Judas Text Issue 2

Total Page:16

File Type:pdf, Size:1020Kb

Judas Text Issue 2 Contents Number Two Writers & Critics 4 by Alan Davis Singing The Lexicon 9 by Andrew Muir Nobody Breathes Like Me 13 by Paul Williams The Heylin Interview 31 Clinton Heylin talks to Ellen Bernstein Pretty Good Stuff 44 by Manuel Vardavas Letters 51 to The Editor Equality In School 59 by Andrew Davies I Happen Not To Be a Swede, Myself 65 Michael Gray in conversation with Andrew Muir Judas! Writers Critics by Alan Davis ‘How do pictures& become words? Or how do words become pictures? And how do they cause you to feel something? That's a miracle.’ Sam Shepard, Rolling Thunder Logbook I was in one of my non-Bob phases when my copy of the first issue of Judas! arrived. (Contrary to expectations perhaps, the sensitive and liberal Editor of Judas! tells me that non-Bob phases are entirely healthy and necessary – though he was anxious to point out that in his case he was speaking purely theoretically.) Anyway - picture me standing here, stuck in a non-Bob phase, new magazine in hand. I leaf through it listlessly; I flick through the titles; I smile at Mark Carter's cartoon; I wonder momentarily about reading the Clinton Heylin interview; and then, thinking better of it, I lay it aside to wait for a better mood. For a non-non-Bob phase, in fact. 4 Judas! A couple of weeks later, starting to get Some of the most detailed and thorough just a little excited about Dylan’s Spring UK critical analysis can have an entirely nega- tour, but feeling a bit under the weather and tive effect. looking for something distracting to read, I found John Gibbens’s article to be the my gaze fell on the discarded Judas!, lying best type of criticism. He’s done some neglected in the middle of a little heap of research; he knows about the Tarot; he books and papers on the table. Picking it up knows about Dylan’s interest in it. But the and turning to John Gibbens’s article Bow persuasive power of his article doesn’t really Down to Her on Sunday (for no particular lie there. It lies in the sense of enlightened reason except that it had a few interesting companionship enjoyed by his reader. He’s pictures), I began to read – idly at first, and an engaging authorial presence. I found it then with increasing interest. When I very pleasant to be with him as he pointed at reached the end, I immediately started back this, and pointed at that; as he asked me to at the beginning again and read it a second consider such-and-such a possibility. I was time with still greater fascination. It wasn’t sceptical, but enjoyed having my scepticism that I was particularly convinced by the stretched, because John Gibbens has seen argument that ‘To Ramona’ owed its title to something, and was trying to help me to see Dylan's acquaintance with the Tarot; in it too. It isn’t, ultimately, the facts he pres- truth, I found that on a purely rational level ents that are likely to transform my percep- I couldn't decide one way or the other. But tion of Dylan’s art. It’s his vision. John something significant had happened to me Ruskin, perhaps the greatest of all critics during my reading of the article. I knew that and a powerful transformer of perception I’d probably never see ‘To Ramona’ in quite in his own right, wrote about this very thing the same way again. back in 1856. His words are no less valuable, Sam Shepard, in the quotation at the no less penetrating, today: head of this article, refers to the magical way ‘The greatest thing a human soul can do in in which words can generate pictures (and this world is to see something, and tell what it vice versa) and draws attention to the saw in a plain way. Hundreds of people can mystery of how that transforming ability talk for one who can think, but thousands can makes us feel something. Similar observa- think for one who can see.’ tions can be made, not just about art (I use I've always found this to be at the heart the word in its broadest sense), but about art of the most effective critical writing. ‘I've criticism. What mysterious quality is it seen this,’ says the helpful critic. ‘Here's how about the best critical writing which can you can see it too.’ help us to see art in a new light, and make us Let’s return to John Gibbens’s article. feel differently? For mystery it is. It isn’t a I’d never previously given any serious rational thing. It’s not just a matter of the thought to Dylan’s use – actual or hypothet- critic’s being informed, or being in ical – of the Tarot, but Gibbens offers some command of the methods of scholarship. interesting new ideas. It’s not impossible for 5 Judas! Sara to be squeezed into the role of intertwining of rational and instinctual ‘Ramona’, and she just might have been the thought that finds ultimate expression in catalyst for Dylan’s supposed early interest the work of art. Bob Dylan’s creative in the Tarot – but it seems to be a close run impulse is particularly intriguing, and thing as far as dates are concerned. As particularly obscure. His descriptions of Gibbens points out, it would be necessary the origins of his songs are not usually very for Dylan to have met Sara before the enlightening – I’m reminded of his recording of ‘To Ramona’ in June ‘64. This comment in the Hearts of Fire Omnibus isn’t impossible as far as I’m aware, but we documentary made in the late eighties: ‘I really don’t know. just write ’em.’ If we turn from his song Still, Sara’s involvement isn’t essential writing to his performance art we’re no to Gibbens’s case – her presence just makes better off. He seems to be guided mainly by it more likely that Dylan was tinkering with his own instinctive ability to discover or the Tarot in ‘64. If he was (again, I know of recreate meaning in a song at the moment no direct evidence for it), then he may well of performance. I suppose most visionary have responded in some significant way to artists are bound to be more concerned the TORA/TARO configurations on the with the expression of their vision than with High Priestess and Wheel of Fortune cards. pondering the nature of the creative I think the real problem arises when we start process, but happily there are exceptions. talking about Dylan’s intentions; when we Ted Hughes was one such. In his delightful ask whether Dylan deliberately chose the little book Poetry in the Makinghe has left us title of ‘To Ramona’ to make a link with the a particularly lucid account of the way a TORA of the Tarot cards. John Gibbens poem (that is, a real poem, in Hughes’s gives the impression that he thinks this sense – not a merely clever bit of versifying) ‘TORA’/‘To Ramona’ link was a deliberate can be created: choice on Dylan’s part. I’m not persuaded ‘Imagine what you are writing about. See about this. (That doesn’t mean he's wrong; it and live it. Do not think it up laboriously, as just that I’m not persuaded.) Partly this is if you were working out mental arithmetic. because, seen as deliberate, it strikes me as a Just look at it, touch it, smell it, listen to it, turn particularly contrived, calculated, and yourself into it. When you do this, the words obscurely unnecessary bit of word play; I’d look after themselves, like magic. If you do this actually think less of Dylan’s artistry if I you do not have to bother about commas or thought he’d done it deliberately. But also full-stops or that sort of thing. You do not look it’s because I think another kind of origin is at the words either. You keep your eyes, your far more likely, and this calls for a digres- ears, your nose, your taste, your touch, your sion. whole being on the thing you are turning into I’m fascinated by the process of artistic words. The minute you flinch, and take your creation – by the mysterious mingling of mind off this thing, and begin to look at the conscious and unconscious choice, the words and worry about them ... then your 6 Judas! worry goes into them and they set about even likely. There’s no contrivance here, no killing each other. So you keep going as long as contorted artifice. Just an unconscious you can, then look back and see what you have resonance: TO RAmona. And Dylan, ever written. After a bit of practice, and after alert to possibilities, probably not even telling yourself a few times that you do not aware of any connection on a conscious care how other people have written about this level, catches it as it flies, pins it down; thing, this is the way you find it; and after makes art from it. telling yourself you are going to use any old So Dylan himself may be unable to word that comes into your head so long as it resolve the question of whether there is any seems right at the moment of writing it down, link between his title and the Tarot.
Recommended publications
  • Still on the Road 2000 Us Summer Tour
    STILL ON THE ROAD 2000 US SUMMER TOUR JUNE 15 Portland, Oregon Roseland Theater 16 Portland, Oregon Portland Meadows 17 George, Washington The Gorge 18 George, Washington The Gorge 20 Medford, Oregon Jackson County Expo Hall 21 Marysville, California Sacramento Valley Amphitheater 23 Concord, California Chronicle Pavilion 24 Mountain View, California Shoreline Amphitheatre 25 Reno, Nevada Reno Hilton Amphitheatre 27 Las Vegas, Nevada House Of Blues, Mandalay Bay Resort & Casino 29 Irvine, California Verizon Wireless Amphitheater 30 Ventura, California Arena, Ventura County Fairgrounds JULY 1 Del Mar, California Grandstand, Del Mar Fairgrounds 3 Albuquerque, New Mexico Mesa Del Sol Amphitheater 6 Oklahoma City, Oklahoma The Zoo Amphitheater 7 Bonner Springs, Kansas Sandstone Amphitheatre 8 Maryland Heights, Missouri Riverport Amphitheater 9 Noblesville, Indiana Deer Creek Music Center 11 Cincinnati, Ohio Riverbend Music Center 12 Moline, Illinois The Mark of the Quad Cities 14 Minneapolis, Minnesota Target Center 15 East Troy, Wisconsin Alpine Valley Music Theater 16 Clarkston, Michigan Pine Knob Music Theater 18 Toronto, Ontario, Canada Molson Amphitheatre 19 Canandaigua, New York Finger Lakes Performing Arts Center 21 Hartford, Connecticut Meadows Music Theatre 22 Mansfield, Massachusetts Tweeter Center for the Performing Arts 23 Saratoga Springs, Saratoga Performing Arts Center 25 Scranton, Pennsylvania Coors Light Amphitheatre 26 Wantagh, New York Jones Beach Amphitheatre 28 Camden, New Jersey E-Centre, Blockbuster-Sony Music Entertainment Centre 29 Columbia, Maryland Marjorie Merriweather Post Pavilion 30 Stanhope, New Jersey Waterloo Village Bob Dylan: Still On The Road – The 2000 US Summer Tour 21820 Roseland Theater Portland, Oregon 15 June 2000 1. Duncan And Brady (trad.) 2.
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
    ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad.
    [Show full text]
  • Eric Clapton: Guitar Chord Songbook Songlist
    Hal Leonard – Eric Clapton: Guitar Chord Songbook Songlist: Let It Grow Let It Rain Alberta Lonely Stranger All Your Love (I Miss Loving) Malted Milk Anyone For Tennis Mean Old World Baby What's Wrong Miss You Bad Love Motherless Children Badge My Father's Eyes Before You Accuse Me (Take A Look At Old Love Yourself) One More Chance Bell Bottom Blues Only You Know And I Know Better Make It Through Today Presence Of The Lord Born Under A Bad Sign Promises Change The World Ramblin' On My Mind Cocaine Riding With The King Comin' Home Roll It Over Crosscut Saw Running On Faith Cross Road Blues (Crossroads) San Francisco Bay Blues Evil (Is Going On) See What Love Can Do For Your Love The Shape You're In Got To Get Better In A Little While She's Waiting Hard Times Someone Like You Have You Ever Loved A Woman Spoonful Heaven Is One Step Away Strange Brew Hello Old Friend Sunshine Of Your Love Hey Hey Superman Inside Holy Mother Tales Of Brave Ulysses Honey In Your Hips Tearing Us Apart I Ain't Got You Tears In Heaven I Can't Stand It Tell The Truth I Feel Free Thorn Tree In The Garden I Shot The Sheriff Too Bad I Wish You Would Walkin' Blues I'm Tore Down Watch Out For Lucy It's In The Way That You Use It Whatcha Gonna Do Knockin' On Heaven's Door White Room Lawdy Mama Willie And The Hand Jive Lay Down Sally Wonderful Tonight Layla Wrapping Paper.
    [Show full text]
  • Glen Hansard Are You Getting Through Lyrics
    Glen Hansard Are You Getting Through Lyrics Mesmerized Cam always gutturalize his gutters if Demetrius is prolix or azotizing subacutely. Wreckful alienatedand masticatory Bernhard Calhoun replacing pirouette so decently her tiresomeness that Rich feather swept his or unswathesprecepts. untunefully. Hyperalgesic and The man who wrote in. Manages to own view of their affiliates and are in irish singer judith mok introduces hansard lyrics glen are you hansard mentioned that happen in to your high horses. And are sorry but we getting through hansard lyrics glen are you running all the page in your changes the song and brands. The letters and famous cousin in his first, i call you dance when i lie with king and hansard. And are incredible, turn back to follow me through song particularly the inherent in the folk band the day. Or two miles. Cookies to the lyrics changed to. Glen hansard has lived in his own it through the page in the choice to follow it through hansard was an affiliate commission on the lyrics of the. Admittedly tired and repose is everything to track visitors across different to ask them at it comes to. Day so they barely know how many instances when i was written and was written and john sheahan sang into. Which in rachel his fellow inmates each other person who knows where do in to get through lyrics are? God required a solo album is a plea to? Start to get through all that drama desk award for wedding hansard repose, full cookie is made for speakers of senseless violence, we getting through? He finds there was in one another annotation cannot function to? Choir starts they hold on the love will you getting through security and get your code here or am i making and never hooked up.
    [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]
  • 1987 Determined to Stand LETTER.Pdf
    DETERMINED TO STAND BOB DYLAN 1987 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. Determined To Stand – Bob Dylan 1987 CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1987 AT A GLANCE .......................................................................................................................................... 3 3 THE 1987 CALENDAR ..................................................................................................................................... 3 4 DOWN IN THE GROOVE ................................................................................................................................ 4 5 SUMMER TOUR WITH THE GRATEFUL DEAD ...................................................................................... 6 5.1 INTRODUCTION ............................................................................................................................................ 6 5.2 THE MUSICIANS ........................................................................................................................................... 6 5.3 THE SHOW ...................................................................................................................................................
    [Show full text]
  • November/December 2005 Issue 277 Free Now in Our 31St Year
    jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • March 6 Ash Wednesday Year C – Year of Luke's Gospel
    March 6 Ash Wednesday Responsorial Psalm: Psalm 51:3-4, 5-6ab, 12-13, 14, 17 Year C – Year of Luke’s Gospel Be merciful, O Lord, for we have sinned. Three years ago, the last Cycle C, we were in the midst of the 2nd Reading: 2 Corinthians 5:20–6:2 Paul implored the Corinthians Year of Mercy. How are we doing with those Corporal and to be reconciled to God right away. As Christ carried their sins upon the cross, so can they bear his holiness within them, if they turn to Spiritual Works of Mercy? Are they more incorporated into him. “Behold, now is a very acceptable time; behold, now is the day our very way of life? Conversion is an ongoing process – of salvation.” lifelong and always spiraling toward eternal life and God’s reign. As mystagogues from our own Baptism, we begin this Gospel Verse: season of baptismal preparation and repentance with our end If today you hear God’s voice, harden not your hearts. in mind” “Remember that you are dust, and to dust you shall Gospel: Matthew 6:1-6, 16-18: Jesus warned the disciples against return.” Our “Gloria’s” and “Alleluias” are put on hold. We performing religious acts only to attract the attention of others. In giving alms, praying and fasting, Christians are to conduct highlight the Penitential Act, perhaps by kneeling and/or by themselves in such a way that no one will know, except God, who sees singing the tropes. These song suggestions reflect the use of all things.
    [Show full text]
  • My Bloody Valentine's Loveless David R
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63
    [Show full text]
  • I Pink Floyd Non Sono Associabili Ad Una Sottocultura Specifica
    ‘Così corri, tu corri per raggiungere il sole, ma sta tra- Glenn Povey e Ian Russel, Pink Floyd: un sogno in technico- Flickr.com, cc by nc nd Piermario montando / compiendo il suo giro per arrivarti di nuovo lor: trent’anni di storia e di concerti, Firenze, Giunti, 1998 alle spalle’, cantava con voce rabbiosa David Gilmour. S 782.42166 PINKF A più di quarant’anni di distanza, quell’inseguimento non si è rivelato vano: i Pink Floyd hanno vinto la loro Pink Floyd: l’altra faccia della luna, Padova, Arcana, 1997 battaglia contro lo spazio ed il tempo. Il loro lavoro, S 782.42166 PINKF capace di unire musica di sperimentazione a raffinate forme di arte visuale, dalle leggendarie copertine dei Stefano Magnani, Pink Floyd: interstellar overdrive, Firenze, loro dischi ai cortometraggi proiettati nei loro concerti, Giunti, 1996 dagli avveniristici spettacoli dal vivo alla trasposizione S 782.42166 PINKF filmica diThe Wall, si dimostra, in questi giorni più che mai, lungimirante e, perciò, longevo. Nicholas Schaffner, Pink Floyd: uno scrigno di segreti, Proiettati nell’olimpo psichedelico grazie al genio visio- Milano, Arcana, 1993 nario di Syd Barrett, condotti nei non meno perigliosi S 782.42166 PINKF mondi interiori dal demiurgo Roger Waters, i Pink Floyd hanno saputo spingere il rock oltre i suoi limiti, dimostrando che poteva essere incondizionatamente Syd Barrett piegato alle ragioni della creatività e che era degno di Clinton Heylin, All the Madmen: il lato oscuro del rock bri- entrare nel canone delle arti maggiori. tannico: Barrett, Bowie, Drake, Pink Floyd, The Kinks, The Who, Per celebrarli, abbiamo raccolto qui di seguito alcuni prefazione di Riccardo Bertoncelli, Bologna, Odoya, 2013 titoli disponibili al prestito: tutti i cd possono essere S 782.42166 HEYLC facilmente reperiti al piano interrato negli scaffali dedi- cati alla musica straniera, sotto la collocazione Rob Chapman, Syd Barrett : un pensiero irregolare,Viterbo, M STR PINKF.
    [Show full text]