DOCSLIB.ORG

Bargainin' for Salvation : Bob Dylan, a Zen Master?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bargainin' for Salvation : Bob Dylan, a Zen Master? BARGAININ' FOR SALVATION Bargainin' For Salvation Bargainin' For Salvation Bob Dylan, A Zen Master? Steven Heine continuum NEW YORK • LONDON 2009 The Continuum International Publishing Group Inc 80 Maiden Lane, New York, NY 10038 The Continuum International Publishing Group Ltd The Tower Building, 1 1 York Road, London SEl 7NX www.continuumbooks.com Copyright © 2009 by Steven Heine All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. Library of Congress Cataloging-in-Publication Data Heine, Steven, 1950- Bargainin for salvation : Bob Dylan, a Zen master? / Steven Heine, p. cm. Includes bibliographical references. ISBN- 13: 978-0-8264-2950-6 (pbk. : alk. paper) ISBN- 10: 0-8264-2950-5 (pbk. : alk. paper) 1. Dylan, Bob, 1941- Songs. Texts. 2. Dylan, Bob, 1941 —Criticism and interpretation. 3. Rock musicians-United States-Biography. 4. Creation (Literary, artistic, etc.)- Religious aspects-Zen Buddhism. I. Title. II. Title: Bob Dylan, a Zen master? ML420.D98H45 2009 782.42 164092-dc22 2009009919 Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed in the United States of America Contents Acknowledgments vii List of Illustrations ix Preface: Satori in Amsterdam— I'll Let You Be in My Dreams If I Can Be in Yours xi 1. Dylan's Zen Rock Garden: Leaving His Heart in That Kyoto Temple 1 PARTI. ZEN AND DYLAN 2. A Simple Twist of Faith: Dylan's Enigmatic Spiritual Quest 27 3. From Beat Blues to Zen: Exploring the Roots of Dylan's Spirituality 44 4. Masked and Eponymous: Authenticity and Autonomy in Dylan and Zen 66 PARTIL THE ZEN OF DYLAN 5. Neither Here Nor There: Dialectics of Duality and Non-Duality 89 6. Period I (1962-1966): From "Protesting" to "Detesting" 109 7. Period II (1967-1978): From "I'll Be Your Baby" to "You're an Idiot, Babe" 135 8. Period III (1979-1988): From "Serving Somebody" to "Letting the Echo Decide" 163 9. The Modern Era ( 1989-Present): Never-Ending Middle Way Lost or Found? 1 90 V vi Contents Appendix A. Citations of Dylan Lyrics 221 Appendix B. Dylan Discography in Relation to Career Periods 229 Appendix C. Dylan Pendulum Diagram 233 Notes 235 Bibliography 257 Glossary of Asian Mystical Terms 266 Index 268 Acknowledgments I am grateful to Colleen Sheehy, Director of Education at the Weisman Art Museum, for organizing a symposium on Dylan, "Highway 61 Revisited: Dylans Road from Minnesota to the World," held in conjunction with an exhibit at the University of Minnesota in Minneapolis from March 24-27, 2007. Having the opportunity to present a paper there on the topic of Dylan and Zen stimulated my thinking about writing this book and also gave me the opportunity to meet so many wonderful people toiling in the field of Dylanology. During the weekend of the conference, I made the first of what was to be several trips to see Dylans hometown of Hibbing, MN, and had a chance to meet many more fascinating and very helpful individuals who are promo- ting various ways of examining and highlighting Dylans life work. Among these are Joe and Mary Keyes, proprietors of Howard Street Booksellers, and Bob and Linda Hocking, who own and run Zimmy s restaurant, both in downtown Hibbing near the High School where Dylan first performed and across from the Androy Hotel where his family celebrated his bar mitzvah party. The Keyes and the Hockings are among the main organiz- ers of the Dylan Days Festival that convenes every year in May in conjunc- tion with Dylans birthday and they are largely responsible for keeping hope alive, so to speak, in Hibbing, where many old timers at once respect Dylan's privacy and are indifferent to his celebrity. I had so many enjoyable and moving experiences that, with their approval, I began to call Zimmy s the "Vatican of the Church of Dylanology" because that is where the main rites and rituals generally take place, and Howard Booksellers the "Lourdes," since it is the site for visions and heal- ings. During my visits to Hibbing, I had the privilege of talking to several figures who were important in the formative high school years, including Dylans teachers B. J. Rolfzen and Charley Miller as well as his band mate and fellow motorcyclist Leroy Hoikkala. vii viii Acknowledgments My son Aaron, who told his high school buddies that Masked and Anonymous was his favorite film and "Mr. Tambourine Man" his favorite song, went with me on several of these pilgrimages to Hibbing. I have also appreciated ongoing conversations with my old friends Dan Leighton, Paul Swanson, and Dale Wright regarding Dylans music in relation to Buddhism and Japanese culture more generally. Other friends and colleagues who were very supportive of this project include Chuck Prebish, Sorching Low, John Tucker, and Victor Forte. I am particularly grateful for the help of several assistants and friends who read or worked with me on thinking through the manuscript. These include Joanna Garcia, who brainstormed the discography, typology, and pyramid, and was a heck of an editor; Anna Scharnagl, who also helped in editing after a job interview/audition that included a rendition of "If Not For You"; Emily Hutchinson, aka mapmaker extraordinaire; Daniella Pineros, who helped collect more books and notes than you could shake a stick at; and Therese Sollien, who got involved late in the game but offered comments that hit the nail right on the head. Finally, I thank Jeff Rosen and his office staff for permission to reprint Dylan lyrics and liner notes relevant to the discussion of his music-making. List of Illustrations FIGURES 1.1 Two Journeys Leading to Zen: The Village in The Early 1960s, and Japan in The Late 1970s 1.2 Dylan 1960 s Record Jacket in Japan 1.3 1978 Far East/Budokan Tour Program 1.4 Zen-Style Interior Design 2. 1 Dylan in Rolling Thunder Review 2.2 Ed Harris as Oscar Vogel 2.3 Jewish "Mezuzah" at Dylans Home 2.4 Hibbing, MN Synagogue 3.1 Crossroad Near Clarksdale, MS 3.2 Blues Highway 3.3 Origins of Zen 3.4 Transmission of Zen Buddhism from China to Japan in the Thirteenth Century 3.5 Dinkytown, MN 4.1 MaRainey 4.2 Beethoven 4.3 Southern Crosses the Yellow Dog in Moorhead, MS 4.4 Cover of The Book of Serenity 5.1 Bridge at Shanghai's Yu Yuan Garden 5.2 Yin-Yang/Duality-NonDuality Diagram 7. 1 Self Portrait Cover 8.1 Dylan at the Western Wall in Jerusalem 9.1 Dylan and the Pope TABLES 3.1 Beat Blues 4.1 Variety of Dylans Rhetorical Styles ix Preface Satori in Amsterdam— I'll Let You Be in My Dreams If I Can Be in Yours PERSONAL AND IMPERSONAL PERSPECTIVES Any book on Bob Dylans music is bound to feature two interlocking perspectives: the impersonal, or an objective examination and assessment of his works; and the personal, or an expression of the author s subjective awareness of and interest in the significance of Dylan. Both perspectives reflect a high level of sensitivity to the important influences of Dylans music felt both individually and communally. This book primarily high- lights the impersonal side in discussing affinities between the radical rela- tivism and disillusionment manifested in some stages of Dylan's career and the irreverent, topsy-turvy rhetoric of Zen Buddhist thought that defies all truth claims. I am using the preface as a vehicle for commenting on per- sonal perspectives that led me to engage in this effort. Like many fans who came of age in the 1960s, Dylan's music was the soundtrack of my adolescence and college years. I frequently tell my students that there are two events from that era that everyone recalls vividly—where they were in November 1963 when President Kennedy was assassinated; and when it was in the summer of 1965 that they first heard "Like a Rolling Stone," the opening snare drum roll of which Bruce Spring- steen has said once kicked open the doors of his mind. For me, hearing that song for the first time was one of several epiphanies—or instantaneous xi xii Preface flashes of insight that Zen Buddhists refer to as Satori experiences—in understanding and appreciating the full impact of Dylans music. A couple of other instances of Dylan-based Satori moments come to mind. First, I remember sitting around a campfire at summer camp in 1963 when one of the older campers pulled out a guitar and sang"Blowin in the Wind" with a wonderful emulation of Dylans voice and spirit. Having learned of the song initially through the Peter, Paul, and Mary version, hearing it sung the "right" way was a breakthrough moment. About a year later, I reached a Satori when I heard a medley of Dylan songs sung the "wrong" way by a pop singer (it may have been John Davidson) on a TV variety show What struck me despite the tame, abbreviated versions of the music was that there could be a single author/composer who was responsi- ble for so many different kinds of songs that had such a penetrating effect on American political consciousness and popular culture. Needless to say, Dylans influence along with my enthusiasm for it continued to grow. Then the most profound Satori of all took place while I was in college and made a trip to Europe during winter break with one of my roommates.
Load more

Recommended publications
  • The Mamas and the Papas – California Dreamin' “If You're Going
    The Mamas and the Papas – California dreamin’ “If you’re going to San Francisco be sure to wear some flowers in your hair” (John Phillips) 1.Els autors Influenciat per la “Generació Beat”, a mitjan anys 60 té lloc a San Francisco l’eclosió del moviment hippy. En la seva vessant musical, aquest nou moviment apostava decididament per una línia contestatària i subversiva, tant musicalment com en el contingut dels textos de les cançons, ara carregats de missatge. A partir d’aquest moment, la música passa a ser el mitjà d’expressió de la joventut, de la seva angoixa i del seu desig d’un altre món més lliure i just. I també de la crida per la pau, just en un moment de gran rebuig a la guerra del Vietnam. Els hippys predicaven l’evasió, la fugida (també a través de les drogues) d’un món i d’una societat incomprensibles. Els seus profetes literaris van ser Kerouac i Ginsberg. I entre els musics més significatius que van transmetre aquest missatge trobem The Mamas and the Papas. The Mamas and the Papas va ser una de les principals formacions de folk-pop sorgides a mitjan anys 60. Conjuntament amb altres grups, com ara Byrds, Beach Boys o Turtles, van omplir les llistes d’èxits de l’època amb cançons carregades de cors harmònics. El segell identificatiu del grup va ser la barreja de veus masculines (John Phillips i Denny Doherty) i femenines (Michelle Phillips i Cass Elliott) i la combinació de lletres sòlides amb arranjaments dels millors músics californians del moment.
    [Show full text]
  • 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.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia KOUVAROU, MARIA How to cite: KOUVAROU, MARIA (2011) `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1391/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Maria Kouvarou MA by Research in Musicology Music Department Durham University 2011 Maria Kouvarou ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Abstract Bob Dylan’s work has frequently been the object of discussion, debate and scholarly research. It has been commented on in terms of interpretation of the lyrics of his songs, of their musical treatment, and of the distinctiveness of Dylan’s performance style, while Dylan himself has been treated both as an important figure in the world of popular music, and also as an artist, as a significant poet.
    [Show full text]
  • Tell Tale Signs
    I don't know anybody who's made a record that sounds decent in the past 20 years, really. You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing,… remember when that Napster guy came up across, it was like, ‘Everybody’s gettin’ music for free.’ I was like, ‘Well, why not? It ain’t worth nothing anyway. Bob Dylan 2006 A compilation of bits and Bobs from last 30 years? That'll be $129.99. Sony 2008 --- Introduction: I wrote this very soon after the release of Tell Tale Signs. Although I was presuming ISIS would be delayed in order to allow a more considered take on the release, my own work commitments demanded an early response in any case. I have presented it as a dialogue that highlights – if not exaggerates – trends I have felt in myself and in discussions amongst Dylan fans at large. I have taken the liberty of framing the dialogue in a setting plagiarised brazenly from a classic as Bob does with many an out of copyright source as Dylan Cynic would say or, if you are aligned to Dylan Enthusiast rather than Dylan Cynic, the framework of the dialogue alludes intriguingly to a past literary master in much the same way Dylan binds his own work artistically to Ovid in Modern Times. I won’t mention the play it comes from as the fun is surely always in the searching and then deciding if it is just rip-off or a deeply thought allusion that adds to the whole.
    [Show full text]
  • Now Thats What I Call 2008
    Now thats what i call 2008 Now That's What I Call Music! 28 was released on June 3, The album is the 28th edition of the (U.S.) Now! series. It debuted at number two on the. Now That's What I Call Music! 69 or Now 69 is a compilation album that was released in the United Kingdom on 17 March The album is the 69th edition of. Now That's What I Call Music! 70 or Now 70 is a compilation album that was released on 21 July on Compact Disc and in digital download format. , Now That's What I Call Music! 30 (), Now That's What I Call Music! 31 ()Now That's What I Call Music! Professional ratings. Review scores. Source, Rating. AllMusic, /5 stars. Now That's What I Call Music! 30 was released on March 24, The album is the 30th. Now That's What I Call Music! 29 was released on November 11, The album is the 29th edition of the (US) Now! series and debuted on the Billboard Now That's What I Call Music! 26 was released on November 13, It is the 26th edition of the Now That's What I Call Music! series in the United States. Now That's What I Call Music! 27 was released on March 11, The album is the 27th edition of the Now! series in the United States. It debuted at number. This browser doesn't support Spotify Web Player. Switch browsers or download Spotify for your desktop. Now That's What I Call By Various Artists.
    [Show full text]
  • Eric Clapton
    ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album.
    [Show full text]
  • End of Month
    Newport News Tourism Development Office Fountain Plaza Two 700 Town Center Drive Suite 320 Newport News, VA 23606 757-926-1400 Toll Free 888-493-7386 Fax 757-926-1441 www.newport-news.org WHAT’S HAPPENING THIS WEEK NOVEMBER 6 - 12, 2015 PERFORMING ARTS BOLLYWOOD MASALA ORCHESTRA AND DANCERS OF INDIA: SPIRIT OF INDIA Ferguson Center for the Arts November 6; 8 p.m. The Bollywood Masala Orchestra and Dancers of India present Spirit of India, a new step toward a bold vision in Indian live music and dance! Rahis Bharti, one of India’s greatest musical figures, and the Bollywood Masala Orchestra and Dancers of India, invite you on a lively musical journey from Rajasthan to Mumbai that characterizes the incredible India we know today. With 17 professional artists onstage, you will experience the soul of a veritable feast of Indian sounds, featuring a mix of Indian and Western instruments such as bass drums, side drums, trombone, tabla, dholak, harmonium and clarinet, among many others. The Bollywood Masala Orchestra and Dancers of India give an authentic taste of the richness and excitement of Indian music. 1 Avenue of the Arts, 757-594-8752, www.fergusoncenter.org. PATTIE LABELLE Ferguson Center November 8; 7 p.m. “Beautiful” simply does not describe the incomparable force known to the world as Patti LaBelle. As time continues to evolve, the soulful songbird’s name has become synonymous with grace, style, elegance and class. Belting out classic rhythm and blues renditions, pop standards and spiritual sonnets have created the unique platform of versatility that Ms.
    [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]
  • 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 ...............................................................................................................................
    [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]
  • 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.
    [Show full text]
  • Loudon Wainwright III Éÿ³æ¨‚Å°ˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É —´È¡¨)
    Loudon Wainwright III 音樂專輯 串行 (专辑 & æ—¶é —´è¡¨) Grown Man https://zh.listvote.com/lists/music/albums/grown-man-5611710/songs Unrequited https://zh.listvote.com/lists/music/albums/unrequited-7897386/songs I'm Alright https://zh.listvote.com/lists/music/albums/i%27m-alright-5966143/songs Album II https://zh.listvote.com/lists/music/albums/album-ii-4712773/songs Attempted Mustache https://zh.listvote.com/lists/music/albums/attempted-mustache-11959548/songs Social Studies https://zh.listvote.com/lists/music/albums/social-studies-7550864/songs High Wide & Handsome: The Charlie https://zh.listvote.com/lists/music/albums/high-wide-%26-handsome%3A-the-charlie- Poole Project poole-project-11975323/songs More Love Songs https://zh.listvote.com/lists/music/albums/more-love-songs-6910999/songs Recovery https://zh.listvote.com/lists/music/albums/recovery-7302988/songs T Shirt https://zh.listvote.com/lists/music/albums/t-shirt-7672681/songs Strange Weirdos https://zh.listvote.com/lists/music/albums/strange-weirdos-7621487/songs Final Exam https://zh.listvote.com/lists/music/albums/final-exam-5449382/songs Last Man on Earth https://zh.listvote.com/lists/music/albums/last-man-on-earth-6494483/songs Little Ship https://zh.listvote.com/lists/music/albums/little-ship-6651909/songs Fame and Wealth https://zh.listvote.com/lists/music/albums/fame-and-wealth-5432895/songs History https://zh.listvote.com/lists/music/albums/history-11975455/songs Therapy https://zh.listvote.com/lists/music/albums/therapy-7782539/songs Older Than My Old Man Now
    [Show full text]