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May 18-26, 2019 Schedule of Events Saturday, May 18 The opening of the William Pagel Archives Bob Dylan Exhibit Karpeles Manuscript Library Museum | Free Exhibit runs May 18-August 1 Sunday, May 19 Duluth Dylan Fest Kick-Off Party with Cowboy Angel Blue performing the Blood on the Tracks album Cedar Lounge in Superior 5:00-8:00 PM | Free Dylan-themed Pub Trivia Carmody Irish Pub 9:00 PM | Free Monday, May 20 North Country Inspirations Art Show Opening Reception with live music by Tom O’Keefe and Friends Zeitgeist Atrium 5:00-7:00 PM | Free Dylan Fest Acoustic Jam Session with host Leslie Black Bring your instruments or voice Carmody Irish Pub 7:00-9:30 PM | Free Tuesday, May 21 Armory Arts and Music Center’s Music Resource Center Youth (grades 6-12) Open Mic Amazing Grace 4:00-6:00 PM | Free Live Dylan music by Greg Tiburzi Sir Benedict’s Tavern 6:00-8:00 PM | Free Wednesday, May 22 “Visiting Bob: Poems Inspired by the Life and Work of Bob Dylan” Poetry Event Zeitgeist Teatro Zuccone 6:30-8:30 PM | Free Rich Mattson and the North Stars All Dylan Show Cedar Lounge in Superior 8:00-11:00 PM | Free Thursday, May 23 Joan Osborne sings the songs of Bob Dylan concert with opening act Coyote Sacred Heart Music Center 7:30 PM | Tickets $25 on Eventbrite or $30 door May 18-26, 2019 Schedule of Events Friday, May 24 Bob Dylan Birthday Party with Greg Tiburzi Dylan childhood home, 519 N. 3rd Ave. East 3:00 PM | Free Dylan Fest Singer-Songwriter Contest Sacred Heart Music Center 6:30-9:30 PM | Free Basement Tapes Band Bent Paddle Taproom 9:00-11:00 PM | Free Saturday, May 25 Tour of Bob Dylan Sites Carpool at Armory Arts and Music Center Annex 9:00-11:00 AM | Free John Bushey Memorial Lecture by David Gaines, Author of In Dylan Town and Opening Reception of the Bob Dylan Exhibit Karpeles Manuscript Library Museum 1:00-3:00 PM | Free Bob Dylan Revue Reunion Concert Sacred Heart Music Center 7:00-10:00 PM | Tickets $10 on Eventbrite or door Sunday, May 26 Farewell Brunch with Jim Hall Zeitgeist Café 11:00 AM-1:00 PM | Free For More Information: [email protected] bobdylanway.com Facebook.com/duluthdylanfest/ .

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Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(S): Timothy Hampton Source: Critical Inquiry, Vol
Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(s): Timothy Hampton Source: Critical Inquiry, Vol. 39, No. 4 (Summer 2013), pp. 703-731 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/671353 . Accessed: 20/09/2015 11:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded from 136.152.209.203 on Sun, 20 Sep 2015 11:46:44 AM All use subject to JSTOR Terms and Conditions Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Timothy Hampton And I alone escaped to tell you. —Job (1:15) 1. Tracks “Demonstrators found our house and paraded up and down in front of it chanting and shouting, demanding for me to come out and lead them somewhere—stop shirking my duties as the conscience of a generation. The neighbors hated us. To them it must have seemed like I was something out of a carnival show.”1 So writes Bob Dylan in his memoirs about his life in the late 1960s.
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Blood on the Tracks: ‘Time Is an Enemy’
Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact.
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Pentecost +10 Patterns of Love Bob Dylan's Album Blood on the Tracks, Tells the Story of Painful, Broken Relationships And
Pentecost +10 Patterns of Love Bob Dylan’s album Blood on the Tracks, tells the story of painful, broken relationships and human loss. His son Jakob has suggested that when he hears the album, he hears the brokenness in his parent’s relationship. Bob denies that the album is personal and instead suggests it is a reflection on Anton Chekov’s short stories. Either way, the listener feels the desolation of broken relations. In his song, “Idiot Wind,” the singer belittles a former love in such an exaggerated manner that it is both humorous and tragic. “Idiot wind, blowing every time you move your mouth Blowing down the backroads headin’ south Idiot wind, blowing every time you move your teeth You’re an idiot, babe It’s a wonder that you still know how to breathe”1 These words diminish both the singer and the lost friend. I am also struck by how this same exaggerated language can be used to describe past members of a community after things have gone sour. Sometimes we feel a need demonize those who broken relations and seemed to turn against us. Violence is even possible. In my youth, I remember hearing a pastor say that at a former church, things had gotten so bad that he took to carrying a gun to church.“Idiot Wind” captures the kind of pain that would drive a person to say and even do harmful things toward people they once cared about. The song continues, “I woke up on the roadside, daydreamin’ ’bout the way things sometimes are Visions of your chestnut mare shoot through my head and are makin’ me see stars You hurt the ones that I love best and cover up the truth with lies One day you’ll be in the ditch, flies buzzin’ around your eyes Blood on your saddle” This image of a violent death gives voice to the shattered pieces of a once shared relationship.
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The Cambridge Companion to Bob Dylan Edited by Kevin J
Cambridge University Press 978-0-521-88694-9 - The Cambridge Companion to Bob Dylan Edited by Kevin J. H. Dettmar Frontmatter More information the cambridge companion to bob dylan A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the center of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan’s creative output. The first Part approaches Dylan’s output thematically, tracing the evolution of Dylan’s writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Chapters in Part II analyze his landmark albums to examine the consummate artistry of Dylan’s most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer. kevin j. h. dettmar is W. M. Keck Professor and Chair of the Department of English, Pomona College, California. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88694-9 - The Cambridge Companion to Bob Dylan Edited by Kevin J. H. Dettmar Frontmatter More information CAMBRIDGE COMPANIONS TO AMERICAN STUDIES This series of Companions to key figures in American history and culture is aimed at students of American studies, history and literature. Each volume features newly commissioned essays by experts in the field, with a chronology and guide to further reading.
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“Tangled up in Blue” (Blood on the Tracks: Dylan 1975; Dylan 2004, 329-47) Is the Image of Medieval Material Made Suddenly Relevant in the Present Day
Bob Dylan’s Ballade At the heart of Bob Dylan’s 1975 song, “Tangled Up in Blue” (Blood on the Tracks: Dylan 1975; Dylan 2004, 329-47) is the image of medieval material made suddenly relevant in the present day. Among lyrics that wander widely throughout space and time, the action stops for a moment of transcendent timelessness: Then she opened up a book of poems and handed it to me Written by an Italian poet from the thirteenth century. And every one of them words rang true And glowed like burnin’ coal Pourin’ off of every page Like it was written in my soul from me to you Tangled up in Blue. (Dylan 2004, 332)1 This book of poems is not the only medievalist element of the song. In “Tangled Up in Blue,” Bob Dylan engages with medievalism in two ways: first, through his play with tropes of courtly- love literature, as popularly understood, including imagery and specific references to medieval literary tradition in the lyrics, and second, through his use of a particular medieval musical form, the ballade. The second type of medievalism in this song, involving the lyrical and musical structure, is less easily noticed than the inclusion of a 13th-century Italian book of poems in the lyrics. Dylan structures “Tangled Up in Blue” in a form used by some troubadours, later named “ballade” in the French poetry and music of the fourteenth and fifteenth centuries (Johnson 1991). A number of pop musicians in the 1970s included medieval references in their songs, through imagery in the lyrics, modal tunes, and “early music” instrumental choices, but these choices are on display, used to establish a mood or medieval flavor for listeners (Sweers 2005; Upton 2012).
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A Classical Bard Brings It All Back Home
A Classical Bard Brings It All Back Home ... By Tom Palaima "Everybodymovin' if they ain't already there / Everybody got (1986) composed ca. 1935 Aunt Molly Jackson need to be. Our American heroes, old and new, have to move, to move somewhere· -Bob Dylan, "Mississippi; Love and Theft have to go, have to explore the unknown, face new realities, (2001) © 1997 by Special Rider Music "But me, I'm still on the road/ Headin' foranother joint" dream new dreams, confront new and old problems, meet -Bob Dylan, "Tangled Up in Blue: Blood on the Tracks(1975) strange faces, tryto discover who and what and why they, and ·1 was youngwhen I left home/ But I been out a-ramblin' 'round © 1974 by Ram's Horn Music; renewed 2002 by Ram's Horn we, are. They are loners, by choice or by necessity, and they And I never wrote a letter to my home· -Bob Dylan, "I Was Young Music come to terms with their aloneness each and everyday. Just When I Left Home," performed in Bonnie Beecher's Minneapolis close your eyes and listen in your mind to Dylan's early hero apartment (December 1961) © 2005 by Special Rider Music ·1 wouldn't change it, even if I could / You know what they say Hank Williams sing of the lonesome whippoorwill, time crawling man, it's all good" -Bob Dylan, "It's All Good," TogetherThrough by through too long a night, a tearfully disconsolate moon, a ·1 pitythe poor immigrant/ Who wishes he would've stayed Life (2009) weeping robin,and a lone falling star in a purple sky.
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The Life and Music of Bob Dylan WSP 09
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Hibbing Public Library Bob Dylan Collection
Bob Dylan Collection at the Hibbing Public Library 12'' LPs • 4 Songs From "Renaldo And Clara" A Film By Bob Dylan. Columbia, 1978. (Demonstration--not for sale.) • Best of Bob's Bootlegs. Also includes 4 interviews with Dylan. Double Cross, 197?. • Biograph. Five record deluxe edition. Columbia, 1985. • Bob Dylan: Historical Archives, volume 1. Made in Italy by Go International, 1961, 1962. • Bob Dylan London Interview, July 1981. Columbia, 1981. (Demonstration --not for sale.) • Bob Dylan: the Little White Wonder, volume 3. Buhay Records, 1973. • Down in the Groove. Columbia, 1988. • Dylan & the Dead. Columbia, 1989. (Recorded live, July 1987.) • Empire Burlesque. Columbia, 1985. • Folk Jamboree. Columbia Limited Edition, 196?. • Good As I Been To You. England, Columbia, 1992. (Rare import.) • Got My Mind Made Up; Brownsville Girl. Columbia, 1986. (Demonstration--not for sale.) • Great White Wonder. A Different Kind of Music and Media Festival. Future Tense Productions, 1984. (unmarked recordings parts 1 and 2) • Great White Wonder II. 1969? (All disc labels blank.) • Hearts Of Fire. Original motion picture soundtrack. Columbia, 1987. • Historical Archives, Vol. 1. Italy, Go International, 199?. (Tracks 1-6 recorded at the Gaslight Club, NY, Sept. 6, 1961. Tracks 7-8 recorded at the Finjan Club, Montreal, July 2, 1962.) • Infidels. Columbia, 1983. • Knocked Out Loaded. Columbia, 1986. • Life Sentence. Germany, Ruthless Rhymes, Ltd., 1978? (Recorded June 2, 1978 at the Universal Amphitheater in Los Angeles.) • Little White Wonder, Volume 3. Milan, Italy, Buhay, 1973. (Songs performed by the composer and recorded in Italy.) • London Interview - July 1981. Columbia, 1981. (For promotion only. Recorded at the White House Hotel, London, England, July 2, 1981.
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Bob Dylan's Paintings Go on Display in New York
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From Inside a Prune
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Dylan's Autobiography of a Vocation.Indb
Renza, Louis A. "Index of Bob Dylan Songs and Albums." Dylan’s Autobiography of a Vocation: A Reading of the Lyrics 1965–1967. New York: Bloomsbury Academic, 2017. 198–200. Bloomsbury Collections. Web. 25 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 14:35 UTC. Copyright © Louis A. Renza 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Index of Bob Dylan Songs and Albums Note: Page references with letter ‘n’ refer to notes. “A Hard Rain’s A-Gonna Fall” 8 , 10 , 51 , 87 “California” 20 “Absolutely Sweet Marie” 69 – 71 , “Can You Please Crawl Out Your 168 n.15 , 169 n.19 Window?” 39 – 40 , 116 , 165 n.11 “All Along the Watchtower” xiv , xv , “Chimes of Freedom” 2 – 4 , 147 146 – 9 , 180 n.61 “Clothes Line Saga” 92 , 118 – 20 Another Side of Bob Dylan 1 – 2 , 4 , 5 , 6 , 45 , 46 , 159 n.2 , 162 n.5 , 162 n.10 , 162 n.13 , “Dark Eyes” xiii 176 n.4 “Dear Landlord” 143 – 4 , 179 n.42 Another Side of Bob Dylan liner notes “Desolation Row” 51 – 7 , 87 , 112 , (“Some Other Kinds Of Songs . 165 n.10 , 166 n.26 , 167 n.30 Poems by Bob Dylan”) 6 , 162 n.13 “Don’t Ya Tell Henry” 114 – 15 , 118 “Apple Suckling Tree” 108 – 9 , 174 n.41 , “Down Along the Cove” 150 – 1 , 181 n.65 174 n.43 , 174 n.51 “Down in the Flood (Crash on the “As I Went Out One Morning” 141 – 3 , 150 Levee)” 104 “ D r i ft er’s Escape” 139 – 40 , 141 , 143 , “Ballad of a Th in Man” 37
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1974 Blood on the Tracks Recording Sessions
STILL ON THE ROAD 1974 1974 BLOOD ON THE TRACKS RECORDING SESSIONS SEPTEMBER 16 New York City, New York 1st Blood On The Tracks recording session 17 New York City, New York 2nd Blood On The Tracks recording session 18 New York City, New York 3rd Blood On The Tracks recording session 19 New York City, New York 4th Blood On The Tracks recording session DECEMBER 27 Minneapolis, Minnesota 5th Blood On The Tracks recording session 30 Minneapolis, Minnesota 6th and last Blood On The Tracks recording session Still On The Road: 1974 Blood On The Tracks recording sessions 2710 A & R Studios New York City, New York 16 September 1974 1st Blood On The Tracks recording session, produced by Bob Dylan. 1. If You See Her, Say Hello 2. If You See Her, Say Hello 3. You're A Big Girl Now 4. You're A Big Girl Now 5. Simple Twist Of Fate 6. Simple Twist Of Fate 7. You're A Big Girl Now 8. Up To Me 9. Up To Me 10. Lily, Rosemary And The Jack Of Hearts 11. Lily, Rosemary And The Jack Of Hearts 12. Simple Twist Of Fate 13. Simple Twist Of Fate 14. Simple Twist Of Fate 15. Call Letter Blues 16. Meet Me In The Morning 17. Call Letter Blues 18. Idiot Wind 19. Idiot Wind 20. Idiot Wind 21. Idiot Wind 22. Idiot Wind 23. Idiot Wind 24. You're Gonna Make Me Lonesome When You Go 25. You're Gonna Make Me Lonesome When You Go 26. You're Gonna Make Me Lonesome When You Go 27.
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