DOCSLIB.ORG

Cambridge University Press 978-1-108-49951-4 — the World of Bob Dylan Edited by Sean Latham Index More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cambridge University Press 978-1-108-49951-4 — the World of Bob Dylan Edited by Sean Latham Index More Information Cambridge University Press 978-1-108-49951-4 — The World of Bob Dylan Edited by Sean Latham Index More Information Index 3 Penny Acre, 72 Baggot, King, 315 Baldessari, John, 195 À la recherche du temps perdu, 207 Balfour, Victoria, 240 “Abandoned Love”, 220 “Ballad of a Thin Man”, 178, 185, 247 Abulafia, Abraham, 223 “Ballad of Donald White”, 279 “Ain’t Talkin’”, 72, 81, 229, 230, 234 “Ballad of Frankie Lee and Judas Priest, The”, Alameddine, Rabih, 302 253, 282 Alexievich, Svetlana, 162 Band, the, 15, 39, 283 “All Along the Watchtower”, 32, 52, 222, 282 Bangs, Lester, 248 “All I Really Want To Do”, 266 Barnacle, Nora, 211 All Quiet on the Western Front, 147, 166, 309 Barnett, Ross, 245, 280 Allure of the Archives, The, 331 Barthes, Roland, 206 allusions, 206 Basement Tapes, The, 14, 39, 123, 130–131, 255 Almanac Singers, 66 Bauls of Bengal, 257 Alvarez, Rafael, 82 Baym, Nancy, 294 “Amazing Grace”, 231 Beach Boys, the, 48 “America” [poem], 173 Beat Scene, The, 174 American Folklife Center, 333 Beatles, the, 14, 47, 53, 119, 251, 316 Americana Music Association, 131 beatniks, 171 Americana roots music, 105, 126 Beats, the, 231, 267 Amistad, 243 Beat poetry, 130 Angel City, 189 rhythm, 177 Another Side of Bob Dylan, 14, 46, 281, 319 spontaneity, 177 Anthology of American Folk Music, 35, 63 Beat sensibility, 170 archives, 327 libertine circle, 170 Aronowitz, Al, 174 Beats: Literary Bohemians in Postwar America, Artaud, Antonin, 183 The, 169 artist-brands, 297 Beatty, Paul, 299 Artists United Against Apartheid, 249 Beck, Julien, 183 “As I Went Out One Morning”, 256 Before the Flood, 15 Ashanti tribe, 50 Behan, Brendan, 183 Ashtabula, 27 Belafonte, Harry, 242 Asia Series, The, 193, 202 Bell, Ian, 29 “At the End of the Line”, 132 Benjamin, Walter, 326 Atlantic Monthly, 50 Bennett, Tony, 137, 193 “Auld Triangle, The”, 183 Bennett, Will, 75, 76–78 authenticity, 104, 119, 318 Berg, John, 251, 252 “Autumn Leaves”, 141 Bernstein, Ellen, 27, 209 Berry, Chuck, 51 “Baby Stop Crying”, 284 “Beyond the Horizon”, 139–140 Baez, Joan, 4, 14, 23, 43, 65, 70, 82, 92, 189, 231, Bible, the, 160, 257 239, 265, 266, 271 2 Thessalonians, 221 341 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-49951-4 — The World of Bob Dylan Edited by Sean Latham Index More Information 342 Index Bible, the (cont.) Bound for Glory, 1, 35, 64 Ecclesiastes, 219, 221, 257 Bourdieu, Pierre, 307 Exodus, 223 Bowden, Betsy, 52 Ezekiel, 38 Bowie, David, 322 Isaiah, 52 Boyer, Horace Clarence, 93 John, 234 Bradley, Ed, 32 Matthew, 226 Brandes, Georg, 161, 163 Proverbs, 233, 257 branding, 289 Revelation, 52 Brantley, Ben, 191 Song of Songs, 224 Brazil Series, The, 193 Big Ballad Jamboree, 154 Brecht, Bertolt, 165, 182 Big Pink, 123 Bremser, Ray, 171 Biograph, 280, 329 “Bridge Over Troubled Waters”, 323 Bitter Tears: Ballads of the American Indian, 107 Brig, The, 183–184 Björk, 48 Bringing It All Back Home, 14, 26, 114, 176, “Black Diamond Bay”, 190 187, 198 Black Hills Passion Play of South Dakota, 182 Brinkley, Douglas, 30 Black Wall Street, 72 British Invasion, 316 Blackness, 269 Broadside, 66, 101, 185, 240 Blades, Rubén, 48 Bromell, Nick, 321 Blaine, Bauyard, 73 Brooks, Albert, 290 Blake, William, 222 Brooks, Cleanth, 153 Blakely, Ronee, 273 Brooks, Daphne, 152 “Blind Willie McTell”, 46, 75 Brown v. Board of Education of Topeka, 280 Blonde on Blonde, 14, 29, 104, 124–125, 270, 293 Brownstein, Carrie, 211 Blood on the Tracks, 15, 41, 121, 199, 208, 272, 332 Brownsville Girl, 190 Blood, Sweat and Tears, 106 “Buckets of Rain”, 225 “Blowin’ in the Wind”, 4, 21, 38–39, 50, 69, 173, Burnett, T Bone, 43 207, 244 Burnham, Margaret, 246 “Blue Moon”, 135–136 Burroughs, William S., 170 Bluestein, Gene, 62 Bush, Kate, 48 Bob Dylan, 13, 36–37, 82, 91, 172, 319 Bushala, Mark, 296 Bob Dylan Archive®, 2, 18, 28, 33, 95, 254, 328 Buttrey, Kenny, 258 Bob Dylan Center, 19, 333 Byrds, the, 14, 110, 131 Bob Dylan in America, 231 Bob Dylan Scrapbook, 329 Café Bizarre, 171 Bob Dylan: Face Value, 195 Cafe Wha?, 65 Bob Dylan: Like a Complete Unknown, 208 Caffe Reggio, 201 Bob Dylan’s Greatest Hits, 264 Cahoots, 44 “Bob Dylan’s 115th Dream”, 78, 177, 282 call-and-response technique, 94 Bob Dylan’s Greatest Hits Volume II, 40, 44, Cambridge Companion to Bob Dylan, The, 208, 264, 284 211, 289 Bonami, Francesco, 195 Campbell, Glen, 272 Bono, 316 Campbell, Gregg M., 262 Boorstin, Daniel, 315, 320 “Can’t Wait”, 225 Booth, Stanley, 80 “Canonization, The”, 154 Bootleg Series, The 28, 329 Carmichael, Stokely, 246 Vol. 1–3: Rare & Unreleased, 16 Carné, Marcel, 188 Vol. 8: Tell Tale Signs, 17 Carroll, Hattie, 281 Vol. 11: The Basement Tapes Complete, 18, 33 Carter Family, 7, 98, 197 Vol. 12: The Cutting Edge, 32 Carter, Rubin “Hurricane”, 15, 188, 248, 284 Vol. 13: Trouble No More, 18, 94, 121 Cartland, Barbara, 211 Vol. 14: More Blood, More Tracks, 33, 208 Casanova, Pascale, 162, 300 Vol. 15: Travelin’ Thru, 101 Cash, Johnny, 14, 90, 100 Borgan, Johnny, 56 advocacy, 102 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-49951-4 — The World of Bob Dylan Edited by Sean Latham Index More Information Index 343 Cash, Rosanne, 101 Cunningham, Agnes “Sis”, 66 Cave, Nick, 97 Currin, Grayson Haver, 275 celebrity, 314 Curtis, Tony, 320 commodities, 315 identities, 314 Dagens Nyheter, 306 Chabad-Lubavitch telethons, 227 Damrosch, David, 162 Chabon, Michael, 148 Daniels, Charlie, 105 “Change Is Gonna Come, A”, 244 Danius, Sara, 303 “Changing of the Guards”, 220 Davidson, Donald, 151 Chapters of the Fathers, 223 Davis, Rev. Gary, 66 Charters, Ann, 169–170 Day of the Locust, The, 208 Cheah, Pheng, 163 “Day of the Locusts”, 207 Chicago Defender, 73 Day the Clown Cried, The, 85 “Chimes of Freedom”, 175–176, 332 de Kooning, Willem, 200 Christgau, Robert, 260 De La Beckwith, Byron, 246 Christmas in the Heart, 18 “Dead Man, Dead Man”, 285 Chronicles: Volume One, 17, 23, 30, 62, 90, 96, 103, “Dear Landlord”, 256 121, 163, 170, 182, 186, 195, 200, 210, “Death of Emmett Till, The”, 155, 243, 279 315, 317 DeCurtis, Anthony, 44, 291 Civil Rights Movement, 3, 38, 66, 252 DeLillo, Don, 148 Clayton, Paul, 68, 268 Denning, Michael, 43 Cline, Patsy, 137 Dennis, Carolyn, 16, 28, 92, 274 Cobain, Kurt, 149 Desire, 15, 188, 273, 284, 332 Cohen, Ronald D., 240 Desolation Angels, 178 Cohen, Scott, 232 “Desolation Row”, 159, 178, 282 “Cold Irons Bound”, 86 Detroit, MI, 286 Cold War, 229 Dettmar, Kevin, 289 Cole, Nat “King”, 139 di Prima, Diane, 171 Collins, Billy, 304 “Diamonds and Rust”, 23 Columbia Records, 36, 46, 123, 209, 252 dichotomies, 221 Columbia’s Nashville studio, 104 digitization, 327 Commandeur dans l’Ordre des Arts et des Lettres, 16 Dinkytown, MN, 13, 62, 77 commedia dell’arte, 43 “Dirge”, 214, 219 Commentary, 313 Doggett, Peter, 247 community, 116 Dolar, Mladen, 265 concept albums, 140 Dont Look Back, 51, 177, 331 “Concerning the Infanticide, Marie Farrar”, 186 “Don’t Think Twice, It’s All Right”, 101, 195, Confessions of a Yakuza, 161, 207 266 Congress of Racial Equality, 240 Donne, John, 154 Conley, Walt, 64 Dorsey, Thomas A., 89–90 conservation, 328 Douglas, Michael, 56 Cooke, John, 115 Down in the Groove, 16 Cooke, Sam, 244 Down the Highway: The Life of Bob Dylan, 28 Coopers & Lybrand, 296 Drake, Pete, 258 Corpus of Contemporary American English, 210 Drawn Blank Series, The, 193, 203 Corso, Gregory, 170 “Drifter’s Escape”, 283 Cott, Jonathan, 292 Dylan and the Dead, 16 “Cottonfields”, 149, 165 Dylan Goes Electric, 115 Crawdaddy!, 292 Dylan Tapes, The, 22 creative authority, 93 Dylan, Bob criminality, 278, 282 activism, 241 crooning, 136 advertising, 296 Crosby, Bing, 35 ambiance, 46–47, 53, 57 “Cross the Green Mountain”, 17 apostasy, 112 Crow, Thomas, 269 body, 264 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-49951-4 — The World of Bob Dylan Edited by Sean Latham Index More Information 344 Index Dylan, Bob (cont.) exile, 223 Christianity, 23, 26, 54, 86, 88, 214, 322 exploitation, 278 confrontation, 184 contextualization, 194 Fallen Angels, 18, 46 conversion, 226 fan devotion, 323 education, 316 Fantuzzi, Fabio, 199 folk fandom, 320 “Farewell Angelina”, 196 individualism, 114 farewell songs, 4 irony, 111 Farge, Arlette, 331 Judaism, 23, 214 Farm Aid, 249 liminality, 3 fatalism, 84, 220 lyricism, 117–118 Faulkner, William, 306 motorcycle accident, 125, 253, 314 Feinstein, Barry, 264 Newcastle performance, 185 Fender, Freddy, 273 paradoxes, 22 Fertik, Robin, 199 paragones, 199 Fiedler, Leslie, 206 performativity, 181, 190, 259 Finjan Club, 279 personas, 1, 54, 56, 103, 191, 243, 260, 291, Finnegans Wake, 206 313, 324 “Fixin’ to Die”, 31 plagiarism, 195, 205 Fo, Dario, 162, 301 poetry, 48 Foc’sle Songs and Sea Shanties, 63 press, the, 4, 291, 318 Fog of War, The, 84 receptivity, 90, 165 folk culture, 110, 251 recording aesthetics, 47–48 Folksingers Choice, 279 recording processes, 124 “Forever Young”, 132 syncretism, 201, 204 Fortress of Solitude, The, 148 truth, 219 Foucault, Michel, 313 Dylan, Sara, 15, 25, 28–29, 209, 271 “Frankie and Johnny”, 153 Dylan: A Biography, 25 Freedom Singers, 241 Dylan: Behind the Shades, 27 Freewheelin’ Bob Dylan, The, 14, 69, 101, 155, 172, 184, 280, 319 Eakin, Paul John, 317 Friedman, Andy, 200 Early Blues Roots of Bob Dylan, The, 78 Friesen, Gordon, 66 “Early Roman Kings”, 8, 164, 286 frontier justice, 107 Easy Rider, 296 frontier masculinity, 107 Eat the Document, 110, 331 Frost, Jack.
Load more

Recommended publications
  • 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]
  • Abandoned Love: the Impact of Wyatt V. Stickney on the Intersection
    digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2011 Abandoned Love: The mpI act of Wyatt .v Stickney on the Intersection between International Human Rights and Domestic Mental Disability Law Michael L. Perlin New York Law School, [email protected] Follow this and additional works at: http://digitalcommons.nyls.edu/fac_articles_chapters Part of the Disability Law Commons, and the Law and Psychology Commons Recommended Citation Law & Psychology Review, Vol. 35, pp. 121-142 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. "ABANDONED LOVE": THE IMPACT OF WYATT V. STICKNEY ON THE INTERSECTION BETWEEN INTERNATIONAL HUMAN RIGHTS AND DOMESTIC MENTAL DISABILITY LAW Michael L. Perlin* INTRODUCTION Wyatt v. Stickney' is the most important institutional rights case liti- gated in the history of domestic mental disability law.2 It spawned copycat litigation in multiple federal district courts and state superior courts ;3 it led directly to the creation of Patients' Bills of Rights in most states;4 and it inspired the creation of the Developmental Disabilities Assistance and Bill of Rights Act,' the Mental Health Systems Act Bill of Rights,6 and the federally-funded Protection and Advocacy System.7 Its direct influence on the development of the right-to-treatment doctrine abated after the Su- preme Court's disinclination, in its 1982 decision in Youngberg v. Romeo,8 to find that right to be constitutionally mandated, but its historic role as a beacon and inspiration has never truly faded.
    [Show full text]
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • For Immediate Release May 2017 Not Dark Yet, the Long-Awaited Collaboration from Sisters Shelby Lynne & Allison Moorer Is Se
    FOR IMMEDIATE RELEASE MAY 2017 NOT DARK YET, THE LONG-AWAITED COLLABORATION FROM SISTERS SHELBY LYNNE & ALLISON MOORER IS SET FOR RELEASE ON AUGUST 18TH ALBUM FEATURES INSPIRED INTERPRETATIONS OF SONGS FROM BOB DYLAN AND JASON ISBELL TO NIRVANA TO NICK CAVE Nashville, TN - Critically acclaimed artists and sisters Shelby Lynne and Allison Moorer will release Not Dark Yet on August 18th via Silver Cross Records / Thirty Tigers. Produced by Teddy Thompson, their first and highly anticipated album together is an extraordinary debut of the pair’s transcendent musical bond. Not Dark Yet was recorded in Los Angeles in the summer of 2016. The album provides a potent look at the sisters’ individual and collective artistry through eclectic song choices from writers ranging from the Louvin Brothers, Nick Cave, Kurt Cobain, and back to Jessie Colter. Shelby and Allison wrap their arms around the past, plant their feet in the present, and nod toward what’s around the bend with a co-written “Is It Too Much,” to close out the ten-song set. Raised in the haunting and beautiful woods of rural Alabama, the sisters sang as soon as they could form words, but music is the only language they have ever needed to communicate with and understand each other. Not Dark Yet offers a glimpse into that understanding for the first time and finally, after years of trying to get it made, at the right time. Shelby Lynne and Allison Moorer have pursued separate musical paths, garnering a Grammy, an Oscar nod, and many other awards and nominations along the way.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • Spring 2021 International Seasonal
    Princeton University Press 6 Oxford Street, Woodstock, Oxfordshire OX20 1TR United Kingdom 41 William Street, Princeton, New Jersey 08540-5237 United States International Edition Princeton University Press spring 2021 spring 2021 Cover image: Tessera Mosaic: the Tietê River snakes across this tessera mosaic of multicolored shapes near Ibitinga, Brazil. Fields of sugarcane, peanuts, and corn vary in their stages of development. Lavender, purple, and bright blue indicate actively growing crops. Light yellow or white indicate little or no vegetation growth. The splotches of dark mustard yellow are urban areas. Landsat imagery courtesy of NASA Goddard Space Flight Center and U.S. Geological Survey. Princeton University Press United Kingdom Princeton University Press China 6 Oxford Street, Woodstock Princeton Asia (Beijing) Consulting Ltd. Oxfordshire, OX20 1TR Unit 2702, NUO Centre United Kingdom 2A Jiangtai Road, Chaoyang District Tel: +44 1993 814500 Beijing 100016, P.R. China Fax: +44 1993 814504 Tel: +86 10 8457 8802 [email protected] 北京市朝阳区将台路甲2号，诺金中心2702 International Sales Representation United Kingdom, Africa Malaysia Korea Europe & South Africa (except North Africa Lillian Koe Se-Yung Jun University Press Group Ltd & Southern Africa) APD Singapore Pte Ltd. Information & Culture Korea LEC 1 New Era Estate Kelvin van Hasselt Malaysia Office 49, Donggyo-ro 13-gil Oldlands Way, Bognor Regis 15 Hillside 24 & 26 Jalan SS3/41 Mapo-gu West Sussex, PO22 9NQ Cromer, Norfolk, NR27 0HY 47300 Petaling Jaya Seoul South Korea 03997 United Kingdom United Kingdom Selangor Malaysia Tel: +82 2 3141 4791 Tel: +44 1243 842165 Tel: +44 126 3 513560 Tel: +60 3 7877 6063 Fax: +82 2 3141 7733 upguk.com [email protected] Fax: +60 3 7877 3414 [email protected] [email protected] Simon Gwynn Australia & Managing Director Malta, Cyprus, Turkey, Jordan, Palestine, Taiwan & Hong Kong New Zealand [email protected] Morocco, Tunisia, Lillian Hsiao NewSouth Books Lois Edwards Algeria & Israel B.K.
    [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]
  • Abandoned Love Bob Dylan
    https://www.kirbyscovers.com (or) https://www.kirbysguitarlessons.com ​ ​ Abandoned Love Bob Dylan Intro - G C G D G But my heart is a-tellin' me - I love you still D Em I can see the turning of the key C G D I've been deceived by the clown inside of me Bm C I thought that he was righteous but he's vain G C G D G Oh, something's a-telling me - I wear the ball and chain D Em My patron saint is a-fighting with a ghost C G D He's always off somewhere when I need him most Bm C The Spanish moon is rising on the hill G C G D G But my heart is a-tellin' me - I love you still D Em I come back to the town from the flaming moon C G D I see you in the streets I begin to swoon Bm C I love to see you dress before the mirror G C G D G Won't you let me in your room one time before I finally disappear? D Em Everybody's wearing a disguise C G D To hide what they've got left behind their eyes Bm C But me I can't cover what I am G C G D G Wherever the children go - I'll follow them https://www.kirbyscovers.com (or) https://www.kirbysguitarlessons.com ​ ​ https://www.kirbyscovers.com (or) https://www.kirbysguitarlessons.com ​ ​ Break - G-D-Em .. C-G-D … Bm-C …. G-C-G-D ….
    [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]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Our Featured Artist, Skye, Wasn't a Fan of Bob Dylan's Music When He Burst Into Popularity in the Mid 1960S— It Was the Be
    Shakespeare’sin the Alley: Our featured artist, Skye, wasn’t a fan of Bob Dylan’s music when he burst into popularity in the mid 1960s— it was the Beatles who held the then teenager’s ear. Forty years later, in 2008, her viewing of the Martin Scorcese documentary about Dylan, No Direction Home, captured her attention. “I was amazed at what Dylan did at such a young age,” she A Tribute to Bob Dylan February 9-March 17 said. “His courage to speak out [about social planning a tribute concert in honor of Dylan’s change] was profound and his extreme talent 70th birthday. Titled Buckets of Rain, the was obvious.” concert was held at Woodwalk Gallery in Egg Harbor. Skye created 15 banners that served Yet, the concept for the exhibition as a backdrop for the Labor Day weekend Shakespeare’s in the Alley: A Tribute to Bob event. Dylan did not come immediately into focus for the artist. Skye had a hunger to experience Wanting to make the lyrics the focus, Skye all his music, eventually collecting 35 of his chose a simple design for the banners— 36 CDs. Only after immersing herself in both gray fabric made of recycled hemp and his sound and words, was she inspired to organic cotton with the words formed in create art honoring his influence. black, felt tip markers. After the second Buckets of Rain concert the following year, Skye had incorporated stenciled words into Skye was committed to creating an even earlier projects, but not as the main creative larger installation.
    [Show full text]