studies Commons Scholar Commons Citation WUSF, University of South Florida, "First Choice - August 2012" (2012). First Choice Monthly Newsletter. Paper 58. http://scholarcommons.usf.edu/wusf_first/58 This News Article is brought to you for free and open access by the WUSF at Scholar Commons. It has been accepted for inclusion in First Choice Monthly Newsletter by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. This month WUSF-TV fi rstchoice PAID NO. 257 NO. celebrates two of FL TAMPA, U.S. POSTAGE U.S. FOR INFORMATION, EDUCATION AND ENTERTAINMENT • AUGUST 2012 America’s outstanding NON-PROFIT ORG. musicians and songwriters in these inspired PBS specials. Celebrating the Music of Johnny Cash: We Walk the Line In such songs as “Walk the Line,” “Folsom Prison Blues” and “Long Black Veil,” Johnny Cash gave voice to people we rarely heard about in popular music. Nearly choice 60 years after his booming fi rst notes hit the airwaves and almost 10 years since his passing, We Walk the Line celebrates Cash’s legacy. first Renowned music producer Don Was lined up an all-star cast for this monumental concert, including Willie Nelson, Kris Kristofferson, Sheryl Crow, Pat Monahan of Train, Ronnie wusf University of South Florida WUSF Public Media TVB100 4202 East Fowler Avenue, FL 33620-6870 Tampa, 813-974-8700 Dunn, Lucinda Williams, Jamey Johnson, Shooter Jennings, Shelby Lynne and others.
    [Show full text]