Dylanskulen

[Asbjørn]

I FOLKEOPPLYSNINGENS navn...

Her vil det følge et undervisningsopplegg om Bob Dylan (laget i forbindelse med at Bob'ern skulle besøke Bergen i 2001).

Og, nei, jeg har ikke laget det selv (er vel for lat...).
Opplegget er ikke 100% korrekt (skal vi si 97%), men er iallefall en tanke morsomt

BOLK I

Namnet

Det seiest at mannen eigentleg heiter
Robert Allen Zimmermann. Det er berre noko
forbanna tull. Dylan, heiter han. Bob Dylan.
Og ein uttalar det slik: Dilln. Båbb Dilln.

Om ein ikkje er fødd og oppvaksen på Austlandet då.
Der heiter han Dyllen. Endå Dailen er det nokre
som seier der. I enkelte strok (td. på Majorstova)
seier dei jamvel Dailend.

Men, elles i verda altså: Dilln.


Ungdomskule-Bob

Time is a jet plane. It moves too fast

[Asbjørn]

...og for å komme i siget, kommer andre del allerede nå...





BOLK II

Mora og faren

Faren, Abraham, var kjøpmann og eldste
son til Gamle-Zimmerman som hadde utvandra
frå Georgia ein dag traktoren ikkje ville starta.

Han var altso ikkje frå Jostedalen, slik mange
vil ha det til. Abraham var kjøpmann og budde
i ein liten by i Minnesota - der det rett nok
budde mange jostedøler.

Abraham dreiv forretning der han selde
elektriske artiklar. Ein dag kom Beatty inn i
butikken hans og skulle ha ein elektrisk artikkel.
Desse to vart etter kvart mora og faren til Bob.


Abraham og Betty har hatt rollar i fleire av songane til Bob, mellom andre Highway 61 Revisited, ("God said to Abraham, kill me a son...") og Mama, you been on my mind. Ein god gut!


Huset til Beatty og Abraham



Time is a jet plane. It moves too fast

[Asbjørn]

BOLK III

Elston Gunn i ungdomshuset

Bob var fødd musikalsk. Berre ei veke gamal
nynna han jødiske folkeviser. Han vaks opp mellom
miksmasterar og rabbinarar og la etter kvart av seg
nynninga og byrja å spele piano. Idolet var
Little Richard som på den tida såg berre litt yngre
ut enn han gjer i dag.

Innimellom vart han sendt ut som pengeinnkrevar
til forretninga. Det seiest at det var slik han
lærte litt om fattigdom, som han kom ein del innpå
i sine tidlegaste tekster.

Seinhaustes i 1958, då Bob var 17 år gamal, stifta
han eit band med det fantastiske namnet
Elston Gunn and the Rock Boppers.
Dei spelte til dans på ungdomshuset. Long Tall Sally
og slikt. Dei røykte og drakk Pepsi Cola til langt på natt.
Bygde-schmertz på høgt plan.


Rabbinarane likte ikkje dette. Dei likte ikkje musikken
og dei likte ikkje PepsiCola.
Ein dag sa Den Eldste: - Kom deg til helvete avgårde
med den gitaren!  Greitt, tenkte Bob. Og fór.


Bob ventar på bussen austover.



Time is a jet plane. It moves too fast

[Jon R]

Er tiden moden for et eget Dylan forum snart, Asbjørn? []

Jon R.

[Asbjørn]

quote:Er tiden moden for et eget Dylan forum snart, Asbjørn? []

[] ER da ingen som tvinger deg til å lese alle postene, er det det da [}:)]



BOLK IV

New York


Etter den verste påska han kunne hugse
starta han på vegen ut i verda. "Verda", sett
frå bygda i Minnesota, var som andre stader
austover.
Han stakk først innom butikken til faren og tok
med seg ein kassettspelar. Mono.
Utan Dolby.

Det var då han stod og venta på bussen at han
tenkte, - Om dette no skal verte noko av so
trur eg nok at "Bob Dylan" (kortversjonen er at
dette stammar frå den walisiske poeten Dylan
Thomas) er eit betre namn
enn "Elston Gunn".

Her skal det seiast, og det burde vel ha vore
sagt før, at den traktoren som ikkje ville starte
i bolk 1 var av litauisk fabrikat og bar namnet
"Dylan".

Det seier seg sjølv at desse er vanskelege å oppdrive i dag.


No vel. Turen til New York tok tid. Han fekk
mellom anna tid til å studere litt ved eit universitet
i Minneapolis før bussen om sider svinga ned på bryggja
i New York ein sur tysdag føremiddag i slutten av januar 1961.


Bob etter den lange
bussturen

[Asbjørn]

ETTER en laaang sommerferie må denne hentes frem igjen. WOV-tråden trenger et alternativ!

Leksjonen er ikke i gang igjen - ennå.

Derimot kan vi lokke med de siste utgivelsene.
Snart kommer Volume 7 av The Bootleg Series på markedet.
«No Direction Home: The Soundtrack - The Bootleg Series Vol.7



VG har anmeldelsen i dag (en halv uke etter Dagbladet) og iallefall en uke etter at vi har lest de første anmeldelsene på div Dylan-sider...

Dette er neppe den epokegjørende beste Dylan-utgivelsen. Men den gir et fortettet flott bilde av de første årene (1961-1966), fra opptakene på gutterommet til outtakes fra klassikerne...


Som Morten Ståle skriver i sin utgivelse;
Hvorfor har de inkludert åttende tagning av «Freeze Out»/«Visions Of Johanna» fra 30. november 1965 - og ikke den suverene versjonen fra 21. januar 1966? Ikke alle musikkarrierer inspirerer til den slags intensfordypelse, men denne gjør.

Men så er Johanna-saken en vanvittig suggererende sak også da []

Les anmeldelsen her... Og som jeg nevnte i går, det hele kan nytes til en vin av samme navn [8D]


The only thing we knew for sure about Henry Porter was that his name wasn't Henry Porter

[Lids]

Spørs om denne tråden tar av, Asbjørn.

"All I Really Want to Do" - is to go to bed.

Snakkes i morgen

Thomas

[Sten]

quote:Originally posted by Lids

Spørs om denne tråden tar av, Asbjørn.

Kanskje blande inn litt Wall of Voodoo stoff på en diskret og snedig måte?

Pikselator (AKA Sten) -
Your Friendly Forum Groundsman

[Jon R]

quote:[

Kanskje blande inn litt Wall of Voodoo stoff på en diskret og snedig måte?

Pikselator (AKA Sten) -
Your Friendly Forum Groundsman

Her synes jeg du kommer med et riktig godt forslag, piks. []

Hvis du mener det er du en knuppedupp. [][][]

Hvis du ikke mener det og bare tuller, fortjener du straff på bestialsk orientalsk vis. Jeg og Brynjar Meling vil kaste voodoo over deg og din familie, hvis du ikke mente det. Slik er det orientaleren tenker. Håper du ikke misforstår og tolker det som en trussel. []

Jon R.

[Asbjørn]

Siste par dagene har jeg drevet myyye research for å finne evt linker til voodoo rundt Bob. Ikke lett!
*riste på hodet*
Lite voodoo der i gården. Var nok en del drugs på 60-tallet, og periodevis-promille sånn ellers.
Men voodoo er det dårlig med!

Den skal han ha!

Han toucher emnet i hans pre-kristne Street Legal (1978), der han omtaler den nýe ponyen han skal skaffe seg...
Låten begynner med:
NEW PONY
Once I had a pony, her name was Lucifer
... She broke her leg and she needed shooting
I swear it hurt me more than it could ever have hurted her

I got a new pony, she knows how to fox-trot, lope and pace
...så kommer det:
They say you're usin' voodoo, I seen your feet walk by themselves
Oh, baby, that god you been prayin' to
Is gonna give ya back what you're wishin' on someone else
Men...
Come over here pony, I, I wanna climb up one time on you
Well, you're so bad and nasty
But I love you, yes I do


Og i hans "svarte periode" midt på 80-tallet kom han for andre gang i løpet av ca 500 offisielle låter inn på voodoo:

BAND OF THE HAND
Låta begynner jo svært så depressivt...
They kill people here who stand up for their rights,
The system's just too damned corrupt
It's always the same, the name of the game
Is who do you know higher up.

...og velstanden, for sorte som for hvite, det takler en ikke []
The blacks and the whites,
The idiotic, the exotic,
Wealth is a filthy rag
So erotic so unpatriotic
So wrapped up in the American flag.

Og fortsettelsen [)] [:I]
Listen to me Mr. Pussyman
We're gonna blow up your home of Voodoo
And watch it burn without any regret






The only thing we knew for sure about Henry Porter was that his name wasn't Henry Porter

[Jon R]

Dette innlegget ditt hører vel ærlig talt best hjemme under WOV-tråden, Asbjørn. []

Jon R.

[Asbjørn]

Myyye Bob i media for tiden. Mest pga Martin Scorsese's tre timer lange avhandling om mesterens år mellom 1963-66. DVD'en slippes i dag (min er fortsatt ute i Atlanterhavet et sted []) men vises først i eteren på BBC mandag/tirsdag i nester uke.



Jeg lar Adressa tale for meg...


NO DIRECTION HOME

Flyktning krysser sine spor
DVD: I dag er det vanskelig å helt fatte Bob Dylans utvikling fra 1963 til -66. Derfor er Martin Scorseses film essensiell for forståelsen av mannen, myten og musikken.
Dylan snakker!, kunne vært tittel på denne anmeldelsen, men det er ikke dagens Dylan som snakker åpent til kamera som er den største attraksjonen i Martin Scorseses drøyt tre timer lange dokumentarfilmen om første del av Bob Dylans karriere. Det beste ved Scorseses film, er hvordan den ruller opp og viser Bob Dylans vei fra kvapsete ung Woody Guthrie-avlegger, via status som protestbevegelsens største helt, til han snudde alt på hodet og revolusjonerte rocken ved å gå elektrisk midt på 60-tallet.

Martin Scorsese er lidenskapelig opptatt av musikk. Filmen fletter mesterlig musikk og historier sammen, godt forsynt med originalopptak fra perioden. Mest av alt er dette en film om hvordan en legende blir født. Ved at legenden selv delvis er forteller, kan det innvendes at filmen yter Dylan lite motstand. Materialet veier opp for mye av den innvendingen. Filmen viser Dylan mer enn den problematiserer ham. Den viser hvordan Dylan ble Dylan, rett og slett.


I dag låter «Like A Rolling Stone» som en gammel slager. Ã... se horder av unge mennesker bue i salen og beskrive Dylan som en forræder etter sitt første møte med sangen, er et av de beste bildene jeg har sett på publikums hang til bekreftelse framfor fornyelse. Av de mange scenene med den unge Dylan, er opptakene fra festivalen i Newport i -63, -64 og -65 mest talende bilder på mannens utvikling. Fra lovende yngling via dyktig trubadur til egenrådig kunstner i løpet av to år. Det ser ut som om bildene er tatt med fem års mellomrom.


Det filmen får til mer enn det meste jeg har lest og sett om Dylan, er både å sette uttrykket hans i en sammenheng og å vise hvordan han vokste seg til å bli en av etterkrigstidens viktigste stemmer. Hvordan kunne den unge lubne gutten som stjal Dave Van ****s arrangement til «House Of The Rising Sun» og gjorde en blek versjon av «Man Of Constant Sorrow» noen år senere skrive «Desolation Row» og «Like A Rolling Stone»? Filmen forsøker og klarer langt på vei å vise det, selv om noe av mystikken og myten henger igjen i lufta, som i produsent Bob Johnstons forklaring: «Jeg tror det var Gud som sparka ham i rævva, rett og slett».


Noe av det som gjør «No Direction Home» til et eminent kunstnerportrett, er at den går i dybden på en liten bit av Dylans karriere. Den viktigste biten, men likevel. Det må gjerne komme oppfølgere. (Anmeldt på grunnlag av den amerikanske utgaven(Sone 1), tilgjengelig på import.)



Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Asbjørn]

DESOLATION ROW
They're selling postcards of the hanging
They're painting the passports brown
The beauty parlor is filled with sailors
The circus is in town
Here comes the blind commissioner
They've got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they're restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row

Cinderella, she seems so easy
"It takes one to know one," she smiles
And puts her hands in her back pockets
Bette Davis style
And in comes Romeo, he's moaning
"You Belong to Me I Believe"
And someone says," You're in the wrong place, my friend
You better leave"
And the only sound that's left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row

Now the moon is almost hidden
The stars are beginning to hide
The fortunetelling lady
Has even taken all her things inside
All except for Cain and Abel
And the hunchback of Notre Dame
Everybody is making love
Or else expecting rain
And the Good Samaritan, he's dressing
He's getting ready for the show
He's going to the carnival tonight
On Desolation Row

Now Ophelia, she's 'neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid

To her, death is quite romantic
She wears an iron vest
Her profession's her religion
Her sin is her lifelessness
And though her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row

Einstein, disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend, a jealous monk
He looked so immaculately frightful
As he bummed a cigarette
Then he went off sniffing drainpipes
And reciting the alphabet
Now you would not think to look at him
But he was famous long ago
For playing the electric violin
On Desolation Row

Dr. Filth, he keeps his world
Inside of a leather cup
But all his sexless patients
They're trying to blow it up
Now his nurse, some local loser
She's in charge of the cyanide hole
And she also keeps the cards that read
"Have Mercy on His Soul"
They all play on penny whistles
You can hear them blow
If you lean your head out far enough
From Desolation Row

Across the street they've nailed the curtains
They're getting ready for the feast
The Phantom of the Opera
A perfect image of a priest
They're spoonfeeding Casanova
To get him to feel more assured
Then they'll kill him with self-confidence
After poisoning him with words

And the Phantom's shouting to skinny girls
"Get Outa Here If You Don't Know
Casanova is just being punished for going
To Desolation Row"

Now at midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row

Praise be to Nero's Neptune
The Titanic sails at dawn
And everybody's shouting
"Which Side Are You On?"
And Ezra Pound and T. S. Eliot
Fighting in the captain's tower
While calypso singers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row

Yes, I received your letter yesterday
(About the time the door knob broke)
When you asked how I was doing
Was that some kind of joke?
All these people that you mention
Yes, I know them, they're quite lame
I had to rearrange their faces
And give them all another name
Right now I can't read too good
Don't send me no more letters no
Not unless you mail them
From Desolation Row



Copyright © 1965; renewed 1993 Special Rider Music  


Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Stewart Harvey]

Synes egentlig denne kunnskapsbaserte Dylantråden slår den langt mer spekulative Wall of Voodoo-tråden til Jon R. langt nede i støvlene.

Men et lite minus at det ikke finnes noen Bob Mulla.

[h.b]

Du får greie deg med Mulla Krekar da

quote:Originally posted by Stewart Harvey

Synes egentlig denne kunnskapsbaserte Dylantråden slår den langt mer spekulative Wall of Voodoo-tråden til Jon R. langt nede i støvlene.

Men et lite minus at det ikke finnes noen Bob Mulla.

[Jon R]

quote:Originally posted by Stewart Harvey

Synes egentlig denne kunnskapsbaserte Dylantråden slår den langt mer spekulative Wall of Voodoo-tråden til Jon R. langt nede i støvlene.

Noen liker mora, noen liker dattra. Andre igjen bare trygler om litt god gammeldags orientalsk straff, slik Mullaen så klokt definerte det. Tenker feks på prikkedøden og spansk mansjett. Håper nesten du misforstod og tolket det siste som en reell trussel. []

Jon R.

[Asbjørn]

quote:Originally posted by Stewart Harvey

Synes egentlig denne kunnskapsbaserte Dylantråden slår den langt mer spekulative Wall of Voodoo-tråden til Jon R. langt nede i støvlene.

Men et lite minus at det ikke finnes noen Bob Mulla.

Det er det jeg alltid har sagt, Snorre er en hederskar! Også, når en ser på Norges historie er det faktisk få som har blitt lest av så stor andel av de som kunne å lese... Sterkt!



Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Asbjørn]

Et triks om du en dag skulle måtte møte i retten...

quote:A subdued Courtney Love, clutching a copy of Bob Dylan's autobiography, was sentenced on Friday to 180 days in jail for violating her probation, but will serve her time in a live-in drug treatment center.

Det er klart slikt gjør inntrykk på juryen...

quote:The 41-year-old singer, who came to court carrying Dylan's book "Chronicles" and wearing dark sunglasses, will not be allowed to leave the clinic except for emergencies and would be subject to random drug tests

Det som helt klart sies mellom linjene her er at hun uten Chronicles (for øvrig en boksenasjon ifølge f.eks. New York Times, dessuten en amerikansk bestseller) nok ville fått atskillige år innenfor murene, trolig dødsstraff (Bush ville nok da satt sin stilling inn på saken). Dessuten ville nok Curt ha snudd seg i graven og samtlige jurymedlemmer ville ha blitt kringkastet fra JonRs voodotråd...





Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Asbjørn]

DET er høytidssttunder i kø for Dylanfansen (kjekt nå som Leeds har ett tap i det siste...) nå for tiden! www.expectingrain.com (drevet av en bibliotekar i Mo i Rana,  driver Dylansiden i verden mest anerkjent for beste day-to-day-news om mannen - i internetts spede barndom kom siden sågar på ti-på-topp-listen over internetsider overhodet!!!) må oppdateres med news tre ganger daglig (en gang har vært det vanlige, to i det siste...)... BBC2 hadde en rating på 4% under det totimer lange programmet i går kveld (del II i kveld) og 8% av de voksne så på.

Og som Guardian under her skriver

quote:It's hardly surprising then that three articles about the show appeared in this paper alone, before the event even happened.

Last night's TV

Scorsese's much-hyped film about Dylan isn't quite what it first seems, but is remarkable, revealing and very funny

Sam Wollaston
Tuesday September 27, 2005
The Guardian


Rarely has there been the kind of feverish anticipation for a TV programme as there has been for Arena: No Direction Home - Bob Dylan (BBC2). It's one of those few occasions you can talk about a "TV event". Everyone's wanted a part of it, to have their say - it's lucky the train is slow in coming, because a lot of folk are hopping on. And it was directed by Martin Scorsese too. Dylan, Scorsese - it's a cultural commentator's dream. It's hardly surprising then that three articles about the show appeared in this paper alone, before the event even happened.

So did it live up to the hype? Yes, for the most part. I watched both parts, last night's and tonight's, in a row. That's three and a half hours of what felt like being inside Bob Dylan's head. Which is an interesting place to be. But I'm still going to have a bit of a moan.
The film mostly concentrates on the time between Dylan's arrival in Greenwich Village in 1961 to his tour of Europe in 1966, the defining and most interesting part of his career. It is made up of interviews with people who were there, who knew him - Allen Ginsberg, Pete Seeger, Mavis Staples, Joan Baez of course, many more - and footage of Dylan playing, some of it seen here for the first time. Then there's film of other stuff going on at the time, in both music and current affairs - Martin Luther King, Kennedy, the anti-war movement, Woody Guthrie, Odetta - to put the songs into a historical context. And finally the whole thing is punctuated by an interview with the man himself - Dylan in a black leather jacket, against a black background, speaking to the camera.

I think most people watching will assume that this interview is new, most probably with Scorsese himself asking the questions. Certainly there's nothing to suggest that it isn't. It turns out though, that this interview happened in 2000, and it was conducted by Jeff Rosen, Dylan's manager. I feel a little bit cheated by that.

It's not that there isn't interesting stuff in there - but Dylan's given a free rein to ramble on about pretty much anything he pleases. Some of it is wonderful, sometimes it's nonsensical. And it's interesting that the most revealing moments of the film, when Dylan comes alive, are from previous archive footage. The best bits I think are in tonight's show - when Dylan is shown to be hilarious. At a press conference some time in the early 60s he plays with the journalists, avoiding their questions, batting them back, pretending to be all coy but totally in command of the situation. When someone asks him how many of the musicians who labour in the same musical vineyard in which he toils are protest singers he answers: "I think there's about 136 ... either 136 or 142."

He's very, very funny - but it takes a slightly combative situation to bring this out, one you don't get when your manager plonks a camera in front of you and says, "Say whatever you like, Bob."

It seems strange that Scorsese apparently turned down the opportunity to speak more with Dylan, and instead ran with the old stuff from five years ago. So what exactly did Scorsese do? An (admittedly very beautiful) editing job? But then what did David Tedeschi, the editor, do? Was Scorsese principally just a name to use as ammunition in persuading people to surrender their archive material?

I'll stop moaning because it sounds as if I didn't appreciate the film. In the end it doesn't really matter who did what, or when, if the end result is OK. And it's wonderful, a remarkable knitting together of a lot of tangled strands into a thing of sense and beauty. Maybe it will help to convert the unconvinced. Dylanites meanwhile will treasure it, while singing along.

Because even better than Dylan's jokes are his songs, of course. The musical highlight for me comes at the end of part one. It's 1966, we're at a gig in England, possibly the famous Manchester one where the "Judas" moment happened. Dylan is on stage, at the piano. It's dark but there's a bright stagelight behind him so it looks as if the moon is being eclipsed - by Bob Dylan. He starts to play Ballad of the Thin Man:

You walk into the room
With a pencil in your hand
You see somebody naked
You say, "Who is that man?"

It's a mesmerising performance, electric. Electric in every way of course, and that's the problem for the die-hard folkies. They boo and shout "Switch it off". The fools.




Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Lids]

Motorhead?

Thomas

[Jon R]

GJEEEEEEEEEEEEEEESP..... .....

Er denne tråden ferdig snart?

Jon R.

[Asbjørn]

quote:Originally posted by Jon R

GJEEEEEEEEEEEEEEESP..... .....
Jon R.

Var du trøtt i går kveld, Jon???

Kanskje du hadde sittet og sett på BBC2 i timesvis...

Tipper det er mange WOV-fans ute og går om en fem-ti år... Og så tipper jeg at Bob fortsatt er pensum i all verdens lands lærebøker - om en femti - hundre år!



Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Asbjørn]

Nå som Bob straks får Nobelprisen i litt eratur (hva nå eratur er for noe), kan man jo ta med et knippe av hans møter med journalister...

Som da han ble spurt dette evinnelige spørsmålet mht protestsanger (ca 15 av hans kanon på ca 500 utgitte sanger kan kalles "protestsanger"), dette spørsmålet kommer to album etter hans "protestalbum"...

quote:Later, someone at a press conference asks him how many other protest singers exist. It's as if the man is asking Sen. Joe McCarthy for the number of Communists in the State Department. Dylan ponders it, then replies, "About 136." No one laughs.

"You say about 136 -- or exactly 136?" the reporter asks.

"Either 136 or 142," Dylan says, settling it.

Eller da en fotograf ville at han skulle pusse solbrillene sine... Bob gav dem til han så han kunne gjøre det sjøl...

quote:when a press photographer, at a briefing, asks the young rock star to pose for a picture. "Suck on a corner of your glasses," the gentleman instructs.

Dylan, fingering his Ray-Bans, rebels. "You want me to suck on my glasses?" he asks incredulously.

"Just suck your glasses," the photog advises.

"Do you want to suck my glasses?" Dylan asks, handing them to the photog, who obliges by licking them. "Anybody else?" Bob wonders.

Eller da han var i Sverige og tok med en diger lyspære på pressekonferansen. Da han fikk spørsmålet, "what's the meaning in your songs", trakk han den frem. "Keep a clean head and always carry a light bulb".

quote:Then there's the young woman who credits him with a song he didn't write ("Eve of Destruction") and asks if his songs have a "subtle message." When Bob asks where she read that, she replies, "In a movie magazine."

Klassisk er også "utdritingen "hans av den svenske reporteren Klas Burling som endte med at Dylan utspurte svensken i stedet for motsatt. Og der svensker flest trodde Bob køddet da han sa at han selv var nesten svensk, at han kom nesten derfra (Latvia, fra morssiden, er jo ikke så langt unna, i alle fall for en amerikaner).

Rundt '95 ble han spurt om han fortsatt trodde på "this slow train coming"? (tittelen på hans første kristne album)? Oh, I think it's picked up quite a bit of speed now...

quote:And he's still at it. Earlier this year, on "60 Minutes," Ed Bradley asked him about the passage in his recent memoir "Chronicles" where Dylan revealed that he always figured the press was something "you lied to." Bob told Bradley that he knew he had to answer to God, but not to reporters.

Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Jon R]

z-z-z-z..

Jon R.

[Asbjørn]

The Guardian er en interessant avis. Derom hersker det liten tvil.
Bob Dylan on Football kunne like gjerne tittelen vært...

Og, la det være sagt, Dylan åpnet sin nylig utgitte biografi Chronicles med å skrive om Leeds, på side én omtrent linje én... ...det handlet om da han skrev under en kontrakt... (med Leeds Records).


Subterranean homesick Pools gave Dylan direction

Harry Pearson
Friday September 30, 2005
The Guardian
Rock musicians have occasionally commented on football - one thinks inevitably of David Bowie's disgusted dismissal of the Brunton Park catering facilities on Diamond Dogs, "This isn't sausage roll/ This is genocide" - but not nearly often enough for me.

So it was that this week I settled down to Martin Scorsese's Bob Dylan documentary No Direction Home - itself a scarily prescient comment on trying to find the M4 from the Millennium Stadium after a Carling Cup final - hoping for at least one reference to what many regard as the seminal experience of the Alan Sunderland-haired singer-songwriter's life: the month he spent in north-east England in the early 1960s watching Hartlepool United.


Dylan had come to England during the 1963-64 season to hang out with the luminaries of the British folk scene such as The Knitters, Bernadette Earnest, Wilf Suffering, The Welsh-Dresser Family and Big Iain Smock. These folk folk were not interested in football, preferring to spend their Saturday afternoons whittling, weaving and recalling great mining disasters.
Bored, Dylan wandered off on his own in the hope of finding an 18th century miscarriage of justice on which to pen a few bitter stanzas when, attracted by talk of "some mystery voodoo cat" named Ernie Phythian, he found himself entering the Victoria Ground.

No novice when it came to soccer, he had briefly been an apprentice with local US League side the Duluth Foot Servants but was not offered professional terms (an incident later recalled in his song I Shall Be Released).

Dylan's musical roots too had prepared him for what he saw. Country music had a long tradition of football-related songs though these tended to focus on match officials rather than players. Johnny Cash, for example, dubbed himself "The Man in Black" in homage to his idol, the referee Arthur Ellis, and recorded I Walk The Line, arguably still the classic song about the life of an assistant ref. Cash wrote from personal experience. At one time many US pundits considered the man behind hits such as Rock Island Line and Folsom Prison Blues as a future World Cup linesman. Unfortunately Cash's Old West attitudes to discipline inevitably led to trouble. In a Nevada State Cup match he shot a man in Reno just because he didn't retreat 10 yards quickly enough and was stripped of his flag.

Glen Campbell, meanwhile, gave us The Wichita Linesman, the story of an official for the county FA whose weariness toward the end of a long season is palpable. Indeed the line "And I need a small vacation" was one of the first concerted appeals for a mid-season break. "Songwriter Jimmy Webb and I both felt it was impossible for the linos to concentrate 110% over a full nine-month season," Campbell would later recall, "especially given the pressure being applied on them by managers, players and spectators and Fifa's constant adjustments to the offside laws."

Initially Dylan followed a similar route with his first big hit Blowin' in the Wind, a baroque, metaphor-laden account of Ken Aston's ineffectual attempts to control the notorious 1962 World Cup clash between Chile and Italy through feverish use of the whistle. On the terraces at Hartlepool, however, watching Ambrose Fogarty, Bob Brass and Stan Storton, his mind was opened to what his music could become - frenzied, wild, angry and filled with arcane, yelped phrases, "Work the channels, keep your shape, funnel back, get tight on them, don't follow leaders, watch the parking meters."

The result was an outpouring of creativity the like of which the world has never seen as Dylan penned a sheaf of songs that would shape a generation including 15 Believers All Dressed in Blue (a reference not as some writers have suggested to the Scotland rugby union team but to the crowd at the Victoria Ground for a Tuesday evening Durham Senior Cup tie against Easington Colliery), Typically Holker Street and Your Brand New Leopard-skin Pill-box Hat, a satirical broadside aimed at Malcom Allison.

Worse, still, is the  admiration he's given to Lash (Peter Lorimer) "I love you more than ever, more than time and more than love. I love you more than money and more than the stars above. Love you more than madness, more than  waves upon the sea.Love you more than life itself. You mean that much to me."

Perhaps most splendid of all was a song that looked into Hartlepool's future with uncanny accuracy, Visions of Joe Allon. The resonant opening lines sum up the experience of watching football with extraordinary lucidity: [blue]"Ain't it just like the ref to wave play on when you've nobody free?/ Your forwards stand there forlorn, gesturing oh so vacantly/ And a bloke proffers up some midget gems saying, 'Go on, take two or three'/ He says, 'We were rubbish last week an' all/ And we never even got a sniff of the ball/ When we lost at Roots Hall'."[/blue]

Of course, the songs were never recorded in their original form which is perhaps why Scorsese chose not to mention them. The reason for the lyrical changes was simple: Joan Baez. Dylan's raven-haired muse and inamorata was a passionate advocate of rugby league and forced him to exorcise all mention of what she termed "22 big jessies running round kissing one another". Her attempts to get him to insert references to Hull Kingston Rovers and Billy Boston were less successful, though some Dylanologists insist that the later song Idiot Wind was inspired by recollections of the commentary style of Eddie Waring.

Readers are invited to insert their own Desolation Row/ stadium of hated local rivals gag here.






Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Jon R]

Si meg Asbjørn: er det Dylan-skulen eller Dylans-kulen du mener? Om det er skulen, hvorfor har du gått over til sidemål?  Hvis det er kulen, er det en slik krystallkule eller viser du til at denne tråden nærmest har blitt en verkebyll, sammenlignet feks med tråden der man diskuterer et amerikansk rockeband med kultstatus? []

Jon R.

[Asbjørn]

quote:Originally posted by Jon R

Si meg Asbjørn: er det Dylan-skulen eller Dylans-kulen du mener? Om det er skulen, hvorfor har du gått over til sidemål?  Hvis det er kulen, er det en slik krystallkule eller viser du til at denne tråden nærmest har blitt en verkebyll, sammenlignet feks med tråden der man diskuterer et amerikansk rockeband med kultstatus? []

Jon R.

Skulen kommer nok tilbake (de ehh åtte siste leksjonene), men jeg er tilhenger av en laaang sommerferie...

Mht målføret må nok forfatteren av den opprinnelige pedagogiske fremstillingen stå ansvarlig for den...

PS! Du merket deg selvfølgelig omtalen av Voodoo-katten utenfor Vicarage Road???






Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Lids]

Vet du hva favoritt whiskyen til Bob Dylan er?

Thomas

[Asbjørn]

quote:Originally posted by Lids

Vet du hva favoritt whiskyen til Bob Dylan er?

Thomas

Ehhh, det har jeg faktisk lest for ikke lenge siden... [:I][:I][:I]

Men jeg husker ikke! [V][V]



Every moment of existence seems like some dirty trick
Happiness can come suddenly and leave just as quick

[Lids]

Springbank

Thomas