Still on the Road Session Pages: 1976 Rolling Thunder Revue II
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Audience Enrichment Guide
KEY ART: EXTENDED BACKGROUND Girl From the North Country | Study Guide Part One 1 Is created by cropping the layered extended background file. FILE NAME: GFTNC_EXT_COLORADJUST_ LAYERS_8.7.19_V3 ARTS EDUCATION AND ACTIVATION CREATED IN COLLABORATION WITH TDF EDUCATION DEPARTMENT 4 Girl From the North Country | Study Guide Part One 2 HOW TO USE THIS GUIDE This guide is intentionally designed to be a flexible teaching tool for teachers and facilitators focusing on different aspects of Girl From The North Country, with the option to further explore and activate knowledge. The guide is broken up into three sections: I. Getting to know the show, Conor McPherson story II. The Great Depression and historical context III. Bob Dylan and his music Activations are meant to take students from the realm of knowing a thing or fact into the realm of thinking and feeling. Activations can be very sophisticated, or simple, depending on the depth of exploration teachers and facilitators want to do with their students, or the age group they are working with. Girl From the North Country | Study Guide Part One 3 CONOR MCPHERSON ON BEING INSPIRED BY BOB DYLAN’S MUSIC ELYSA GARDNER for Broadwaydirect.com OCTOBER 1, 2019 For the celebrated Irish playwright Conor songs up; by setting it in the ‘30s, we could McPherson, Girl From the North Country rep- do them another way. I knew I wanted a lot of resents a number of firsts: his first musical, his vocals and a lot of choral harmonies.” first work set in the United States, and, oh yes, A guitarist himself, McPherson had always his first project commissioned by Bob Dylan been interested in Dylan’s music, but he — the first theater piece ever commissioned admits, “I was not one of those people who by the iconic Nobel Prize–winning singer/ could cover every decade of his career. -
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. -
The Byrds' Mcguinn at Joe College by Kent Hoover Rock in That Era
OUTSIDE WEATHER Temperatures in the 70s Baseball team loses to for Joe College Weekend, The Chronicle li ttle chance of rain today. Duke University Volume 72, Number 135 Friday, April 15,1977 Durham, North Carolina Search reopened for Trinity dean By George Strong to his discipline," Turner observed. The University is again searching for a "There is a real sense in which a staff replacement for David Clayborne, the as position is a detour for someone who is sistant dean of Trinity College who re getting started." signed last summer. In late March, Wright informed John George Wright, the history graduate Fein, dean of Trinity College, of Ken student hired several months ago to be an tucky's offer. "I felt obliged — though assistant dean beginning this fall, has ac regretful — to release him from his ob cepted a faculty position at the University ligation to Duke," Fein said. of Kentucky, his alma mater. "I don't know whether I expected this or His decision leaves Trinity College once not," commented Richard Wells, associate again without a black academic dean. dean of Trinity College. 1 thought maybe Wright maintained that neither qualms it would work out But good people are about the Duke administration nor finan always in demand" cial considerations had entered his de Wells is heading up the screening com cision. mittee for applicants to the vacated posi Couldn't refuse tion. Fein and Gerald Wison, coordinator 1 knew I would eventually move into for the dean's staff, join Wells on the com "What kind of kids eat Armour hot dogs?" Harris Asbeil, Joe College chef, my academic field," he said, "and once the mittee. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
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 ............................................................................................................................... -
Still on the Road 1990 Us Fall Tour
STILL ON THE ROAD 1990 US FALL TOUR OCTOBER 11 Brookville, New York Tilles Center, C.W. Post College 12 Springfield, Massachusetts Paramount Performing Arts Center 13 West Point, New York Eisenhower Hall Theater 15 New York City, New York The Beacon Theatre 16 New York City, New York The Beacon Theatre 17 New York City, New York The Beacon Theatre 18 New York City, New York The Beacon Theatre 19 New York City, New York The Beacon Theatre 21 Richmond, Virginia Richmond Mosque 22 Pittsburg, Pennsylvania Syria Mosque 23 Charleston, West Virginia Municipal Auditorium 25 Oxford, Mississippi Ted Smith Coliseum, University of Mississippi 26 Tuscaloosa, Alabama Coleman Coliseum 27 Nashville, Tennessee Memorial Hall, Vanderbilt University 28 Athens, Georgia Coliseum, University of Georgia 30 Boone, North Carolina Appalachian State College, Varsity Gymnasium 31 Charlotte, North Carolina Ovens Auditorium NOVEMBER 2 Lexington, Kentucky Memorial Coliseum 3 Carbondale, Illinois SIU Arena 4 St. Louis, Missouri Fox Theater 6 DeKalb, Illinois Chick Evans Fieldhouse, University of Northern Illinois 8 Iowa City, Iowa Carver-Hawkeye Auditorium 9 Chicago, Illinois Fox Theater 10 Milwaukee, Wisconsin Riverside Theater 12 East Lansing, Michigan Wharton Center, University of Michigan 13 Dayton, Ohio University of Dayton Arena 14 Normal, Illinois Brayden Auditorium 16 Columbus, Ohio Palace Theater 17 Cleveland, Ohio Music Hall 18 Detroit, Michigan The Fox Theater Bob Dylan 1990: US Fall Tour 11530 Rose And Gilbert Tilles Performing Arts Center C.W. Post College, Long Island University Brookville, New York 11 October 1990 1. Marines' Hymn (Jacques Offenbach) 2. Masters Of War 3. Tomorrow Is A Long Time 4. -
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. -
History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city. -
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 -
Kurt Cobain's Guitar Expected to Bring $75,000+ at Auction
10 Grapevine GRAPELEAVES News & notes: Guitarist David became a born-again Christian and Gilmour’s third solo album, On An recorded three gospel albums. In his Island, includes appearances by guest first-ever interview, Dylan’s Bible class musicians David Crosby, Graham teacher, Pastor Bill Dwyer, describes Nash, Robert Wyatt, Phil Manzanera, Dylan’s religious transformation, while and Pink Floyd’s Richard Wright. The Slow Train Coming producer Jerry 10-track disc goes on sale in the States Wexler, background singer Regina March 7. Gilmour plans to begin the On McCrary, keyboardist Spooner Oldham, The Island tour in Europe in March, con- songwriter Al Kasha and others tell their tinuing on to America in April before tale of working with Dylan during his returning to the United Kingdom at the gospel years... Drumming star Neil Peart www.goldminemag.com GOLDMINE #669 March 17, 2006 • www.goldminemag.com end of May, with concerts in of Rush has released his first instruction- Manchester, Glasgow and London. al DVD, the double-disc Anatomy Of A On the bookshelf: Raspberries Drum Solo (Hudson Music/Rounder- Photos courtesy of Heritage Auction Galleries TONIGHT!, written by Bernie Hogya and Universal). It features newly recorded, Kurt Cobain (right) with his Goldmine contributor Ken Sharp and fea- in-studio footage of Peart discussing his turing the photographs of Gene Taylor, is approach to drum soloing. Using “Der Mosrite Gospel guitar. the souvenir of a historic, once-in-a-life- Trommler,” a live drum solo performed time reunion. Jim Bonfanti, Wally and recorded during Rush’s 2004 Bryson, Eric Carmen, and Dave Smalley European tour as a framework, Peart Kurt Cobain’s guitar expected to — the original Raspberries — last per- details each section of the nine-minute formed together on stage more than 30 solo as well as explaining and demon- bring $75,000+ at auction years ago. -
“The Greatest Gift Is the Realization That Life Does Not Consist Either In
“The greatest gift is the realization that life does not consist either in wallowing in the past or peering anxiously into the future; and it is appalling to contemplate the great number of often painful steps by which ones arrives at a truth so old, so obvious, and so frequently expressed. It is good for one to appreciate that life is now. Whatever it offers, little or much, life is now –this day-this hour.” Charles Macomb Flandrau Ernest Hemingway drank here. Cuban revolutionaries Fidel Castro and Che Guevera drank here. A longhaired young hippie musician named Jimmy Buffett drank and performed here, too. From the 1930’s through today this rustic dive bar has seen more than its share of the famous and the infamous. It’s a little joint called Capt. Tony’s in Key West, Florida. Eighty-seven-year-old Anthony ‘Capt. Tony’ Tarracino has been the owner and proprietor of this boozy establishment since 1959. It seems Tony, as a young mobster, got himself into some serious trouble with ‘the family’ back in New Jersey and needed to lay low for a while. In those days, the mosquito invested ‘keys’ (or islands) on the southernmost end of Florida’s coastline was a fine place for wise guys on the lam to hide out. And this was well before the tee-shirt shops, restaurants, bars, art galleries, charming B&B’s and quaint hotels turned Key West into a serious year-round tourist destination. Sure, there were some ‘artsy’ types like Hemingway and Tennessee Williams living in Key West during the late 50’s when Tony bought the bar, but it was a seaside shanty town where muscular hard-working men in shrimp boats and cutters fished all day for a living.