2016 Estate Planning Year in Review
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Freewheelin-On-Line Take Twenty One
Freewheelin-on-line Take Twenty One Freewheelin’ 219 This month’s cover could be the ultimate statement on the art of minimalism. Or, as Chris Cooper suggests, it could be a picture of Dylan in a snowstorm. Actually it’s neither of these. In fact, this month’s cover is meant to be a visual representation of silence which I suppose is quite natural when you consider that the journal itself concerns the comings and goings of an artist who makes a lot of noise. Before you accuse me of being a pretentious git let me plead for your sympathy and say that it wasn’t meant to be this way. I had planned a festive cover with bangles, baubles, beads and lots of angles. But then one foggy November eve some malicious spam spreader cast his spell my way and sent me an email, purporting to be from Paypal, inviting me to open an attachment. Dutifully, ignorantly and very stupidly I opened the attachment whereupon some worm leapfrogged my internet security system and crashed my pc. I tried to boot, boot boot the machine into life which only made matters worse. So I was left with no hardware, no software, no email facility and, worst of all, no access to Expecting Rain. Total silence on all fronts. I am now waiting for Santa Baby to hurry down the chimney with a brand new pc packed tight with some massive gigs and other things. Yet all I really wanna do is plug in a machine that works. So that I can hear that Windows jingle. -
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 ............................................................................................................................... -
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. -
And Dylan's Romanticism
“Isis” and Dylan’s Romanticism --John Hinchey I want to talk mainly about “Isis,” a song Dylan co-wrote with Off Broadway director Jacques Levy.1 “Isis” was the first of several songs that Dylan wrote with Levy during the summer of 1975, and this fruitful col- laboration yielded seven of the nine songs released at the end of that year on Desire. I’ve chosen “Isis” mainly because it’s an interesting and entertaining song in its own right, but also because it offers a useful vantage point for considering Dylan’s Romanticism, an abiding element in his artistic tem- perament that doesn’t get nearly as much attention as you’d think it would. Adventure, mystery, discovery, renewal, the vista of inexhaustible pos- sibility--these are the hallmarks of Romance. Its essence is an aspiration for a world without bounds, a vision of a life of unlimited possibility. “Forever Young” is a quintessentially Romantic idea, as is the popular conception of Heaven. Romanticism, you could say, is the impulse to find Heaven on Earth. It can sound ridiculous when you state it flat out this way, but al- 1 This is a slightly revised version of a paper presented at “A Series of Interpretations of Bob Dylan's Lyrical Works,” a conference hosted by the Dartmouth College English Department, August 11-13, 2006. Quotations of Dylan's lyrics are from the original official recordings, unless otherwise noted. When quoting lines extensively, I revert to the principle I used in Like a Complete Unknown (Ann Arbor: Stealing Home Press, 2002): “I’ve had to determine the ‘spaces between words’ for myself. -
Still on the Road Early 1976 Sessions
STILL ON THE ROAD EARLY 1976 SESSIONS JANUARY 22 Los Angeles, California Instrumental Rentals Studio, Rehearsals 23 Los Angeles, California Instrumental Rentals Studio, Rehearsals 23 Los Angeles, California The Troubadour 25 Houston, Texas Houston Astro drome, Night Of The Hurricane 2 27 Austin, Texas Municipal Auditorium MARCH 30 Malibu, California Shangri -La Studios Malibu, California Shangri -La Studios Still On The Road: 1976 Early sessions 3240 Instrumental Rentals Studio Los Angeles, California 22 January 1976 Rehearsals for the second Hurricane Carter Benefit concert. 1. You Ain't Goin' Nowhere 2. One More Cup Of Coffee (Valley Below) 3. Oh, Sister (Bob Dylan –Jacques Levy/Bob Dylan) 4. Sara 5. Mozambique (Bob Dylan –Jacques Levy/Bob Dylan) Bob Dylan (guitar & vocal), Bob Neuwirth (guitar), Scarlet Rivera (violin), T-bone J. Henry Burnett (guitar), Roger McGuinn (guitar), Mick Ronson (guitar), Rob Stoner (bass), Steven Soles (guitar), David Mansfield (steel guitar, mandolin, violin, dobro), Howie Wyeth (drums). Note. 1 is only a fragment. Bootlegs Days before the Hurricane (Come One! Come All!) . No Label 93-BD-023. Going Going Guam . White Bear / wb05/06/07/08. Reference. Les Kokay: Songs of the Underground. Rolling Thunder Revue . Private publication 2000, page 67. Stereo studio recording, 20 minutes. Still On The Road: 1976 Early sessions 3245 Instrumental Rentals Studio Los Angeles, California 23 January 1976 Rehearsals for the second Hurricane Carter Benefit concert. 1. Just Like A Woman 2. Just Like A Woman 3. Just Like A Woman 4. Just Like A Woman 5. Just Like A Woman 6. Just Like A Woman 7. Loving You Is Sweeter Than Ever (Don Hunter/Stevie Wonder) 8. -
Songs of the Underground Rolling Thunder Revue
Songs of the Underground Rolling Thunder Revue (a collectors guide to the Rolling Thunder Revue 1975-1976) Songs of the Underground - a collectors guide to the Rolling Thunder Revue 1975-1976 © Les Kokay 2000 All rights Reserved. This text may be reproduced, re-transmitted and redistributed provided that it is not altered in any way and the author is acknowledged.. Any corrections, additions and enhancements welcome. I may be contacted at [email protected] for any corrections or enhancements, but I am unable to provide any details on obtaining any tapes, CDs or Bootlegs, or items that would infringe the artists copyright. © Les Kokay 2003 2 All rights Reserved. Songs of the Underground - a collectors guide to the Rolling Thunder Revue 1975-1976 Contents Dedication ...............................................................................................................................................5 Acknowledgents and thanks.....................................................................................................................5 Introduction to RTR 1975...........................................................................................7 Rolling Thunder Revue Rehearsals Oct 75............................................................................................12 Plymouth, Massachusetts, War Memorial Auditorium, 30 Oct 75 ........................................................13 North Dartmouth, Massachusetts, South Eastern University, 1 Nov 75................................................18 -
“Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation
Oral Tradition, 22/1 (2007): 112-133 “Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation Christopher Rollason “Sólo soy un guitarrista” - Bob Dylan, Tarantula (1966) “La guitarra. como la tarántula, teje una gran estrella” - Federico García Lorca, “Las seis cuerdas,” (1931) Spanish Manners: An Introduction This paper aims to examine the relationship between Bob Dylan’s work and the cultures, literatures, and musics of the Spanish-speaking world. The relationship is bidirectional, taking in Spanish and Latin American influences and themes in Dylan’s production, as well as the influence and reception of that work in the Hispanophone universe. I further consider not only direct influences but also literary and musical parallels, and also briefly examine the translation of Dylan into Spanish. What I am offering is a case- study in intercultural relations, not an excursion into theory, and I shall not be explicitly entering into issues of ethnoliterature, ethnomusicology, cultural studies, or translation studies. I do, however, stress by way of introduction that I believe Dylan’s work is a particularly interesting case of a hybrid cultural object, the result of a fusion, not so much between a bipolarised “high” and “low” culture as between three different cultures–– intellectual culture, mass culture, and folk or traditional culture. Much in Spanish and Latin American cultures, both literary and musical, is similarly– –and fecundly––hybrid in its make-up, building bridges between -
Bob Dylan 1958-1969
THE CIRCUS IS IN TOWN BOB DYLAN 1975 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, RELEASES, TAPES & BOOKS. © 2002 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. CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1975 AT A GLANCE .......................................................................................................................................... 3 3 THE 1975 CALENDAR ..................................................................................................................................... 3 4 DESIRE ............................................................................................................................................................... 5 4.1 THE RECORDING SESSIONS ........................................................................................................................... 5 4.2 LIVE HISTORY .............................................................................................................................................. 6 4.3 OFFICIALLY RELEASED LIVE VERSIONS ........................................................................................................ 7 4.4 PERFORMANCES DURING THE NEVER-ENDING TOUR ................................................................................. -
The Recording Sessions
Bob Dylan: The Recording Sessions by Michael Krogsgaard, compiled from files available at http://www.punkhart.com/dylan/sessions.html 1 2 Some general information regarding the different sources made available for the study: 1. The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned session in the different studios. Information includes: time of the day, name of the studio, name of the producer and the engineers and the name of the artist. For the New York studios one diary is missing, that which covers the period January 1967 to December 1970. For the Nashville studios, the diary for the period 1969 to 1971 is missing. 2. Recording Sheets are lists made during each session and put into each tape box. The sheet records the date, the studio, the artist, which tracks were recorded and the CO number (Columbia's own reference number) for each composition (of which, more later). Each recorded take is marked as complete (C), with a short false start(b) or a long false start (B). It is indicated on these sheet which takes are removed to other tapes for further use. 3. The Tape Boxes themselves also usually contain information about each take and which takes are removed for further use. 4. CO Cards contain information about the CO (CO=Columbia) number and title for each composition and usually also the recording date. The CO numbers are basically a secure identification of each composition but they are not always chronological (for instance: the CO numbers for songs recorded in Nashville are generally higher than CO numbers for songs recorded at the same time in New York), and, confusingly, sometimes one composition has several CO numbers, especially (but not always) if it has been recorded several times at different sessions. -
Judas 17A 03/04/2006 11:05 Pm Page 1
Judas 17A 03/04/2006 11:05 pm Page 1 Judas! from Inside A Prune Hello everyone and welcome to issue 17, the second of 2006. For many of us, though, the year is only really beginning now that Dylan is off on tour again. The anticipation and curiosity about how this year’s live shows shape up is one thing, but the ever-increasing yearning for the new album is something else again. It promises to be an exciting year for Dylan fans yet again as he just keeps on giving; such stamina in someone about to reach the grand old age of 65. In expectation of a well-deserved, glorious celebration of the 40th anniversary of the release of Blonde on Blonde amongst both fan and mainstream media, I asked for contri- butions toward making this issue a celebration of the thirtieth anniversary of Desire so that it would not be forgotten in the Blonde on Blonde tribute deluge. So, you now hold in your hands a Desire themed issue and we thank Nick Hawthorne A. J. Iriarte, Lucas Stensland, Jonathan Shimkin and Peter Vincent very much for their responses to my request for such reflections. Anniversaries are all the rage in this editorial and issue. There is a five-year-later look back from myself on the Never Ending Tour in 2001. It seems extraordinary to me that this is already five years ago; can you remember when five years felt like a long time? When, for example, it could encompass everything from Bob Dylan to Blonde on Blonde. -
GUITARS and TARANTULAS: the SPANISH-SPEAKING WORLD and the WORK of BOB DYLAN O0o by Christopher Rollason, Ph.D
GUITARS AND TARANTULAS: THE SPANISH-SPEAKING WORLD AND THE WORK OF BOB DYLAN o0o by Christopher Rollason, Ph.D - <[email protected]> This article was originally written in February 2005 and was last updated on 28 June 2007. o0o ABSTRACT This article examines a series of aspects of the relationship between the work of Bob Dylan and the cultures of Spain and Spanish-speaking Latin America. The aspects considered include: Spanish and Latin American themes and references in Dylan's songs and prose texts; tours and cover versions; the reception of Dylan's work by Spanish-speaking critics and intellectuals; influences and parallels between Dylan's work and that of Spanish and Latin American musicians and writers, notably Federico García Lorca; and the translation of Dylan into Spanish. Dylan's work is seen as a hybrid cultural phenomenon, generating fertile connections between high-cultural and more popular elements. It is argued that this is also a characteristic of much Spanish and Latin American cultural production. From this perspective, the relationship between Dylan's work and Hispanophone culture is seen as an exemplary case of creative bridge-building, both within and between cultural systems. Note 1: This is an ongoing piece of research which has been several times updated on-line. Reader input is welcome. Note 2: All translations in this essay from Spanish (and occasionally Catalan and Galician) are my own unless otherwise stated. 'Sólo soy un guitarrista' - Bob Dylan, Tarantula, 1966 'La guitarra, … como la tarántula, teje una gran estrella' ('The guitar, … like the tarantula, weaves a great star') - Federico García Lorca, 'Las seis cuerdas', 1931 I - SPANISH MANNERS: INTRODUCTION The aim of this paper is to examine the relationship between the work of Bob Dylan and the cultures, literatures and musics of the Spanish-speaking world. -
No Dia Em Que Bob Dylan Foi Dublado Com Perfeição
1 Detalhe da obra Favela Villa Broncos da Brazil Series de Bob Dylan NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO 2 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS DIEGO GARCIA DA ROSA NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO Porto Alegre 2017 3 DIEGO GARCIA DA ROSA NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO Dissertação de Mestrado Para obtenção do título de Mestre em Letras Universidade Federal do Rio Grande do Sul Programa de Pós-Graduação em Letras Instituto de Letras: Literatura, Sociedade e História da Literatura Orientador: Homero Vizeu Araújo Porto Alegre 2017 4 CIP - Catalogação na Publicação Rosa, Diego Garcia da No Dia Em Bob Dylan Foi Dublado Com Perfeição / Diego Garcia da Rosa. -- 2017. 180 f. Orientador: Homero José Vizeu Araújo. Dissertação (Mestrado) -- Universidade Federal do Rio Grande do Sul, Instituto de Letras, Programa de Pós- Graduação em Letras, Porto Alegre, BR-RS, 2017. 1. Bob Dylan. 2. Tradução da Canção . 3. Caetano Veloso. 4. Chico Amaral . 5. Fausto Nilo. I. Vizeu Araújo, Homero José, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a) 5 FOLHA DE APROVAÇÃO Diego Garcia da Rosa. No dia em que Bob Dylan foi dublado com perfeição. Dissertação de Mestrado. Objetivo do trabalho: Compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan e baseada nas abordagens adotadas pelos mesmos compor uma versão de uma canção do vasto repertório dylaniano.