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ЛЕНТА НОВОСТЕЙ БОБ ДИЛАНА - 1

Voldar: В этой теме обсуждаются животрепещушие вопросы современности.

Ответов - 128, стр: 1 2 3 4 5 6 7 All

Voldar: Как сообщает Lenta.ru Боб Дилан номинирован на премию журнала Uncut.Альбом Боба Дилана "Together Through Life" номинирован на музыкальную премию журнала Uncut за лучший диск 2009 года. Шорт-лист номинантов премии опубликован на сайте издания. Полностью список номинантов на премию Uncut выглядит так: Animal Collective – "Merriweather Post Pavilion" Боб Дилан – "Together Through Life" Dirty Projectors – "Bitte Orca" Grizzly Bear – "Veckatimest" Kings of Leon – "Only By The Night" The Low Anthem – "Oh My God Charlie Darwin" Tinariwen – "Imidiwan: Companions" Wilco – "Wilco" Шорт-лист был сформирован на основе предварительного списка номинантов, который опубликовали в сентябре. В частности, в итоговый список не попали Arctic Monkeys с альбомом "Humbug" и пластинка "'The Liberty Of Norton Folgate" ска-группы Madness. Обладателя премии будет выбирать жюри из представителей журнала, звукозаписывающей индустрии Великобритании и победителей прошлогодней премии. Лучший альбом года по версии журнала Uncut станет известен 24 ноября. Премия журнала Uncut была учреждена в 2008 году, ее первым лауреатом была признана фолк-группа из Сиэттла Fleet Foxes. http://www.uncut.co.uk/news/uncut_music_award/news/13731

Goldenday: Вот интересно: мне предыдущие альбомы Дилана гораздо больше нравятся, чем этот, а на премию номинирован именно он. Я, разумеется, не претендую на то, что моё мнение - самое верное, но, как говорится, сколько людей - столько вкусов... Не понимаю, чем этот альбом лучше трёх последних.

Voldar: У меня есть подозрение,что это не Дилану нужна эта премия ,а Unicat нужен Дилан.

Goldenday: Voldar пишет: а Unicat нужен Дилан. Всё может быть

Voldar: Bob Dylan - Together Through Life (2009) 1. Beyond Here Lies Nothin' 2. Life Is Hard 3. My Wife's Home Town 4. If You Ever Go to Houston 5. Forgetful Heart 6. Jolene 7. This Dream of You 8. Shake Shake Mama 9. I Feel a Change Comin' On 10. It's All Good FLAC http://rapidshare.com/files/227632708/Bob_Dylan_-_Together_Through_Life___2009_FLAC.part1.rar http://rapidshare.com/files/227635675/Bob_Dylan_-_Together_Through_Life___2009_FLAC.part2.rar http://rapidshare.com/files/227639842/Bob_Dylan_-_Together_Through_Life___2009_FLAC.part3.rar P.S. Если не знать кто поёт, то можно подумать, что это Том Вейтс и первая песня мне определенно сильно напомнила Black magic woman. И на обложке как-то не совсем понятно, с кем это он через всю жизнь...

Voldar: Боб Дилан впервые за 10 лет снялся в клиппе "Must Be Santa" с его рождественского альбома.Для Боба это просто подвиг,так как участвовать во всяких модных телештучках никогда ему не нравилось. Все деньги, вырученные от продажи диска, пойдут на благотворительность. Запись стартовала в сводном хит-параде Billboard на 23 позиции.

SLQ: Забавный клип. Парик у Боба а ля Том :) И песенка бодрая такая.

Goldenday: Ага. Да и вообще весь альбом бодренький.

Voldar: За свой альбом Together Through Life Боб Дилан номинирован на премию Гремми 2010 года в двух категориях. http://www.grammy.com/grammy_awards/52nd_show/list.aspx Можно посмотреть историческое видео Боба и Стиви Уандера на Гремми 1984 года.

Goldenday: Voldar пишет: За свой альбом Together Through Life Боб Дилан на премию Гремми 2010 года в двух категориях. Я рад за Дилана, но всё же три предыдущих его альбома мне больше по душе.

Voldar: О Димка,ты бы почитал сейчас хвалебные рецензии его кристмассовского альбома.

Goldenday: Дилан сейчас достиг такого запредельного статуса, что даже если икнёт или совершит звукоколебание другой частью тела, всё равно это будет восприниматься на "ура". Это, безусловно, приятно и для его родных и для казны, но порой мешает трезвой самооценке (а рождественский альбомчик мне тоже понравился, я писал об этом).

Voldar: Песня Боба Дилана A Hard Rain's A Gonna Fall стала неофициальным гимном проходящего в Копенгагене саммита по вопросам климата.Форум проходит под эгидой ООН. http://news.bbc.co.uk/2/hi/americas/8396803.stm

Voldar: Рецепт рождественского обеда от Боба Дилана. Cooking up his favourite festive feast, he says, "Mashed potatoes and gravy, roast turkey and collard greens, turnip greens, biscuit dressing, corn bread and cranberry sauce."

Goldenday: К его любимому праздничному блюду по его словам относится: "картофельное пюре и соус, жареная индейка, листовая капуста и репы, нарядное печенье, хлеб из кукурузы и клюквенный соус." Недурно однако

Voldar: Классический американский рождественский ужин,может ещё вареной кукурузы в початках не хватает,он наверно просто забыл.

Voldar: Украинский журналист Антон 'Immaltigor' Шебетко написал достаточно хвалебную рецензию на последний альбом Боба Дилана "Together Through Life" То, что главному человеку американской музыки Бобу Дилану тесно в рамках фолкового направления, стало очевидным уже много лет назад. Вдоволь наигравшись в эксперименты с электричеством в 70-х и с трудом пережив сложный в плане творчества период 80-х годов, в 90-х он вполне заслуженно почивал на лаврах и охотно принимал чествования. Никто уже не ожидал, что живая легенда сможет выпустить что-нибудь, поднимающееся в градации оценок выше, чем «посредственно». Но на то Дилан и великий музыкант, чтобы суметь удивить слушателя. Выпущенные в начале тысячелетия пластинки «Love and Theft» и «Modern Times», мало того что собрали ворох наград и восторженных рецензий, но еще и помогли узнать Дилана с новой стороны. Известный своей нелюбовью к современным тенденциям в звукозаписи, исполнитель сам продюсировал эти два диска под псевдонимом Джек Фрост. Результатом стали пластинки, на которых нашлось место и для джаза, и для блюз-рока, и для ностальгического рок-н-ролла. Судя же по новому «Together Through Life», 68-му Дилану, как говорится «седина - в бороду, а бес - в ребро». Диск несет в себе мощный эмоциональный заряд (в первую очередь, любовный), который, в общем-то, не присущ людям, преступившим грань пенсионного возраста. При этом прыть и энергетика, сконцентрированная в пластинке, ничем не напоминает скованного гнусавого юношу с акустической гитарой, каким запомнился Дилан в начале своей карьеры. Возможно, только тексты остались такими же искренними и «домашними», как будто икона американcкой музыки играет у соседей за стенкой. С той же повествовательной интонацией и теми же словесными оборотами, в которых дом - самое родное место на Земле, а любимых женщин называют не иначе, как «baby». Музыкально «Together Through Life» - это своеобразный трибьют чикагскому блюзу, которому не суждено было вырваться из подполья, с дополнениями в виде наработок с двух предыдущих альбомов. Диск начинается с трека «Beyond Here Lies Nothing» - это как минимум самое крепкое выступление на всей пластинке, а как максимум, одна из лучших песен Дилана за последние лет 20. Страстное, пылкое танго, сдобренное аккордеоном и похотливым хрипловатым голосом Боба - такую песню и любовным гимном не стыдно назвать. Далее следуют признания о том, насколько тяжела жизнь без любви (с гавайскими интонациями в «Life is Hard»), и заверениями в том, что ад находится в доме свекрови («My Wife's Home Town»). Дилан не скупится на отменные лирические баллады (вроде «Forgetful Heart») и меткие замечания о женской натуре (как в «Shake Shake Mama»). Заканчивается же альбом на бойкой ноте - оптимистичном блюзе «It's All Good», намекающим о том, что старина Боб еще не спешит на покой. Ясно, что время не щадит никого, и с годами голос Дилана стал старчески-хриповатым, а шарм его творчества немного загрубел. Тем не менее, альбом «Together Through Life» - яркое свидельство того, что у Дилана еще достаточно «пороха в пороховницах» для неоднократного залпа. При этом пороха, на удивление, свежего и незалежавшегося - такому позавидуют и молодые. http://music.com.ua/reviews/cd/2009/12/24/30394.html

Voldar: Очень интересная статья опубликована на www.counterpunch.org журналист MICHAEL SIMMONS написал статью под интригующим названием A Secret Masterpiece The Only Album "Bob Dylan" Ever Produced Содержание тоже весьма интригующее. Thomas Wolfe said you can't go home again. Was he right? One of the quiet gems of 2009 was an album originally produced by Bob Dylan in 1973. Other than his work under the pseudonymous Jack Frost, it's the only album Dylan ever produced. It's not, however, a Dylan record, it's a Barry Goldberg record. Even if you've never heard of Barry Goldberg, you've heard Barry Goldberg. Keyboardist/songwriter/producer, he wrote a #1 hit ("I've Got To Use My Imagination" by Gladys Knight & The Pips) and played on another ("Devil With A Blue Dress" by Mitch Ryder & The Detroit Wheels). As part of the Chicago blues mafia of the 1960s, he ran with the late string king Mike Bloomfield. They co-founded Electric Flag (with Buddy Miles, among others), and Barry later played on the proto-jam Super Session with Mike and Al Kooper and another Bloomers collab, infamously titled Two Jew's Blues. And then there were the Phil Spector productions from Leonard Cohen to the Ramones. The cat's been around, he's still playing, he's still cookin'. Anyway, this rock 'n' roll Zelig also pounded the ivories behind Bob at Newport '65 when Zimmy stuck his middle finger in an electric socket and his hair frizzed out, after which every one else began letting their hair frizz out (or something like that). When you've shared a stage with someone in front of a hostile audience, it's like sharing a trench. They stayed in touch and jammed together with the Band and Sir Doug Sahm and, of course, Bloomfield. In '73, Goldberg had a heap of good songs and was gonna record a single at RCA Records. His pal Bob sez "No no Barry, let me take 'em to Jerry Wexler," the legendary R&B producer at Atlantic Records. Wex agrees to sign him and take Goldberg into the studio but says Bob's gotta co-produce the sessions with him. When Bob Dylan is handed to you on a silver platter as producer (co or udderwise), you say yes. With relish. Especially when you're the only artist he's ever offered his services to in this role (and ever will). So everybody descends on Muscle Shoals, Alabama -- Barry and wife/co-writer Gail and Dylan and Wex. Waiting for them are the hotshot Southern studio cats with whom one Duane Allman had paid his dues before the Brothers and who'd grooved on Two Jew's Blues. Eddie Hinton, Jimmy Johnson, Pete Carr, David Hood, Roger Hawkins and friends. If you've ever dug an Aretha Franklin tune from the late '60s, you've heard these aces of soulfulness. They tracked Barry's Gladys Knight tune and one Rod Stewart covered called "It's Not the Spotlight" and a bunch of others. "…Spotlight" and "Minstrel Show" were damn good songs about being a working musician. "Orange County Bus" is about the kind of legal trouble hippie musicians experienced all too frequently in them days. It's a song of its time, as is "Dusty Country," a paean to the earthy rural ideal sporting a lovely dobro. Even the strings on "She Was Such A Lady" and "…Spotlight" sound natural -- no cold synthesizers that were beginning to be popular in that period. A solid album. Comfortable. Real. What they now call Americana. Dylan and Wexler's production is fine. They might've said "do this" or "do that" but it sounds like they let a bunch of killer players render tasteful chops to support Goldberg's first-rate songs. (Bob also sings back-up and supplies percussion.) Like I said, it's comfortable and real and damn it, if those aren't two qualities we couldn't use here now in the dystopian present. But there was a problem. Wexler had the magic touch in the studio, but he futzed with Barry's original vocals and made him re-cut 'em in Miami. For 35 years this ate away at Goldberg. He hated his re-cut vocals. "Man, the vocals. The vocals," little voices would repeat to him in his dreams. So this past year of aught-nine saw Barry back in the studio, restoring his original vocals to the album, adding a couple of unreleased tunes and a ghost track at the end. Goldberg's no Pavarotti or Aretha, but his singing is direct and simple and, most importantly, he gets his top shelf songs across. Appropriately titled Barry Goldberg, it's a slice of funky country soul guaranteed to make you smile and sway. What's more, Barry Goldberg proved that you can indeed go home again. That you can correct a decades-old mistake. That -- to quote philosopher Yogi Berra -- it ain't over 'til it's over. SPEAKIN' OF SOULFUL For the past seven years, my wall has been graced by the same calendar. I'm aware that I can find a calendar on my computer, but it's a pleasure to have one or two items that have no connection to microchips. John Tefteller is a great American who finds, collects, safekeeps, treasures, respects old 78 recordings, particularly of the early 20th Century country blues giants. His company Blues Images offers a calendar that graces each month with the soulful (there's that word again) retro advertisements for these 78s from back in their day. In addition, with each calendar, you get a CD of some of Tefteller's rare finds. 2010's disc includes Charley Patton, Blind Lemon Jefferson, Ma Rainey, Ida Cox, Robert Wilkins, Skip James, Ramblin' Thomas, the Mississippi Sheiks, Irene Scruggs with Blind Blake, Papa Charlie Jackson, plus two Henry Townsend songs that are remastered from the only surviving disc! For a lot of us, except for, say, Jamie Dimon, the CEO of JPMorgan Chase & Co. (more on robber barons from me soon), times is tough and for many, calendars are an extravagance, even with the cool art and hoppin' blues. Tefteller says he may have to discontinue this annual treat. As another great American, artist Robert Crumb, says of these musical calendars and the New Depression: "It's worse now than in the '30s 'cause we don't have music and graphics like this anymore to get us through it!" So if you're fortunate enough to have a double on ya, or even better, a few doubles for friends and family, go to www.BluesImages.com (OK…a connection to a microchip) and order as many 2010 blues calendars as you can afford so we can have one in 2011 too. They -- quite literally -- don't make 'em like this anymore. http://www.counterpunch.org/simmons12282009.html

Voldar: Ещё один ролик с рождественского альбома Боба.

Voldar: Это печальная новость из прошлого года.Она пришлась как раз на 30 декабря,поэтому я не стал обнародовать.От любимого мною трио Peter,Paul&Mary к сожалению остался один Peter.В конце прошлого года от нас ушел Noel Paul Stookey .Напомню,что именно благодаря их великолепному исполнению,много песен Боба Дилана стали по настоящему популярны. Noel Paul Stookey was born on this day in 1937. He was the "Paul" in Peter, Paul & Mary. The folk trio were instrumental in exposing a young Bob Dylan's songs to the world. Both acts were managed by Albert Grossman. Bob Dylan wrote the liner notes for the album, In The Wind. Peter, Paul & Mary covered many of Dylan's songs, including "Blowin' In The Wind," "When The Ship Comes In," "Don't Think Twice, It's All Right," and "Too Much Of Nothing." Dylan and the folk trio appeared at some iconic events, including the Newport Folk Festival, and the 1963 "March On Washington." Stevie Wonder appeared with Dylan and the trio at a Martin Luther King, Jr., tribute, in 1986. http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2009m12d30-Bob-Dylan-and-Noel-Paul-Stookey

Voldar: Interview with Nina Goss, editor of new Dylan journal, 'Montague Street' (Part One) Боб начал издавать журнал,посвященный собственному искусству(себя не похвалишь....) http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2010m1d4-Interview-with-Nina-Goss-editor-of-new-Dylan-journal--Montague-Street-Part-One

ТНЮ: Интересно, а тираж какой?

Voldar: Может узнаем в продолжении статьи.Это пока первая часть.

Voldar: Боб собрался в очередное турне,на этот раз по Азии. Bob Dylan to launch Asian tour TAIPEI — Legendary singer-songwriter Bob Dylan will launch an Asian tour in April with stops in China, Taiwan, Hong Kong and South Korea, organisers and reports said Wednesday. Dylan, the reluctant voice for disaffected youth in the 1960s, is due to fly to Taipei for a performance on April 2 after completing his tour of Japan, Taipei-headquartered entertainment company Brokers Brothers Herald said. The Liberty Times said the 68-year-old folk-rock icon would also appear in Beijing on April 4 before heading to Shanghai on April 6 and Hong Kong on April 8. The dates of his Seoul gig were not specified. Brokers Brothers Herald would not confirm an Apple Daily report that Dylan's performances in Taipei, Beijing, Shanghai and Hong Kong and Seoul would cost the company 64 million Taiwan dollars (around 2.0 million US). Dylan's songs such as "Blowin' in the Wind" and "The Times They Are a-Changin'" became anthems for the civil rights and anti-war movements.

Voldar: Sidran covers Dylan in new jazz album. Ивестный джазовый исполнитель Ben Sidran выпустит целый альбом "Dylan Different!,с джазовыми обработками песен Боба. http://www.jewishchronicle.org/article.php?article_id=11973

Goldenday: Неожиданная новость, но вообще проза Дилана и джаз не так уж далеки друг от друга, если задуматься.

Voldar: Half a century with the American troubadour Rohit Panikker разразился очередной хвалебной статьей о Бобе Дилане,меня заинтересовал больше всего один абзац. Perhaps the most profound example of Dylan’s influence was in 1974 when American Presidential candidate Jimmy Carter remarked during a speech at the University of Georgia, “one source of my understanding about what’s right and wrong in this society is from a friend of mine, a poet named Bob Dylan,” and recited the lyrics of Maggie’s Farm when asked about his policies. Полный текст можно посмотреть здесь http://www.expressbuzz.com/edition/story.aspx?Title=Half+a+century+with+the+American+troubadour&artid=PAybtfQvilk=&SectionID=lifojHIWDUU=&MainSectionID=wIcBMLGbUJI=&SectionName=rSY|6QYp3kQ=&SEO=

Voldar: Это сообщение не привлекло бы моего внимания,ели бы не местоположение.По видимому в американских Афинах завелся музыкальный жулик.В теме о Томе я сообщал,что кто упер в этом городе последний бокссет,а сегодня у одной дамы сперли коллекцию винила.Всего 110 пластинок с записями битлов,ролингов,Боба Дилана и других не мене заслуженных артистов. http://www.onlineathens.com/stories/011210/cop_545698361.shtml

Goldenday: Да...Не иначе, кто-то с наших или битловского форумов навёрстывает упущенное?

Voldar: ClashMusic опубликовала статью о альбоме Боба Blood On The Tracks. http://www.clashmusic.com/feature/classic-album-bob-dylan-blood-on-the-tracks

Voldar: Группа Phoenix Cover Bob Dylan Sad-Eyed Lady of the Lowlands" с легендарного альбома Blonde on Blonde.Послушать можно здесь. http://pitchfork.com/news/37686-phoenix-cover-bob-dylan/

Voldar: Сам же Боб не устоял перед приглашением жены нынешнего американского президента и примет участие в концерте,который состоится в Белом доме 10 февраля. Michelle Obama to host Civil Rights music night with Natalie Cole, Bob Dylan, Jennifer Hudson, John Legend, John Mellencamp, Smokey Robinson, Morgan Freeman and Queen Latifah The 2010 White House Music Series begins on Wednesday, February 10th, when the President and First Lady will host "In Performance at the White House: A Celebration of Music from the Civil Rights Movement" - a concert celebrating Black History month. Participants include Natalie Cole, Bob Dylan, Jennifer Hudson, John Legend, John Mellencamp, Smokey Robinson, Seal, the Blind Boys of Alabama, the Howard University Choir and others. Morgan Freeman and Queen Latifah will serve as emcees for this concert which will feature songs from the Civil Rights Movement as well as readings from famous Civil Rights speeches and writings. The President will make opening remarks at this concert held in the East Room which will be pooled press and streamed live on www.whitehouse.gov starting at 5:15 p.m. ET. http://blogs.suntimes.com/sweet/2010/01/michelle_obama_to_host_civil_r.html Ещё Дилан согласился после гастролей в Азии посетить историческую родину,где тоже даст концерт 27 мая. http://www.ynetnews.com/articles/0,7340,L-3838894,00.html А тем временем его выставка картин из Дании переехала в Лондон. London—An upcoming show of Bob Dylan’s art at the Halcyon Gallery in London will show that, after years of making impressionistic drawings in his downtime, the music legend has finally set out to paint his masterpiece. Consisting of a dozen acrylic paintings — the first of Dylan’s recent forays onto canvas to be exhibited — the new work is based on drawings from the “Drawn Blank Series,” which the singer made at the outset of his so-called Never Ending Tour, between 1989 to 1992. Set to open February 13, "Bob Dylan on Canvas" will then travel in September to the National Gallery of Denmark in Copenhagen, where another, larger exhibition of his new paintings will also debut at the Statens Museum for Kunst this fall.

Goldenday: Судя по всему, намазано акрилом, пятью красками и двумя кистями.

Voldar: Дилан,твой диагноз не от кого и не скрывает,да и вообще ,по моему, не сильно напрягается по поводу своих живописных талантов.

Goldenday: То, что не сильно напрягается - это чувствуется Поди усмехается на досуге, глядя, как хомосапиенс дискутируют вокруг его опусов.

Игорь г.Дзержинск: хреново

Voldar: Игорек,это про жизнь или про Боба?

Goldenday: Может, про живопись?

Voldar: Если помните,то Дилан номинировался в этом году на Гремми,но как бывает в последнее время приличным людям эту премию дают очень редко.Зато посмотрите,что случилось на церемонии в 1998 году.

Voldar: Песня Боба “Man Gave Names to All the Animals” с альбома Slow Train Coming дала название детской книге и выйдет на CD вместе с книжкой. Ну разве не милашка?Напомню Боб имеет русские(ну не то,чтобы совсем русские) корни.

ТНЮ: А мне он не симпатичен никак. Уж простите, ничего привлекательного для себя в нём не открыла.

Voldar: Ну ,не Ален конечно,но в молодости был ничего,посмотри галерею на сайте.

ТНЮ: Я уже только этим и занимаюсь! Сколько переслушано-пересмотрено! Меня гложет вопрос: кто и что в нём нашёл привлекательного?

Goldenday: В молодости вполне симпатичный парень. Цинизм, правда, витает... наверное, заодно с корнями его впитал.

ТНЮ: И фамилия у него какая-то слишком..... подозрительная: Циммерман......

Sergey`M: Подозрительная была бы Цимерманов, а так всё понятно...

Voldar: Sergey`M пишет: Подозрительная была бы Цимерманов Сереж,отличная шутка,правда Боб никогда не шифровался насчет происхождения.Более того,когда он был здесь в СССР ,то очень хотел попасть в Одессу,откуда родом родители.

Sergey`M: ...я из Одессы, здрасте...! А чего шифроваться нормальному человеку-то. Не бандит и не вор...

Voldar: Sergey`M пишет: Не бандит и не вор... Это точно один критик,так вообще его Чарли Чаплиным обозвал. Bob Dylan: the Charlie Chaplin of rock http://www.abc.net.au/news/stories/2010/02/08/2813141.htm?site=thedrum

ТНЮ: Мне он почему-то то ли цыганина, то ли пирата напоминает

Goldenday: ТНЮ пишет: то ли пирата напоминает Угу, на картинке осталось только повязку на глаз

ТНЮ:

Voldar: Ну цыган или не цыган,я не знаю,но в белом доме Боб спел,сегодня ночью. Bob Dylan Sings "The Times They Are A-Changin'" for President Obama With President Barack Obama, First Lady Michelle Obama, Vice President Joe Biden and wife Jill all sitting front-row center at the White House’s relatively intimate East Room, Bob Dylan took the stage at the first “In Performance at the White House” concert of 2010, which was themed “A Celebration of Music from the Civil Rights Movement.” Whereas gospel singer Yolanda Adams changed the tense in a few lyrics to Sam Cooke’s “A Change Is Gonna Come” by singing “a change has come” as a shout-out to President Obama’s ‘08 campaign slogan, Dylan’s lyrics to “The Times They Are A-Changin’” didn’t need any, uh, a-changin’. Accompanied by stand-up bass and piano, Dylan sang his 1964 anthem loud and clear, highlighting the song’s many apropos lyrical moments (“Come senators, congressmen / Please heed the call / Don’t stand in the doorway / Don’t block up the hall”). His former musical/romantic/protest partner Joan Baez also performed, though the pair did not sing a duet as we had hoped. Baez sang protest classic “We Shall Overcome” with a little help from the crowd for the refrain. немного посмотреть можно здесь. http://www.guardian.co.uk/world/2010/feb/10/barack-obama-civil-rights-music

Voldar: Неутомимый Боб в этом году наверно решил побить все рекорды по гастролям.После гастролей в Азии он возвращается в Европу и даст в июне концерт в Белграде,может его и к нам занесет? Legendary American singer-songwriter Bob Dylan, one of the most influential musicians in history, is to hold a concert in Belgrade in June this year, Blic understands. The event will be put together by Avalon Music Production, while the venue of the concert in early June will be the Belgrade Arena. http://english.blic.rs/Culture-Showbiz/6050/Bob-Dylan-set-for-Belgrade-gig-in-June

Goldenday: Voldar пишет: даст в июне концерт в Белграде, Блин, ну совсем же рядом! Ещё чуток...

Voldar: Здорово было бы посмотреть на Боба,насчет послушать сомневаюсь,а посмотреть интересно.Только боюсь нам не светит,у Боба та же история что и у Тома(может я ошибаюсь) на всю страну едва ли десяток преданных поклонников наберется.

Voldar: Идея насчет любимых гитар наших музыкантов,становиться все более реальной.Фирма Гибсон собирается опубликовать статью о акустических инструментах на которых играл Боб Дилан.В кратком анонсе к статье,причем из другого источника,говориться даже о гитаре,подаренной Бобу Джоржем - это Gibson G-200 .На официальном сайте этой статьи ещё нет. Bob Dylan's loyalty to Gibson acoustic guitars has lasted throughout his career, a new article has explained. The legendary solo artist began his career back in the 1960s playing a Gibson J-50 guitar, which was featured on the cover of his self-titled first album. Dylan then moved to Gibson Nick Lucas Special before being given a Gibson G-200 guitar as a present by Beatles star George Harrison, reports the music instrument manufacturer's Lifestyle blog. The instrument featured on the cover art of his 1969 record, Nashville Skyline. By the 1990s, he had turned to a Gibson J-45, which featured on Time Out of Mind as well as Love and Theft. "From his famous Gibson Nick Lucas Special to the Gibson J-45 that has logged in countless miles on the Never Ending Tour, Bob Dylan's history with Gibsonguitars goes deep," the article explained. Earlier this month, Dylan played at the White House in a special event celebrating the work of the civil rights movement in America. http://www.gear4music.com/news/article/Bob-Dylans-history-of-Gibson-guitar-playing-remembered/14C/2010-02-19

Voldar: На венецианском фестивале Кейт Бланшет получила золотого льва ,за лучшую женскую роль в фильме основанном на жизнеописании Боба Дилана I'm Not There. Blanchett triumphs with portrait of Dylan CATE Blanchett has captured the top award for an actress at the Venice Film Festival, confirming her position as the great screen actress of her generation. She won for her portrayal of Bob Dylan in I'm Not There, a study of the singer's life and influence in which several actors portrayed different aspects of his personality. Director Todd Haynes collected her prize, as she could not attend the festival, as well as a jury prize for his inventive approach to biography. "Cate turned what could have been a stunt into a compelling performance," he said. He had first decided to cast a woman as the Dylan of 1966, who became notorious for ditching folk music in favour of electric instruments, because he felt it was the only way to convey how strange and outrageous he seemed at the time. "But of course it would take an actor of Cate's supreme intelligence and ability to bring to the role the kind of depth and subtlety she delivers so stunningly on screen," he said. In a sensational twist at the end of a consistently interesting competition, Taiwanese director Ang Lee won the festival's top award, the Golden Lion, only two years after he won his first. http://www.brisbanetimes.com.au/entertainment/blanchett-triumphs-with-portrait-of-dylan-20100223-owlx.html

Voldar: Сегодня определенно день хороших новостей. Bob Dylan and Clint Eastwood given White House arts awards Боб Дилан получил национальную медаль за достижения в области искусств ,и надо же такому случиться.что получил он её вместе с другим любимым нами персонажем - Клинтом Иствудом. President Barack Obama has honoured actor and director Clint Eastwood and singer Bob Dylan with arts and humanities awards. The White House called Dylan "an icon of youthful rebellion and poetic sensitivity" and said Eastwood's films and performances were "essays in individuality, hard truths and the essence of what it means to be American." "Obviously, their careers have marked the landscape of American culture for decades," Mr Obama said, noting their absence from the East Room ceremony. They were among 20 people and institutions recognized for their contributions to American culture through the arts and humanities. Among those in the East Room to accept their awards were author, activist and Holocaust survivor Elie Wiesel for his work to educate the country and the world on the Holocaust, and conductor Michael Tilson Thomas for his efforts to expand audiences and the repertoire for contemporary music. Soprano Jessye Norman was recognized for "broadening contemporary operatic repertoire." Maya Lin earned a medal for her architecture, including the National Vietnam Veterans Memorial, one of Washington's most visited monuments. Mr Obama also awarded composer John Williams a medal for music featured in films such as the "Star Wars" series and the soundtrack to the Olympics. Noting that the United States has produced talents ranging from Mark Twain to Toni Morrison, John Philip Sousa to Louis Armstrong, Mr Obama praised the diversity. "They bring us joy, they bring us understanding and insight, they bring us comfort in the good times and perhaps especially in difficult times in our own lives and the life of our nation," he said. Тут ешё интересная статья по этому поводу: http://www.thewrap.com/ind-column/dylan-lucas-award-winning-washington-style-14653

Goldenday: Вот это я понимаю! Очень приятно за Клинта! Ну и за Дилана, конечно.

Voldar: Ben Sidran: Dylan Different Известный музыкант Ben Sidran,который играл ещё со Стивом Миллером выпустил альбом каверов Боба Дилана. Ben Sidran, the local legend who wrote "Space Cowboy" in his time with the Steve Miller Band, won a Peabody for his NPR series Talking Jazz and produced albums for everyone from Van Morrison to Diana Ross, heads back to his roots on his newest CD, a collection of Bob Dylan covers. Featuring a dozen classics, the album pays tribute to Dylan's legacy while forging its own identity as an original work. Filled from start to finish with low, dry, almost-spoken vocals, it makes you think of Dylan one moment and a smoky jazz club the next. "Subterranean Homesick Blues" ventures into rap territory with a funky, jazzy groove, while "Tangled Up in Blue" creates the perfect soundtrack for a coffeehouse full of Beat poets. "Maggie's Farm" takes a psychedelic turn with a fantastically creepy organ solo reminiscent of Santana's "Black Magic Woman." The final track, "Blowin' in the Wind," is one of the most stunning. Stripped down to a few simple, beautiful piano chords and Sidran's voice, it channels the gravity of Leonard Cohen while hinting at Tom Waits as well. It's definitely worth checking out. http://www.isthmus.com/isthmus/article.php?article=28308

Voldar: Боб оказывается в своем европейском туре посетит чуть ли не всю восточную Европу,действительно жалко.что мы пока в пролёте. * Jun2 Bucharest, Romania Jun3 Sofia, Bulgaria Jun4 Skopje, Macedonia Jun6 Belgrade, Serbia Jun7 Zagreb, Croatia Jun9 Bratislava, Slovak Republic Jun11 Prague, Czech Republic Jun12 Linz, Austria Jun13 Ljubljana, Slovenia

Goldenday: А чего это он так, интересно? Мы очень логично были бы в этом списке.

Voldar: Сайт Gotta Have Rock and Roll запустил онлайн-аукцион по продаже вещей, связанных с жизнью и творчеством Майкла Джексона, Мадонны, The Beatles, Элвиса Пресли, Боба Дилана, Джими Хендрикса, Дэвида Боуи, Рэя Чарльза, U2 и других популярных музыкантов. Посмотрите лоты относящиеся к Бобу.

ТНЮ: Почерк детский, но зато всё понятно.

Voldar: В Шри Ланкийской прессе появилась статья о местной исполнительнице Nanda Malani в которой её сравнивают с Бобом Диланом.В статье упоминается также Владимир Высотский,названный русским Бобом Диланом. Music and Mission – Bob Dylan to Nanda Malani (March 05, Ontario, Sri Lanka Guardian) Music is a social force and unquestionably a powerful form of expression. Many elements of human existence are touched by music. Song has accompanied social movements, social justice and human freedom. Music can deeply affect the way that people think. Therefore, musicians can direct society with their musical ability, passion and sincerity. Among the singers with a genuine passion for positive social stream, Bob Dylan plays a major role. American singer-songwriter and musician Bob Dylan made a deep impact in 1960 s and his songs became the anthems for the civil right and anti Vietnam War movement. He was called "master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation" Beside Bob Dylan, another female icon that emerged in 60 s was Joan Baez. As a musician and a singer Joan Baez stood for the ideals that she believed were correct. She protested at misleading government propaganda that clouded the nuclear proliferation, War on Vietnam and attacking of the Civil Right activists as Communist conspirators. Her song Birmingham Sunday was dedicated to the four little African American girls who were killed in the 1963 bombing of a Black Church by the KKK (Ku Klux Klan). Joan Baez pioneered to establish the US branch of Amnesty International that brought awareness on human right violations in the United States. In 2003, she performed in San Francisco to protest against the US invasion of Iraq. Although the world is not fully aware of the music and mission of Vladimir Vysotsky who began performing in the 1960s, in the USSR was a talented as well as an outspoken artist. He was quite critical of the errors of the Communist Regime. He highlighted bureaucracy that ruled the system, criticized the unfair privileges of the elite and objected to repression. He could be called the Russian Bob Dylan. Although he was the living soul and conscience, of his time, his songs were forbidden to be played and his poems went unpublished. Vysotsky’s songs were more profound and carried the message of love and truth. He openly fought against the hypocrisy and double standards. He was the voice of the silent generation of the Soviet Union. Today Vysotsky is considered as a cultural icon and a musician with true a conscience. http://www.srilankaguardian.org/2010/03/music-and-mission-bob-dylan-to-nanda.html

Voldar: В предвкушении гастролей Боба в Ирландии 4 июля ,местная пресса разразилась статьей о его достижениях. Bob Dylan to play Thomond Park Aiken Promotions are proud to announce a second show for Thomond Park in the guise of the legendary Bob Dylan. Bob will take to the stage at the Munster Stadium on July 4th. Columbia Records released Bob Dylan's studio album Together Through Life last April which received universal critical acclaim. Together Through Life was produced under the pseudonym Jack Frost, prompted by the composition of a new song, "Life Is Hard," which was written for a forthcoming film by French director Oliver Dahan (La Vie En Rose) Together Through Life, was the 46th release from Bob Dylan, and follows 2006's Platinum album Modern Times, which debuted at #1 on the Billboard Top 200 and reached the top of the charts in seven additional countries and the Top 5 in 22 countries around the world and spent 2 weeks at No.1 in Ireland. Bob Dylan's three previous studio albums have been universally hailed as among the best of his storied career, achieving new levels of commercial success and critical acclaim for the artist. The Platinum-selling Time Out Of Mind from 1997 earned multiple Grammy Awards, including Album Of The Year, while "Love and Theft" which was no.2 album of the decade in Newsweek and No.1 album of the decade in Uncut Magazine continued Dylan's Platinum streak and earned several Grammy nominations and a statue for Best Contemporary Folk album. His most recent studio work, "Together Through Life" went straight into the Irish Charts at No.1 and became one of his biggest albums worldwide, selling more than 5 million copies and earning Dylan two more Grammys. Those three studio albums fell within a ten-year creative span that also included: An Oscar and Golden Globe win for, "Things Have Changed," written for the film Wonder Boys A worldwide bestselling memoir; Chronicles, which spent 19 weeks on the New York Times Best Seller List in 2001 A Martin Scorsese-directed documentary, No Direction Home in 2004 Several volumes of the best-selling Bootleg Series, which culminated in last year's highly-acclaimed Tell Tale Signs in 2005 Dylan was awarded a special Pulitzer Prize in 2008 for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." He was also the recipient of the Kennedy Center Honors in 1997, The French Commandeur des Arts et des Lettres in 1990, Sweden's Polar Music Award in 2000 and numerous other awards and accolades. http://www.limerickpost.ie/index.php?option=com_content&view=article&id=1580:bob-dylan-to-play-thomond-park&catid=33:entertaiment&Itemid=33

Voldar: Свежие записи Боба с концертов в Осаке,но без ИЗОБРАЖЕНИЯ. BOB DYLAN 2010 LIVE - LOVESICK -OSAKA BOB DYLAN 2010 LIVE - THE MAN IN ME - OSAKA

Voldar: DYLAN AT NEWPORT - EXCLUSIVE INTERVIEW The Oscar-winning director MURRAY LERNER talks to UNCUT about The Other Side Of The Mirror, his brilliant concert movie of Bob Dylan at the Newport Folk Festival, 1963 – 1965. NH:Was Dylan a key performer at Newport in ’63? I don’t think he was, no. Pete Seeger was, and Joan Baez. She was on the cover of Time magazine. And she brought Dylan to the festival. In ’64, as she said, they were the King and Queen of Newport. He walked the streets with a bull-whip, with her beside him. Looking at the film now, how does he appear to you? You see ease and a simple person in ’63. And in ’64 you see he feels safe enough, when he sings “It Ain’t Me Babe”, to not really care about the crowd. I don’t think even with “With God On Our Side” in ’64 that he really was with the crowd. It was just him, and Joan. When he comes on at the end in ’64, he gets a hero’s welcome… Right. There was also something I don’t think he ever did in his life since that day. He said to the crowd, after “Chimes Of Freedom”, “Thank you. I love you.” He was happy. That was an unusual song, there was less realism than before. He might have wondered how accepted it might be. He played an electric set in 1965, which was met with a lot of resistance from the audience. What was the mood at the rehearsals like? It felt to me like there was a little bit of uncertainty as to what was going to happen. It seems to me there was anxiety, in their joking around. What could you hear on stage, after he came on and played “Maggie’s Farm”? I heard a combination of boos and applause. And some catcalls. And then when he came back and did the acoustic songs, they got with it again. He was nervous when he came back, there’s no question about it. That was sweat you can see rolling down his face. And on “Mr. Tambourine Man”, asking for a harmonica from the crowd - the fact that he forgot his harmonica… You can see his eyes swivelling in those close-ups… Yeah. You don’t know what he ingested also before that, to keep him going. Then when he did “It’s All Over Now, Baby Blue” he was okay, I thought. Also saying goodbye to the whole thing… That’s right, yeah. What does the film’s title refer to? It’s the sense that he’s introduced as the mirror of his generation, but he isn’t. That’s why I put Ronnie Gilbert of the Weavers introducing him - “You know him, he’s yours” - at the start. He really isn’t yours! Have you kept in touch with him? It’s difficult to know him. And I felt better off not trying, because I wasn’t his type. Because I never took drugs. What did you feel, looking back at this footage? I feel as if I’m still there! Whenever I watch it, I’m at the Newport Festival. Most times, I feel I’m watching something new. The songs are really so startling that I feel every time I’m hearing something new. How did you feel about Scorsese getting the credit for making this great film about Dylan, No Direction Home - when nearly all the key footage is by you and DA Pennebaker? I was flattered that he used it, and that he put my name underneath the footage. And I was of course jealous of the fact that it was being used. My feelings were complicated. It got me this film to make, which was good… INTERVIEW: NICK HASTED http://www.uncut.co.uk/music/bob_dylan/interviews/10455

Voldar: Все таки американцы весьма предприимчивые люди.Туристическое бюро из родного города Боба HIBBING организовало целую компанию по возвращению Дилана домой.Кроме он лайн петиции по этому поводу они разместили в сети целый сайт. Tourism officials urge Bob Dylan to come home to the Iron Range HIBBING - Bob Dylan has made no secret of the fact that he didn't feel accepted as he grew up on the Iron Range. But tourism officials say the times they are a-changin', to borrow a line from Dylan's third album. Now, they've launched an online campaign to get Dylan to come home and perform a concert. Dylan was born Robert Zimmerman in 1941 in Duluth. His family moved to Hibbing in 1948. "It's no secret that, years ago, Bob wasn't really accepted here, but times have changed...and so have the people of the Iron Range," said Cheyenne Denny, Executive Director of the Iron Range Tourism Bureau, in a press release. "Today, people have a true appreciation for Dylan and we are genuinely inviting Bob back to where his musical and poetic roots started, right here on the Iron Range." The tourism bureau has launched a website, www.ComeHomeBob.com, where Dylan fans can sign a petition urging him to perform on the Iron Range. The bureau is also promoting the campaign through Facebook, Twitter, and YouTube. An independent group has organized "Dylan Days" in Hibbing annually since 1991. This year's event is set for May 27-30. More information is available at www.DylanDays.com. сайт http://www.comehomebob.com/

ТНЮ: Если бы ещё добрые люди из Балгарии попросили Филю Коркирова на родину вернуться.....

Voldar: Нин,это блестящая идея,можно даже им петицию по этому поводу организовать.Хорошо бы он ещё с собой побольше народу взял.

Voldar: Новость в тему. Пугачева отсудила у Роспатента бренд "Филипп" и 200 рублей Арбитражный суд Москвы удовлетворил в среду, 17 марта, иск Аллы Пугачевой к Роспатенту, вернув певице права на товарный знак "Филипп" в сфере образовательных услуг, сообщает РИА Новости. Алла Пугачева является правообладателем товарного знака "Филипп" в общей сложности в 21-м классе МКТУ, включая образовательную сферу. В прошлом году Автономная некоммерческая образовательная организация "Филипп" из Самары обратилась в Палату по патентным спорам с требованием о прекращении охраны бренда "Филипп" в 41-м классе в связи с его неиспользованием в этой категории более трех лет. На заседание Палаты Пугачева не явилась и не прислала никакого отзыва на заявление, мотивировав это тем, что не получила соответствующего уведомления. Между тем почтовая служба подтвердила факт доставки корреспонденции адресату. В связи с неявкой правообладателя Роспатент принял решение о прекращении охраны бренда. Позже певица опротестовала это решение в Арбитражном суде.

Voldar: Top 10 Music-Festival Moments Журнал TIME поставил первым из десяти лучших ,выступление Боба Дилана на фестивале в Ньпорте в 1965 году. Bob Dylan had only just gained national renown as a folksinger when his 1965 release Bringing It All Back Home eschewed his roots by using electric guitar in half the tracks. In that spirit, Dylan's performance at July '65's Newport Folk Festival incorporated a backing blues band and electric guitar. The audience did not dig it, man. He drew vigorous boos and left after only four songs, only to be coaxed back onstage for a disjointed acoustic set. (Longstanding rumors that Pete Seeger tried to cut the sound system with an ax turned out to be untrue.) Dylan didn't return to Newport until 2002, when he was able to bring his electric guitar back without fear. http://www.time.com/time/specials/packages/article/0,28804,1885895_1885893_1885871,00.html

Voldar: Портрет Боба Дилана,попал на выставку работ художника Mark Reihill . Остальные работы живописца на музыкальную тему можно посмотреть на его сайте: http://www.markreihill.com/gallery.htm

Voldar: Ролинг Стоун разразился статьёй с рассуждениями о причастности Боба к формированию стиля хип-хоп. Is Bob Dylan Hip-Hop’s Godfather? His Ties to Beasties, Roots, More Recently, a YouTube made the rounds of Bob Dylan raspily rapping his way through a solid chunk of LL Cool J’s classic “Mama Said Knock You Out.” The Internet had good time with “LOL” and “WTF” responses, but Dylan’s symbiotic relationship with hip-hop actually runs fairly deep. Hip-hop and Dylan were both gestated in New York, distrust the government, aren’t fond of using their birth names, and have a pretty evocative way with words. And although Dylan recently told Street Newspaper that he doesn’t really listen to rap all that much, he did admit, “I love rhyming for rhyming sake. I think that’s an incredible art form.” Let’s take a look back at the many times their paths have crossed: 1965: Bob Dylan, “Subterranean Homesick Blues” Is this the very first rap song ever? Dylan’s rollicking “Subterranean Homesick Blues” predates hip-hop’s labyrinthine rhyme schemes, anti-authority philosophy, pop-culture obsessions and street-level turns-of-slang; distilling bohemian counterculture, war paranoia and the ongoing civil rights struggle into a two-minute barrage of fascinating wordplay. At once political and pop, “Subterranean Homesick Blues” was Dylan’s first Top 40 single. 1986: Kurtis Blow featuring Bob Dylan, “Street Rock” After Dylan borrowed a couple of Blow’s backup singers for a mid-’80s record, he returned the favor by donating an intro to the rapper’s headbanging “Street Rock,” the opening track to the 1986 album Kingdom Blow. Blow and his bodyguard showed up at Dylan’s Malibu home, and Bob dropped science in one take. In Chronicles, Volume 1, Dylan admits it was in fact Blow who turned him on to rap music, and had since become a fan of Run-D.M.C., Public Enemy, Ice T and N.W.A. “These guys weren’t standing around bullshitting,” said Dylan. “They were beating drums, tearing it up, hurling horses over cliffs. They were all poets and knew what was going on” 1987: Public Enemy, Yo! Bum Rush the Show Due to his firebrand attitude and endlessly dissectable lyrics, Def Jam publicists pitch Chuck D to the editors of rock magazines as “the new Bob Dylan.” 1989: Beastie Boys, “Johnny Ryall” 1992: Beastie Boys, “Finger Lickin’ Good” Quoth Mike D on Dylan: “He’s one of the first b-boys, if not the first. What more to say?” The ultimate arbiters of New York boho cool, the snotty beat poets in the Beasties were naturally drawn to Dylan. Their landmark Paul’s Boutique borrows a line from Dylan’s protest-of-protests “Maggie’s Farm” on their lovable bum tale “Johnny Ryall.” And on “3-Minute Rule,” MCA even drops his own unique props: “I’m just chillin’, like Bob Dylan.” Three years later, the boys would sample Dylan’s “Just Like Tom Thumb’s Blues” for their “Finger Lickin’ Good” — a clearance that would ultimately cost them $700. Mike D told Boston Rock, “He asked for $2,000. I thought it was kind of fly that he asked for $2,000 and I bartered Bob Dylan down. That’s my proudest sampling deal.” Their upcoming Hot Sauce Committee Pt. 2 is set to feature another sample of Dylan, a spoken word bit where he talked about the Boys on his satellite radio show. 1997: Wyclef Jean, “Gone ‘Til November” The rapper pulls out the line, “I’m knockin’ on heaven’s door, like I’m Bob Dylan,” and the next thing you know, Bob is pulling a quick but memorable cameo in the video at the 2:30 mark. 1999: Black Thought, Common, Mos Def, Dice Raw, Flo Brown, the Jazzyfatnastees and the Roots, “Hurricane” This massive posse cut from the movie of the same name details the racial profiling and imprisonment of boxer Rubin “Hurricane” Carter — much like the 1975 Bob Dylan song of the same name. 2006: Bob Dylan, “Mama Said Knock You Out” In the second episode of his Sirius Satellite Radio program, Theme Time Radio Hour, Dylan dropped a gravelly rendition of the LL Cool J classic. Naturally, LL Cool J was totally honored, and told TMZ, “That blows me away… What he needs to do is call me and let’s do it together. I encourage everyone to get out there and buy Bob Dylan’s records” 2008: Evidence featuring Fashawn, “The Far Left” In the video for “The Far Left,” Dilated Peoples MC Evidence dropped a loving tribute to D.A. Pennebaker’s iconic clip for “Subterranean Homesick Blues” with Dylan’s cue cards updated to feature some more modern, graffiti-influenced scrawl. 2009: Bob Dylan featuring Will.i.am, “Forever Young (Continued)” Bobby D and the Black Eyed Pea teamed up for a remix to his 1974 single “Forever Young.” It was used in a Pepsi commercial that aired during the 2009 Super Bowl. Its “the more things change, the more things stay the same” message was more saccharine than a dumptruck full of diet soda. 2009: Kid Cudi, “Highs N Lows” The soul-bearing rapper created a melancholy mood by rapping over Dylan’s 1969 classic “Lay Lady Lay” on this mixtape staple. 2009: Juelz Santana featuring YelaWolf, “Mixin’ Up The Medicine” Upstart Alabama MC YelaWolf is already an effortless blend of hip-hop, country and rock, the perfect guy to flip the the opening line of “Subterranean Homesick Blues” on the chorus of this Juelz Santana single. Dylan’s line “Johnny’s in the basement mixing up the medicine/I’m on the pavement thinking about the government,” was already perfectly hip-hop couplet that was just sitting there, begging to be recontextualized. Christopher R. Weingarten http://www.rollingstone.com/rockdaily/index.php/2010/03/30/is-bob-dylan-hip-hops-godfather-his-ties-to-beasties-roots-more/

Goldenday: Ролинг Стоун разразился статьёй с рассуждениями о причастности Боба к формированию стиля хип-хоп. Надо же... а я и не догадывался. Позднее нам сообщат, что Боб повлиял на развитие вальса, лезгинки, менуэта, джиги, гопака, танго и пр. музыкальных направлений.

Voldar: Насчет гопака и лезгинки не знаю,а 7.40 точно ему припишут.

Goldenday: Voldar пишет: 7.40 это что за зверь?

Voldar: Димка,вспомни девячью фамилию Боба и сразу все поймешь.

Voldar: Bob Dylan fans unite in tribute at Nietzsche's Are you a longtime fan of Bob Dylan? Do you think you can sound and act like him? If so, then be sure not to miss Michael Meldrum's Buffalo Song Project's 23rd annual Bob Dylan Imitator's Contest, on April 1 at Nietzsche's on Allen Street. The contest starts at 8pm, with a 7pm signup for contestants. It costs $5 to enter. Meldrum, a noted singer, songwriter, guitarist, and inductee of the Buffalo Music Hall of Fame, said that prominent members of the Buffalo music community and local media figures will judge the entrants. He said that in past years' contests, people from Righteous Babe Records, Ani DiFranco's record label, have served as judges. Prizes will be awarded for the best overall Dylan, best harmonica, and best interpretation of three major categories, in Meldrum's opinion, although Meldrum added that the judges "will probably create their own categories." "We will give away lots of stuff from Righteous Babe Records," Meldrum said, "and also cash prizes." Meldrum has worked with DiFranco for many years, and she has written songs for him as well. He has known the local singer and songwriter for over 30 years, and she toured with him on his shows when she was only 11 years old. According to Meldrum, the idea for the contest came from a visit to Greenwich Village in New York City in the early 1980s. He said that he entered a Dylan imitator's contest there, and saw that many people there had all performed with Dylan. Since he liked the idea, he brought it to Buffalo, where it has been a tradition for 23 years. When asked what the biggest change has been over this period, Meldrum said that it has been that today's young people are getting interested in Bob Dylan. He said that students under 21 who would not otherwise be allowed into a bar can attend this contest and, in doing so, are able to discover Dylan's music. Meldrum also said that over the years there have been many milestones, but no specific ones stood out. "I probably should be able to tell you about specific examples, but I'm not coming up with it," Meldrum said. "You had to be there to know what the highlights were." For Meldrum, a contest such as this one is also good for the city in that it gives Dylan's fans something exciting to look forward to year after year, and some of the attendees have been to every contest in its 23 years of existence in Buffalo. More importantly, it has great potential to unite diverse groups of people who are focused on one thing: their love and appreciation for Dylan and his music. "The most significant thing for this is that it creates community... people who wouldn't be in the same room or playing together are suddenly in the same thing," Meldrum said. "My mission as a promoter is to bring people together who wouldn't otherwise know each other." The contest is being sponsored by Planet Love, Elmwood Festival of the Arts, Righteous Babe, Allentown Music, Rust Belt Books, Bella Mia, Spirits of Allentown, Left Bank, and Terrapin Station. For more information about the contest, call 716-886-8539. http://www.buffalorising.com/2010/04/bob-dylan-fans-unite-in-tribute-at-nietzsches.html

Voldar: Песни Боба Дилана в большом количестве используются в саундтреке к новому фильму My Own Love Song режиссера Olivier Dahan.В фильме снимались в главных ролях Renée Zellweger and Forest Whitaker,причем Рене даже спела. Renée Zellweger covers new Bob Dylan song in My Own Love Song Last year, before news of his GPS voice over (what ever happened to that?) and Christmas album, Bob Dylan made headlines for his decision to soundtrack the new, Renée Zellweger and Forest Whitaker-starring film My Own Love Song. Now for non-Dylanologists out there, it’s important to note that this same film that ultimately led to his 2009 Grammy Award-winning album Together Through Life. If you remember, Dylan has so much fun recording the soundtrack that he decided to keep create his own new studio LP. Not surprising, the soundtrack is heavy in material from those studio sessions. Not only does it feature several selections that originally appeared on Together Through Life, but it also includes 16 previously unreleased originals recorded during that same time frame. Titles include “Life Is Hard”, “Driving South”, “Bumble Bee”, and “Sweeping The Floor”. So, to recap, My Own Love Song includes both old and new Dylan, all of which came from the same studio sessions. Got all that? Because it gets way more interesting. The soundtrack also hears a number of the film’s stars covering the singer/songwriter. Whitaker and Georges Drakoulias both offer their own renditions of “What Good Am I?”, and Don Sparks sings “I Believe In You”. Zellweger has the honors of debuting the aforementioned “Life Is Hard”, as well as covering Woodie Guthrie’s classic “This Land Is Your Land. Thanks to a pair of recently debuted clips (via TFB), you can preview both of Zellweger’s covers below. We also included the complete tracklisting of the film’s soundtrack so you can see just how massive of an undertaking this turned out to be. My Own Love Song is scheduled to premiere on April 7th. No word on when the soundtrack will be released. My Own Love Song Soundtrack Tracklist: Bob Dylan – Forgetful Heart (Dylan) Bob Dylan – Life Is Hard (Dylan) Bob Dylan – Sweeping The Floor (Dylan) * Bob Dylan – Bumble Bee (Dylan) * Bob Dylan – Jane’s Lament (Dylan) * Bob Dylan – Joey’s Theme (Dylan) * Ron Eaton – Preludes, Opus 28 #6 in b Minor (Chopin) Bob Dylan – I Feel A Change Coming On (Dylan) Bob Dylan – Driving South (Dylan) * Georges Drakoulias – What Good Am I (Dylan) Forest Whitaker – What Good Am I (Dylan) Bob Dylan – Back Alley (Dylan) * Bob Dylan – Snow Falling (Dylan) * Bob Dylan – Billie #30 (Dylan) * Chopin Nocturne 7 Renee Zellweger – Precious Angel (Dylan) Bob Dylan – Road Weary (Dylan) * Bob Dylan – Click Clack (Dylan) * Bob Dylan – Life Is Hard (Dylan) (instrumental) Bob Dylan – Robbie Robert’s Lament (Dylan) * Robert Johnson – Me And The Devil Blues Bob Dylan – New Orleans Drums (Dylan) * Bob Dylan – Janet’s Step (Dylan) * Source Music – Late Night Blues For Leroy Carr Ron Eaton – Preludes, Opus 28 #4 in e Minor (Chopin) Don Sparks – I Believe In You Bob Dylan – Swingin’ (Dylan) * Bob Dylan – Blues Club (Playback) (Dylan) * Renee Zellweger – This Land Is Your Land Bob Dylan – It’s All Good (Dylan) Bob Dylan – East Texas (Dylan) * The Bourbon Street Stompers – Down By The Riverside Georges Darkoulias – What Good Am I (Dylan) Ron Eaton – Preludes, Opus 28 #15 in Db Major (Chopin) Renee Zellweger – Life Is Hard (Dylan) Bob Dylan – Beyond Here Lies Nothing (Dylan) * = New Song http://consequenceofsound.net/2010/04/01/renee-zellweger-covers-new-bob-dylan-song-in-my-own-love-song/

Voldar: Министерство культуры Китая запретило концерты Боба Дилана и это не шутка Министерство культуры Китая отказалось выдать разрешение на концерты музыканта Боба Дилана, которые планировались на середину апреля. Расстроившись, Дилан отменил турне в Юго-восточную Азию, передает в воскресенье Agence France-Presse. Предполагалось, что Дилан сыграет концерты в Шанхае и Пекине, а также выступит в Гонконге и Тайване. Однако китайские власти отказались согласовать выступление. "Его (Дилана) в первую очередь привлекала возможность выступить в Китае. Когда это стало невозможно, все остальное тоже было отменено", - рассказал представитель промоутерской компании. Агентству не удалось получить комментарий в министерстве культуры Китая. Китайские власти ужесточили контроль над гастролирующими иностранными артистами после того, как исландская певица Бьорк в 2008 году со сцены выступила за независимость Тибета, добавляет AFP. Тогда министерство культуры объявило, что исполнительница своими криками "Тибет! Тибет!" "оскорбила чувства китайского народа". http://www.spinner.com/2010/04/04/bob-dylan-banned-from-playing-in-china/

ТНЮ: Пошли эти китайцы в {пиииииииип....}! Пускай Боб к нам в Россию едет, у нас нет Тибета

Voldar: Тибета у нас точно нет,зато другой ерунды сколько угодно.

Voldar: Jakob Dylan Яблочко от вишенки недалеко откатилось... Jakob Dylan – New Band, New Tour Jakob Dylan has announced plans for an upcoming nation-wide tour with his band Jakob Dylan and Three Legs, which features Neko Case and Kelly Hogan. The tour is set to kick off April 9th in Pittsburgh, PA in support of his latest album Women and Country set for release April 6th. Jakob has also announced that he will be appearring on The Late Show with David Letterman on April 21st and The Tonight Show With Jay Leno on May 13th. Recorded in Los Angeles, CA, Women and Country finds Jakob reuniting with acclaimed Oscar, Grammy and Golden Globe winning producer T-Bone Burnett (Robert Plant, Alison Krauss, Crazy Heart), who produced the Wallflowers’ 1996 breakthrough album Bringing Down the Horse. Jakob is also joined by Neko Case and Kelly Hogan, who provide back-up vocals on 8 of the album’s 11 tracks. Soulful yet striking and ripe with sublime beauty, Jakob reaches new majestic heights on this release with his distinct voice and unparalleled songwriting. This, coupled with T-Bone Burnett’s haunting production and the stirringly rich vocals by Neko Case and Kelly Hogan, creates a powerful and melancholic experience for the listener. Backing Jakob Dylan up on the album’s 11 songs are T Bone Burnett’s acclaimed group of musicians including Dennis Crouch (bass), Jay Bellerose (drums), David Mansfield (fiddle & mandolin), Marc Ribot (guitar), Keefus Ciancia (keyboards), Greg Leisz (pedal steel), Darrell Leonard (trumpet), Ira Nepus (trombone) and George Bohanon (horns). Standout tracks include the opener “Nothin’ But the Whole Wide World,” which sets the tone of the album, the pensive ballad “Down on Our Own Shield” and “Everybody’s Hurting’,”which showcases Jakob and Neko’s moving harmonies.

Voldar: Решение китайских властей вызвало просто цунами в СМИ.Все кому не лень распекают несчастных китайцев на все лады. Чужой китайский монастырь Министерство культуры Китая отказалось выдать разрешение на концерты музыканта Боба Дилана, которые планировались на середину апреля. В отместку Дилан отменил турне в Юго-Восточную Азию. Китайцы в очередной раз наглядно показали миру, что со своим уставом в чужой монастырь лучше не соваться, особенно если этот монастырь расположен неподалеку от Шаолиня. Ведь у Китая, как и у любой другой страны, есть больные места, которых лучше не касаться, особенно тем музыкантам, которые хотят заработать немного юаней на местных сценах. Боб Дилан собирался выступить в Китае с концертами, которые планировались на середину апреля. Музыкант планировал большое турне по Юго-Восточной Азии, намереваясь спеть на площадках Пекина, Шанхая, Гонконга и Тайваня. Но китайское ведомство, ответственное за концертную деятельность иностранцев, отказалось визировать лицензии на концерты. Причины обычно не оглашаются, но в данном случае каких-либо пояснений не требуется. Во всём виноваты исландцы. Вернее, их самая известная певица по имени Бьорк. Китайская мозоль, на которую в начале 2008 года наступила Бьорк, называется «Независимость Тибета». Тогда на концерте в Шанхае певица вдруг начала скандировать «Тибет! Тибет!». Возможно, это не самый большой грех, но она сделала это во время исполнения песни «Declare Independence» («Объявить независимость»), что в совокупности ведет к далеко идущим выводам. Каковые не замедлили воспоследовать. После этого Бьорк запретили приезжать в Китай – хоть тушкой, хоть чучелом, с концертами или просто так, а всех остальных исполнителей строго-настрого предупредили, что желающие выступить в коммунистическом раю должны иметь незапятнанную репутацию и безупречную биографию. Или, как минимум, не светиться в акциях, которые поддерживают независимость Тибета. Бьорк, конечно, не подарок. Возможно, идея независимости хоть чего-нибудь крепко засела в её голове – примерно в то же самое время она с помощью этой же песни боролась за независимость Косово, в связи с чем ей едва не запретили въезд в Сербию. «Объявлять независимость» певица предлагала жителям Фарерских островов и Гренландии на концерте в Дании и баскам – на концерте в Испании. Но там всё обошлось – как-никак западные демократии и права человека. А вот в Китае она открыла самый настоящий ящик Пандоры. В апреле 2008 года в стране не смогла выступить Селин Дион. Впрочем, там история такая же темная, как и недавние отмены российских концертов группы Tokio Hotel, и, возможно, китайцы абсолютно ни при чем – но на них свалили всё. В марте 2009 года были отменены концерты английской группы Oasis. Опять же, история темная, но виноватыми были назначены китайцы. Группа Guns'n'Roses в Китай не приезжала, но их альбом под названием «Chinese Democracy» (Китайская демократия) власти сочли злобным поклепом на свою страну и, естественно, запретили. Аналогичный отлуп получили Pet Shop Boys. В их случае Китаю не понравилась пластинка «Yes», в одной из песен которой имеются страшные слова – «правительства уходят». Здесь уместно заметить, что китайская цензура отнюдь не дремала и до скандала с Бьорк. В далеком уже 2006 году рэперу Jay-Z запретили выступать в Китае из-за непристойностей, которые содержатся в его песнях. Кроме того, китайцы слегка непоследовательно выступают против пропаганды христианства. Например, они запрещают исполнение оратории Генделя «Мессия» в Китае, что не мешает китайскому оркестру исполнять эту же ораторию в Ватикане перед папой римским в расчете на политические преференции. Как говорится – ничего личного, это просто бизнес. И вот очередь дошла и до Боба Дилана. Шестидесятидевятилетнему музыканту, наверное, было бы интересно выступить в коммунистическом Китае – когда еще выпадет такой случай? – но вся его прежняя деятельность, наполненная протестными песнями, и активная жизненная позиция не оставили Пекину выбора. Отказ властей Китая выдать разрешение на концерты так расстроил певца, что он вообще отменил азиатское турне. Конечно, лестно было бы выступить одновременно и в КНР, и на Тайване – но это как бы моветон. Тут либо шашечки, либо ехать. Третьего не дано. http://www.gazeta.ru/culture/2010/04/05/a_3347343.shtml

Goldenday: Ура! Даёшь Бьорк турне по всей Чечне!! Наверняка, за неё можно будет выручить хороший выкуп

Voldar: С Бьёрк не факт,может наоборот приплатят за то, что бы украли.

Goldenday: об этом не подумал.

Voldar: Немецкая Волна,наверно в поддержку Боба ,всю неделю будет передавать самые лирические его песни. Long after his first professional gig, Dylan's music rocks Bob Dylan was not just the voice of a generation, but has influenced countless musicians since his Greenwich Village, New York City debut on April 11, 1961. Bob Dylan remains a musical chameleon, even after his debut in New York 49 years ago: at Gerde's Folk City - a coffeehouse turned music venue -, in Greenwich Village. There, he played - among others - "Song to Woody," a tribute to folk music legend Woody Guthrie. Born and raised in Minnesota, Dylan had headed to the Big Apple in early 1961 not just to broaden his horizons, but also to meet his idol Guthrie. Dylan wasn't just inspired by Guthrie's folk music, however. At his April debut at Folk City, Dylan supported blues giant John Lee Hooker. Hooker's talkin' blues style echoes in some of Dylan's music, as does that of blues guitarist Robert Johnson. And that's the chameleon quality of Dylan: everything from blues, folk, gospel and country to rock, jazz, pop and even rap flow through his music - from guitar-pickin' to that classic harmonica twang. This week, we look at some of the most lyrical moments of Dylan's career. http://www.dw-world.de/dw/article/0,,5394574,00.html

Voldar: А в Австралии,про Боба уже пишут пьесы. The Chronic Ills of Robert Zimmerman: AKA Bob Dylan (A Lie) It was apparently conceived by Benito De Fonzo as a sketch for the 2008 Short and Sweet, a festival of ten minute shorts. The title apparently doesn’t get included in the time constraint or this one would have ended before it began. It remains a sketch albeit expanded in format. Sketch writing allows for a relative freedom not available in longer formats such as a play, giving the writer the opportunity to explore ideas and develop characters in a very efficient way. It’s a very effective form of exploring a single idea or premise or showcasing an interesting character. This production involves both with brevity and humour. Its basic premise is Zimmerman’s journey of self affirmation as opposed to self discovery. It has the consistent motifs of ‘twisting’ and ‘sliding’ whether it is following Dylan’s tortuous musical evolution or his life’s meanderings, shedding relationships and other constraints along the way. Dylan’s life and music it seems have been an exercise in integrating and moving on, a self evolving morphism. De Fonzo makes a lot of Dylan’s coined term ‘glissendorf’, a compound word describing a ‘change in functional direction’, a branching out into new territory or concepts. A botanical archetype is found in nature in the meristem. It probably is as symptomatic of Dylan’s progress through life as his lyricism. The work endeavours to highlight some of the people and experiences that have shaped the man and his music although it is fair to say he has been disinclined to explore that path himself. The point of glissendorf is that the change is spontaneous in its evolution. That is not to say that there are no causes but that they are complex. By reason of their relative weighting in the process it is difficult to identify the major genesis, any more than one might look for the ‘cause’ of the First World War; it certainly took more than the shot fired in Sarajevo. Dylan’s iconic wordplay probably stems from a close affinity with his parent’s Ukrainian influenced language, a natural language constructed in sound strings rather than by word differentiation. In this it may well have closely resonated the rhythms of Gaelic, Breton and other Celtic languages. There are certainly some very funny allusions in the production and director, Lucinda Gleeson, has maintained a strong forward movement throughout the sketch. Displaying, perhaps, a familiarity with the pas glisse she introduces the various elements within the story line by way of sliding them in and out without interrupting the dialogue. This makes heavy demands on the two supporting performers, Andrew Henry and Lenore Munro both of whom are called on to do some very nimble turnarounds in delivering well defined cameos of a long line of people in Dylan’s life. The pair adopts characters from Arlo Guthrie and Dylan Thomas, to John Lennon and Jonny Cash (Henry) and Ezra Pound and Joan Baez, to ‘Caroline’ and Jesus of Nazareth (Munro). It’s an eclectic line up but then so are Dylan’s songs. Both performers maintain superb delivery and strong differentiation. Eliza McLean has effectively drawn on a variety of motifs to provide a set reinforcing the unstructured nature of the journey. The shadow play of the boat provides a very clever coordination with the lighting of Richard Whitehouse who effectively lit a confined space into a myriad of places both inside and out of the mind of the fabled Dylan. Simon Rippingale, as musical director, faithfully followed our itinerant hero throughout his various reinventions to generate a very entertaining aspect of Dylan’s musical metamorphoses. Lucinda Gleeson and producer, Jennifer Hamilton point out in the notes that the work is not intended as a ‘tribute’ show distinguishing it from such works as ‘The Buddy Holly Story’. They refer to the difficulty with copyright explaining why the music isn’t quite what the audience might have expected. It accounts for the fact that much of Dylan’s famed word games and metaphors are delivered in spoken monologue by Matt Ralph, in the title role, as opposed to song. Ralph gives the performance a gentle sardonicism quite worthy of the man himself. The song excerpts were disappointingly few. Dylan speaks through his lyrics in their melody as much as their definitive meaning, his distinctive meter is to our age the equivalent of Shakespeare’s blank verse to his. It is probably why he is reluctance to go behind the phrase forms. Ralph in the character of Dylan, right at the outset, debunks the idea that the lyrics conceal ‘messages’, an observation he repeats close to the end of the performance. Dylan has always been reluctant to examine his phrase forms probably because they draw on a timeless and deeply ingrained imagery that is translated only in the imagination of the listener. They depend as much on pitch and meter for their meaning as any defined word import. The resounding success of his recordings over the last decade attest to the man’s ability to transcend class, creed, culture and generation suggesting they are emotive in concept not intellectual. Trying to duplicate it out of its musical context is unlikely to enjoy much success. Dylan’s unique phrase form speaks to his audience at a subliminal level. It is the essence of the man. Dissecting it in order to find its genesis results in what Aristophanes in ‘The Birds’ observed of those who sought the prescience ability of birds by dissecting them - all you end up with is a dead bird.

Voldar: Dylan's Birthday To Be Honored At Dylan Fest 2010 In NY Bob Dylan's 69th birthday will be marked by a special celebration at New York's Bowery Ballroom on May 27. The one-night only event is being dubbed "Dylan Fest 2010 - a Night to Get Drunk and Celebrate Bob Dylan." The party will feature a slew of well-known musicians who will take the stage to play Dylan songs all night long. Leading the festivities will be the Cabin Down Below Band, a loose collective of musicians lead by New York punk icon Jeese Malin. According to Consequence of Sound, the band has a history of leading all-star tributes, most recently at Petty Fest 2009. Some musicians scheduled to appear include Sean Lennon, Fab Moretti and Nikolai Fraiture of the Strokes, Patrick Carney of the Black Keys, Adam Green, Norah Jones, Charlotte Kemp Muhl of the Ghost of a Saber Toothed Tiger, the Pierces, Binki Shapiro from Little Joy, Nicole Atkins and Tyson Ritter of the All American Rejects, among several others.

Goldenday: Имена Петти и Линна не упоминаются

Voldar: Парни страшно заняты, думаю, если бы Боб устраивал свою вечеринку в ЛА, то может быть они и подтянулись. Меня, например, больше удивляет, что Том и Боб не скоординировали свои выступления, хотя оба могли бы пригласить друг друга на свои концерты.

Voldar: Согласно офсайту Боба - самая лучшая новость это отсутствие новостей.Несмотря на огромное количество событий происходящих с Диланом,все новости там заканчиваются 17 декабря прошлого года. http://www.bobdylan.com/#/news

Voldar: Бобу везет на скандалы в последнее время. Джони Митчелл назвала Боба Дилана плагиатором Канадская певица Джони Митчелл раскритиковала своего давнего американского коллегу Боба Дилана, назвав его плагиатором. Об этом она заявила в интервью газете The Los Angeles Times. Тирада в адрес легендарного певца прозвучала в ответ на утверждение журналиста о том, что фолк-сцена 1960-70-х годов изобиловала музыкантами с вымышленными именами. В качестве примера были приведены Джони Митчелл (настоящее имя - Роберта Джоан Андерсон) и Боб Дилан (настоящее имя - Роберт Циммерман). "Боб насквозь поддельный. Он плагиатор, его имя и голос - фальшивки. Все, что касается Боба, обман. Мы с ним как ночь и день", - заявила Джони Митчелл. Певица подчеркнула, что ее имя является настоящим, а Дилана - поддельным. "Что касается моего имени, мои родители хотели мальчика и планировали назвать его Роберт Джон. Когда родилась девочка, они просто добавили буквы "а" к именам, - пояснила 66-летняя исполнительница. - Затем я вышла замуж за Чака Митчелла. Я хотела сохранить свою фамилию, оставшись Джони Андерсон, но муж мне не позволил". Митчелл и Дилан регулярно пересекались в 60-70-е годы и не раз гастролировали вместе, причем в последний раз в 1998 году, когда Джони занималась раскруткой своего альбома "Taming The Tiger". За свою карьеру Митчелл выпустила 19 альбомов. Последний из них, "Shine", вышел в 2007 году, уже после того как певица объявила о завершении музыкальной карьеры. В последние годы Джони Митчелл редко появляется на публике - она лечится от кожного заболевания, получившего название синдром Моргеллона. http://www.lenta.ru/news/2010/04/23/mitchell/

Goldenday: Лицо несколько стервозное. Хотя Боб не сахар, что-то не верится ей.

ТНЮ: А мне кажется, тут попахивает безответной любовью

Sergey`M: Причем запах довольно стойкий! Что ей в голову ударило, неизвестно. Сидела бы на лавочке, носки вязала!

Voldar: Чего то мне сдается,что у Боба таких вязальщиц,пол Америки и не только.

ТНЮ: Да та половина ничего предъявить не может, а эта барышня надеится на взаимность, таким способом обратила на себя вниание.

Voldar: От Джони Митчел оказывается досталось не только Бобу,но и Дженнис Джоплин и Мадонне,но Боба она "любит" конечно больше всех. Joni Mitchell: Everything about Bob Dylan is fake Mitchell, 66, attacked her fellow folk musician after an interviewer for the Los Angeles Times casually noted that both had changed their names, in Dylan's case from Bobby Zimmerman. "Bob is not authentic at all. He's a plagiarist, and his name and voice are fake," she said, not appreciating the comparison. Everything about Bob is a deception. We are like night and day, he and I." Her plagiarism accusation may be linked to a controversy in 2006 over Dylan's album Modern Times. Critics claimed his lyrics borrowed too heavily from the writing of the Confederacy poet Henry Timrod. Dylan, an American Civil War buff, made no acknowledgement to Timrod in the album's sleeve notes. He was also accused of borrowing the words of other writers in previous album lyrics, including a dozen passages allegedly lifted from a gangster novel written by an obscure Japanese writer. In her interview, Mitchell also attacked her contemporaries Grace Slick and Janis Joplin, claiming both in their heyday were "[sleeping with] their whole bands and falling down drunk". She criticised Madonna's cultural influence, saying: "Americans have decided to be stupid and shallow since 1980. Madonna is like Nero; she marks the turning point." Mitchell did, at least, have something good to say about Jimi Hendrix, who she described as "the sweetest guy". http://www.telegraph.co.uk/culture/music/bob-dylan/7625304/Joni-Mitchell-Everything-about-Bob-Dylan-is-fake.html

Voldar: Один из биографов Боба Дилана - Грейл Маркус выпустил о нем уже вторую книгу.Первая выглядела так: October release for 'Bob Dylan by Greil Marcus, Writings 1968-2010' Greil Marcus has been reviewing, researching, and analyzing the music of Bob Dylan since the late 1960s. The first four words of his 1970 Rolling Stone review of Dylan's Self Portrait have become the stuff of legend - "What is this s*&@?". It led to his departure from the magazine for five years. In 1975, he wrote the liner notes for Dylan and The Band's Basement Tapes double album. His book, Invisible Republic, later reissued under the original title The Old Weird America , delved into the roots of these recordings, which led to the re-release of Harry Smith's Anthology of Folk Music. Marcus is currently working on a compilation of his articles and reviews about Bob Dylan. The following is from the introduction of a new interview published by PopMatters: It’s been a busy time for Marcus. . .This fall, PublicAffairs will release Bob Dylan by Greil Marcus, Writings 1968-2010, which Marcus describes as “a collection of nearly everything I’ve written on Dylan outside of Invisible Republic/The Old Weird America and Like a Rolling Stone. It’s long. I don’t know how long; I’m still working on it." here's some additional information from the PublicAffairs website: HARDCOVER ISBN 978-1586488314 Pub date: 10/26/10 Price: $27.95/33.95 Canada 6 1/8 x 9 1/4 400 pages Marcus first became aware of Dylan in 1963, after seeing him guest at a Joan Baez concert in New Jersey. He tells this humorous story of purchasing The Freewheelin' Bob Dylan soon after: Who knew that the cover of that album—two young people facing the world from a snowy city street—would sound down through the years with as much force as its songs would? Certainly not me; I couldn’t figure out why the songs on my record didn’t match the ones listed on the jacket. There was even one with a band. “This has the wrong songs on it,” I told the record store owner. “I want a good copy.” “I’ll have some in next week,” he said. But I never went back. It is unclear if that means he just had a rare album cover, or the much sought-after early version of Freewheelin', which is one of the most valuable records ever made. ------ Greil Marcus has been out promoting his new book, When That Rough God Goes Riding: Listening to Van Morrison (PublicAffairs). In the PopMatters interview, there is a discussion of the inevitable comparisons between Morrison and Dylan. Marcus also has this interesting take on Dylan's stories in Chronicles, Volume One: Well, I loved the book. I wrote about it at one point and decided to check on some of things he said. He talked about his mother seeing Woodrow Wilson during a whistle-stop campaign in 1912, and it became pretty clear with a little research that it couldn’t have happened, that Wilson just wasn’t there at the time. But that doesn’t mean that wasn’t a story told in her family . . . Some people jumped on the part of the book where he’s living with these people who have this incredible library, and he’s discovering all these books, and people say, “Well, that has to be a composite.” I don’t care. http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2010m4d25-Autumn-release-for-Bob-Dylan-by-Greil-Marcus-Writings-19682010 Подробнее о новой книге можно почитать на сайте издательства: http://www.publicaffairsbooks.com/publicaffairsbooks-cgi-bin/display?book=9781586488314

Voldar: Из чего только народ не создает артобъекты.Художник Iri5 создает портреты из магнитоленты. Остальные можно посмотреть здесь http://www.flickr.com/photos/iri5

ТНЮ: Вот это мастер!

Goldenday: Интересно, только не совсем понятны те места, где белые пятна на чёрном. Скажем, оправа очков: понятно, что ленту вокруг неё так ровно не положишь. Значит ли это, что художник сначала нанёс карандашное изображение на бумагу, а затем просто приклеил куски ленты на тёмные места? В принципе это доступно каждому, требуется лишь усидчивость и время.

Voldar: The 35th Anniversary of Bob Dylan’s Blood on the Tracks Blood on the Tracks: Place and Displacement By Richard Elliott 28 April 2010 Of the many wonderful moments to be found in No Direction Home, Martin Scorsese’s film about Bob Dylan, one seems to come closest to revealing what has made Dylan such an enduringly fascinating artist to follow over the many decades of his career. Following footage of Dylan performing “Mr Tambourine Man”—one of his most wandering songs, with its instruction to “take me disappearing” and its desire to “forget about today until tomorrow”—we cut to Dylan making the following claim: “An artist has got to be careful never really to arrive at a place where he thinks he’s at somewhere. You always have to realize that you’re constantly in a state of becoming.” This fine bit of editing by Scorsese highlights a constant aspect of Dylan’s varied career and repertoire, namely a tug-of-war, or dialectic, between place and displacement, also played out as a negotiation between movement and stasis, travel and home, present and past. Dylan presents himself—convincingly, for the most part—as an artist more interested in becoming than being and he continually stresses, in his life and art, a desire to move on to another place, to be somewhere where all those people looking for him (the “real” him) will not think to look. But this doesn’t ever do away with the constant haunting presence of home, stasis, and the past in his work. He is an artist who, no matter what he may say, really does look back. Dylan’s work has always been characterized by a poetics of place and displacement. The poetics of place establishes itself through recourse to repeated mentions of real and imagined places, which seem to fix many of Dylan’s texts in recognizable locations and which are therefore crucial to the ability of his audience to identify with the texts. These locations—whether actual or metaphorical—are fixed moments that the memory can focus on even as it struggles to recall other features. The poetics of displacement, meanwhile, seeks to challenge and destabilize any sense of permanence even as it simultaneously relies on a set of temporary memory sites. Dylan’s displacement techniques and refusal of a fixed identity constantly unpick the knowable, but cannot escape the desire for stabilizing moments. The importance of home and displacement in Dylan’s work is clearly understood by the makers of the three best films about Dylan: D.A. Pennebaker’s Dont Look Back, Scorsese’s No Direction Home, and Todd Haynes’s I’m Not There. All three films take their titles from lines in Dylan’s songs and acknowledge the impossibility of capturing their subject even as they attempt to do so. No Direction Home opens with Dylan speaking the following words: “I had ambitions to set out and find like an odyssey, going home somewhere. I set out to find this home that I’d left a while back and I couldn’t remember exactly where it was but I was on my way there, and encountering what I encountered on the way was how I envisioned it all. I didn’t really have any ambition at all ... I was born very far from where I’m supposed to be and so I’m on my way home.” This typically Dylan-esque logic exposes the bewilderment at the heart of the dialectic of place and displacement. Home, it seems, is as much where you’re going as where you’ve been; you’ll know it when you see it, but your recognition, by definition, will consist of something you already knew. These qualities of remembered bewilderment and bewildered memory run like threads through Dylan’s career, arguably finding their most telling manifestation on Blood on the Tracks, an album full of longings, imaginings, and memories, peopled by an ever-shifting but ever-interlocking (“tangled”) cast of characters. In Blood on the Tracks we meet our unreliable narrator “heading out for the East Coast” in the opening song; over the course of seven verses, we drift through New Orleans and Delacroix, settling briefly in a basement on Montague Street, only to end up where we started, “Still on the road / Headin’ for another joint.” “The only thing I knew how to do,” sings Dylan through his alias, “Was to keep on keepin’ on like a bird that flew.” Speaking in 1978, Dylan proffered the opinion that Blood on the Tracks differed from his earlier work in that “there’s a code in the lyrics and also there’s no sense of time. There’s no respect for it: you’ve got yesterday, today, and tomorrow all in the same room, and there’s very little that you can’t imagine not happening.” To shift the temporal and spatial axes of this observation, we could also say that here, there, and everywhere are taking place at the same time. “Tangled up in Blue” sets the tone by roaming across time and place, suggesting that any attempt to sort the tangle of memories the singer finds himself afflicted by can only ever be provisional and temporary. The lack of fixity is emphasized by the changing personal pronouns of the verses and the tendency for Dylan to rewrite the lyrics in subsequent performances. The personal pronouns shift again in the second track of the album, “Simple Twist of Fate”, as the protagonist changes from “he” to “I”. The anguished cry of “I’ve never gotten used to it” in “If You See Her, Say Hello” stresses involuntary memory (the name he can’t get used to hearing acts like Proust’s petite madeleine), while I replay the past focuses on the voluntary memory work that inevitably follows. The unexpected flash of the past summons a desire to take control of one’s history in the hope of taming the power and danger of such flashbacks. “Shelter from the Storm” imagines “a place where it’s always safe and warm”, an appeal to the homely that contrasts with the displacement enacted elsewhere. “Buckets of Rain”, the cozy blues that closes the album, suggests the singer may have found his shelter. The dialectic of place and displacement is also to be found in Dylan’s famous “wild mercury sound”, that magic sonority he sensed while at his 1960s peak and which he rediscovered magnificently on Blood on the Tracks. It’s entirely possible for both performer and audience to lose their place in this music. From the performer’s side, this can be witnessed by the number of live recordings in which Dylan loses his way in the lyrics; he also, it should be pointed out, battles his way out of lyrical dilemmas triumphantly and creatively, as can be heard on the alternate recordings of those Blood on the Tracks songs that were released on the first official Bootleg Series. This disorientation should be seen as part of the “code” Dylan speaks of, an invitation to engage in a ritualistic setting-aside of everyday time, space, and logic. This is something Paul Williams drew attention to in his discussion of the album in the second volume of Bob Dylan: Performing Artist. Williams also highlighted the way that the rhythmic thrust of the songs on Blood on the Tracks drives the listener on. Something compels us to follow Dylan into his labyrinth of words and sounds, even at the risk of losing our way. Theme and form support each other as Dylan delivers his sweeping narratives over washes of organ, driving guitar, and insistent drumming. There is pleasure in the way Dylan displaces us, handing us the magical constructs of his peculiarly stressed verses to ponder over as he moves on and away from us, leaving blood on the tracks. Nowhere is this more extravagantly achieved than on Idiot Wind, with its spellbinding structure. As Williams wrote of the song, “Dylan more than ever shows himself master of juxtapositions, connections, quick dissolves and timeless freeze frames”. These juxtapositions provide a sense of place as much as displacement. These are popular songs, after all, and popular songs love to come home. Dylan’s refrains bring it all back home and provide a “round trip” that is part of the geographical quality to his songs. Blues structures suggest their resolutions right from the start, while folk ballads circle infinitely around refrains. Dylan’s phrasing also brings a sense of stability even as he is displacing linguistic commonplaces; witness the role of “idiot” in “Idiot Wind”, or the refrains of “Tangled Up in Blue” and “Shelter from the Storm”. Home is the pull here and, for all the moving on that needs to be done, there is always a temptation to turn around and look behind. Displacement derives its power from the pull of place, after all. How much of Bob Dylan should we read into these songs? Dylan’s response to his fame and to the expectations that come with it is as prone to displacement as his songwriting. Again, refusal seems to be the defining strategy: distancing himself from the folk music scene he helped to define, distancing himself from the role of “visionary” and from any particular political stance, distancing himself from his own work and legacy through a constant reinterpretation of his songs. Like his character Alias in Sam Peckinpah’s Pat Garrett & Billy the Kid, Bob Dylan is always somewhere and someone else. What is said of the relationship explored in “Tangled Up in Blue” might also be said of the relationship between the various Dylans we have been offered down the years: “We always did feel the same / We just saw it from a different point of view.” Richard Elliott is a writer, university teacher, and journal editor based in Newcastle upon Tyne. He is the author of the book Fado and the Place of Longing: Loss, Memory and the City (2010), as well as articles and reviews covering a wide variety of popular music genres. Richard is currently working on a co-authored book on ritual, remembrance, and recorded sound. http://www.popmatters.com/pm/feature/124623-blood-on-the-tracks-place-and-displacement

Voldar: Фирма Гибсон порадовала нас очередным обзорчиком. Sunday Morning Coming Down: Bob Dylan, "Love and Theft" There are albums that are embedded with a weekend mood. Whether it’s Saturday afternoon or Sunday morning, Bob Dylan’s “Love and Theft” just has that feel. It’s a backyard hammock kind of album. It’s a chill-out record for a sunny day. A front porch and a screen door should have been included with every copy. That’s because listening to “Love and Theft,” you feel like you’re sitting in a rocking chair next to Uncle Bob, dressed up like Mark Twain, wearing a ridiculous moustache, and gazing out at the hazy day. He tells stories. He cracks wise. He reminisces about the good times. He mutters about the bad. He tells a knock-knock joke. Following the expansive, sometimes sinister, sounds of his 1997 Grammy-winning “comeback” album, Time Out of Mind, Dylan circles back to an era that predates his earliest recorded material. “Love and Theft” is stocked with folk, blues, jazz and pop tunes straight out of the early 20th century. He plants both feet not just in the past, but in this mythic, gothic, kudzu-covered southern past with words by Tennessee Williams and music by Charley Patton. It’s no shock that Dylan, an invented character himself, seems perfectly happy in this semi-fictional place. In fact, he’s never sounded more at home. There’s a comfort built into songs like “Mississippi,” a steady-rolling country tune that was kicking around for so long, Sheryl Crow recorded and released her cover version three years before Dylan’s own take. Where it sounds like Crow is pushing the song over hills and valleys, Dylan simply lounges on a raft as it rolls down the Big Muddy. “My heart is not weary / it’s light and it’s free,” Dylan proclaims. “I’ve got nothing but affection for all those who’ve sailed with me.” Listening to “Love and Theft” is like watching a really good actor. You go, “Where’s the work?” It’s all so effortless. Maybe that would seem like a lesser accomplishment if every song was whittled out of mid-tempo country-folk. But no, Dylan tries some swinging pop (“Summer Days”), croaks some bullfrog blues (“Lonesome Day Blues”) and does some craggy crooning on a jazzy love song (“Moonlight”). Dylan deserves credit for his versatility, for sure, but his backing band needs its due, too. Each track sounds like a slightly different band – a compliment to the multi-tasking greatness of these players. It was no accident. By the time “Love and Theft” was released in 2001, David Kemper and Tony Garnier already had five years experience serving as Dylan’s rhythm section. They were plenty skilled at beating a retreat for Bob, no matter where he wanted to go. But the true supporting stars here are guitarists Charlie Sexton and Larry Campbell. Now, Dylan’s played with some fabulous “sidemen” – Mike Bloomfield, Robbie Robertson, T-Bone Burnett, Mike Campbell – but his turn-of-the-century team is as good as any he’s had. While Bob is up there toying with clichés and speaking in antiquated tongues, it’s Sexton and Campbell who are conjuring misty jazz licks, twiddling banjos and crunching down hard on the blues. Then there’s “Honest With Me,” which comes barreling in two-thirds of the way into the album only to have Sexton and Campbell burn down the whole juke joint. One guy’s on the left, chopping up kindling with his razor riffs while the other is on the right, fanning the flames with his blazing dips and dives. Meanwhile, Dylan stands in the center ring of fire, declaring, “I’m here to create the new imperial empire / I’m gonna do whatever circumstances require.” It’s positively incendiary. And if that sounds like a bit much for your Sunday morning, then skip ahead to the foggy, perfectly-phrased album-closer “Sugar Baby,” or skip back to “High Water (For Charley Patton).” Revel in Dylan’s banjo-spiked tale of the hard times and strife of the blues community, but also the amazing legacy that runs parallel to the horror. Of course, Bob lifts a few lyrics from blues classics to drive home his point of view. “It’s rough out there,” he grumbles. Well, then, it’s even better that you’re here, with your porch and your screen door and “Love and Theft” on the stereo. Conditions are perfect. Bob Dylan, “Love and Theft” (2001) 1. “Tweedle Dee & Tweedle Dum” 2. “Mississippi” 3. “Summer Days” 4. “Bye and Bye” 5. “Lonesome Day Blues” 6. “Floater (Too Much to Ask)” 7. “High Water (For Charley Patton)” 8. “Moonlight” 9. “Honest With Me” 10. “Po’ Boy” 11. “Cry a While” 12. “Sugar Baby” Bob Dylan, “Lonesome Day Blues” – May 2002 in Brighton, U.K. http://www.youtube.com/watch?v=IBwrrBEGd0g

Voldar: Обама не просто так наградил недавно Боба,оказывается он слушает его давно. Обама увидел угрозу демократии в средствах коммуникации На встрече с выпускниками университета Хэмптон (Hampton University), президент США Барак Обама раскритиковал новейшие гаджеты. Он посчитал, что современные средства коммуникации могут не следовать ценностям демократического общества, а новые устройства превращают информацию в источник развлечения. Барак Обама рассказал студентам, что, по его мнению, эти технологии слишком отвлекают людей и создают давление на общество. Даже самые «сумасшедшие» заявления получают широкое распространение в Сети, тем самым «бомбардируя» аудиторию ложным контентом, отметил Барак Обама. А это вредит не только отдельно взятым людям, но и стране в целом, а также принципам демократии. Особенно он выделил iPod и iPad от Apple, Xbox и Sony PlayStation, сообщив, что он не только не пользуется этими устройствами, но даже не знает, как они работают. Как отмечает газета The Daily Mail, критики не замедлили припомнить, что Барак Обама, по его же собственному признанию, настоящий фанат смартфона BlackBerry. Его он не престал использовать даже после избрания американским президентом, несмотря на то, что закон страны требует, чтобы переписка президента фиксировалась на бумаге. Кроме того, всем хорошо известно, что в предвыборной гонке Обама использовал и силу социальных сетей, например, Twitter, и на вопросы американцев тогда еще будущий президент отвечал через Youtube. При этом активисты демократов использовали Интернет для мотивации молодых людей участвовать в голосовании. У президента США есть официальная страница на Facebook, а в одном из интервью в 2008 году он охотно делился информацией о том, что имеется в его iPod и о своих музыкальных пристрастиях. В частности, за два года до этого он слушал Боба Дилана (Bob Dylan), Джей-Зи (Jay-Z) и Брюса Спрингстина (Bruce Springsteen). Политологи называли Обаму первым «интернет-президентом», говоря, что он положил начало новой эпохи после «телевизионного» президента, которым стал Джон Кеннеди. http://www.bfm.ru/articles/2010/05/11/obama-protiv-novyh-tehnologij.html

Voldar: Предстоящим в Румынии концертам Дилана уже оказывается информационная поддержка. http://www.metalfan.ro/stiri-rock/viata-si-cariera-unei-legende-bob-dylan-never-ending-story-7124.html

Voldar: Clinton Heylin выпустил уже вторую книгу о Бобе Дилане.Первая называлась Revolution In The Air. Still On The Road successfully scrutinises Bob Dylan's creative process Dylanophile Clinton Heylin picks up the story (in this follow-up to Revolution In The Air) in 1974, with the singer/songwriter on the verge of hitting a creative high point with Blood On The Tracks. He again pulls off the labyrinthine task of charting Dylan’s career path through his songs; a task that becomes increasingly difficult as the artist flits from producer to producer and the line between what constitutes a finished song and a studio outtake becomes almost impossible to draw. And this time the fertile periods, which coalesced on great albums such as Desire and Slow Train Coming, are interspersed with bouts of writer’s block – one lasting five years but ending with the triumphant return to form of Time Out Of Mind – and increased touring rather than recording. The degree of knowledge Heylin assumes of his readers runs the risk of excluding all but the most avid ‘Dylanoraks’ from fully appreciating this work but rarely does an author put an artist’s creative process under such scrutiny – and stitch his findings together with such success. http://www.metro.co.uk/metrolife/books/825701-still-on-the-road-successfully-scrutinises-bob-dylans-creative-process

ТНЮ: Мне показалось, что тут он на Линна похож)

Voldar: Я бы сказал,на Джонни Деппа.

Voldar: У БоБа довольно дорогие шмотки. Bob Dylan's 'Last Waltz' jacket is priced £4,000 The jacket worn by the rock 'n' legend in Martin Scorsese's documentary is auctioning in the UK A number of exceptional film, television and music props are adding glamour to saleroom at Cameo Fine Art Auctioneers on May 23. Among the starring lots is a leather jacket from 1978, owned by none other than the folk and rock 'n' roll legend Bob Dylan himself. Labelled Jackson The Tailor, the jacket was worn by Dylan in director Martin Scorsese's 1978 film The Last Waltz, documenting the final concert of Dylan's sometime backing group, The Band. According to Cameo, the jacket was donated by Dylan to the Woodstock Cooperative and comes with a signed letter of authenticity from former The Band member Rick Danko, from 1994. The jacket is estimated at £3,000-4,000. Footage of Dylan performing in the jacket can be seen in the below cinematic trailer for The Last Waltz - watch closely and he crops up a various times during the clip. Cameo's auction will take place in Reading, Berkshire, UK.

Voldar: Tom Jones covering Bob Dylan, John Lee Hooker on new album Tom Jones Тom Jones has announced that he will release a new album of cover versions, 'Praise And Blame', on July 26. The album was produced by Ethan Johns (Kings Of Leon, Rufus Wainwright, Laura Marling), and features covers of songs by artists such as Bob Dylan, John Lee Hooker and Billy Joe Shaver. The release will be preceded by a double A-side seven-inch vinyl single, 'Burning Hell'/'What Good Am I', originally by Hooker and Dylan respectively, on June 7. Watch video footage of Jones in the studio working on the album by clicking below. The tracklisting (original artists in brackets where appropriate) of 'Praise and Blame' is: 'What Good Am I' (Bob Dylan) 'Lord Help' (Jesse Mae Hemphill) 'Did Trouble Me' (Susan Werner) 'Strange Things' 'Burning Hell' (John Lee Hooker) 'If I Give My Soul' (Billy Joe Shaver) 'Don't Knock' 'Nobody's Fault But Mine' 'Didn't It Rain' 'Ain't No Grave' 'Run On' http://www.nme.com/news/tom-jones/51098

Voldar: Приближающееся 69-е день рождения Боба,также широко отмечается мировой общественностью,страшно подумать ,что будет в следующем году. Шести часовой марафон из редких видео материалов и фотографий собираются устроить в Indigo Arts Center в Саванне. Man About Town: Bob Dylan marathon at Indigo Arts on Sunday In a few days, Bob Dylan will be 69 years old. Or should I tritely say 69 years young? Maybe forever young? Dylan has obviously been through all sorts of incarnations. My favorite version is the mid-1970s Dylan - albums like Blood on the Tracks and Desire. But no matter what Dylan you love - or not love - you're sure to find something worth hearing or seeing in a 6-hour marathon of rare and unreleased footage this Sunday from 5 to 11 p.m. at Indigo Arts Center at 703 D Louisville Rd. This one-of-a-kind show is the work of Jim Reed, who has been collecting rare filmed interviews and unreleased concert footage for 28 years. The former entertainment editor for Connect Savannah, the driving creative force behind Tiny Team Concerts, a drummer for bands including Superhorse and The Magic Rocks, and the founder of the ongoing Psychotronic Film Society, Reed has many passions. But among Reed's diverse interests, Dylan stands out. Sunday's show has been culled from literally hundreds of hours of video of the sometimes-prickly performer. The clips will not be presented chronologically, which should make for some fascinating - even disturbing - juxtapositions. Six hours is indeed a marathon, so attendees are welcome to arrive late or leave early - or to leave and come back. A printed program will be available at the door and online at www.myspace.com/psychotronicfilms. Indigo Arts, in the former Seaboard Freight Station just a moment down the hill from the Visitor Center on Martin Luther King Jr. Boulevard, has proven an excellent venue for all sorts of multimedia events. In just five months, founder JinHi Soucy Rand has made Indigo Arts a cultural hub that welcomes people of all backgrounds. In a few days, Bob Dylan will be 69 years old. Or should I tritely say 69 years young? Maybe forever young? Dylan has obviously been through all sorts of incarnations. My favorite version is the mid-1970s Dylan - albums like Blood on the Tracks and Desire. But no matter what Dylan you love - or not love - you're sure to find something worth hearing or seeing in a 6-hour marathon of rare and unreleased footage this Sunday from 5 to 11 p.m. at Indigo Arts Center at 703 D Louisville Rd. This one-of-a-kind show is the work of Jim Reed, who has been collecting rare filmed interviews and unreleased concert footage for 28 years. The former entertainment editor for Connect Savannah, the driving creative force behind Tiny Team Concerts, a drummer for bands including Superhorse and The Magic Rocks, and the founder of the ongoing Psychotronic Film Society, Reed has many passions. But among Reed's diverse interests, Dylan stands out. Sunday's show has been culled from literally hundreds of hours of video of the sometimes-prickly performer. The clips will not be presented chronologically, which should make for some fascinating - even disturbing - juxtapositions. Six hours is indeed a marathon, so attendees are welcome to arrive late or leave early - or to leave and come back. A printed program will be available at the door and online at www.myspace.com/psychotronicfilms. Indigo Arts, in the former Seaboard Freight Station just a moment down the hill from the Visitor Center on Martin Luther King Jr. Boulevard, has proven an excellent venue for all sorts of multimedia events. In just five months, founder JinHi Soucy Rand has made Indigo Arts a cultural hub that welcomes people of all backgrounds.

Voldar: Также выходит полное собрание сочинений Дилана. The Definitive Bob Dylan Songbook (Bob Dylan) * 790 Pages * Published by Music Sales America * Softcover The complete songbook from the greatest singer/songwriter of all time! Now with every song together in one giant volume, the ultimate Dylan songbook features over 329 tunes including all of his greatest hits as well as his lesser-known work. With melody line, chord symbols and full lyrics. Songs include Blowin in the Wind, Forever Young, Just Like a Woman, Mr. Tambourine Man, She Belongs to Me, Tangled Up in Blue, The Times They Are Changin , Visions of Johanna and hundreds more. http://www.amazon.com/Bob-Dylan-America-Sean-Wilentz/dp/0385529880%3FSubscriptionId%3DAKIAIE4IH63WQNI24PBA%26tag%3Ddaibrenew-20%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3D0385529880

Voldar: Большим обзором по лучшим каверам на песни Боба разразился спиннер. Bob Dylan birthday tribute - Part one, with Jimi Hendrix Bob Dylan turns 69 years old on May 24. They say that imitation is the sincerest form of flattery. If that case, Dylan has been flattered plenty over the last half-century. Over the next week or so, I'll be posting cover versions of Bob Dylan songs from a variety of artists working in different genres. We'll start with Jimi Hendrix. His version of "All Along The Watchtower" is often considered not only the best Dylan cover, but possibly the greatest cover version of any song ever. This is Dylan's most performed live number. In 1974, when Dylan started doing the song in concert, it was based on Hendrix's arrangement. He has sung this song in concert over 1900 times, about 150 more than "Like A Rolling Stone". Atlanta Pop Festival, 1970 I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way. Funny though, his way of doing it and my way of doing it weren't that dissimilar, I mean the meaning of the song doesn't change like when some artists do other artists' songs. Strange though how when I sing it I always feel like it's a tribute to him in some kind of way. He did a lot of my other songs too from that period... "Drifter's Escape", "Like a Rolling Stone", "Crawl Out Your Window", some others I don't remember. He would have done "Masters of War" exactly the way I do it now." Bob Dylan, "Biograph" liner notes, 1985. As Dylan mentioned, Hendrix covered other songs of his as well. Here's "Like A Rolling Stone" from his legendary 1967 performance at the Monterey Pop Festival: Here's a BBC recording from October 17, 1967, of "Can You Please Crawl Out Your Window?", broadcast November 13 on Alexis Korner's Rhythm and Blues program: Bob Dylan birthday tribute - Part two, 'Golden Throats' (Shatner, Cabot, Albert) cover Dylan This is part two in our series of Bob Dylan tributes, in honor of his upcoming 69th birthday on May 24. Not all Bob Dylan cover versions need to be serious. Below are some interesting interpretations of Dylan material, all from the 1960s. These say more about that decade than most people care to remember. William Shatner, "Mr. Tambourine Man" From 1988 to 1997, Rhino Records put out a series of records and CDs called Celebrity Throats, which featured Hollywood's finest actors and other celebrities covering the hits of the day. Some of the highlights included Cream's "White Room" by Cabaret's Joel Grey, "(I Can't Get No) Satisfaction" by Phyllis Diller, and "Bridge Over Troubled Water" by Senator Sam J. Ervin, Jr. Sebastian Cabot, "It Ain't Me, Babe" Rhino released four volumes: Golden Throats: The Great Celebrity Sing Off , Golden Throats 2: More Celebrity Rock Oddities!, Golden Throats 3: Sweethearts of Rodeo Drive (all country music), and Golden Throats 4: Celebrities Butcher the Beatles. There was a proposed fifth disc of Dylan covers, but it never saw the light of day. However, there were Dylan songs included in the first three volumes, including "I'll Be Your Baby Tonight" by Laugh-In's Goldie Hawn, Green Acres' Eddie Albert tackling "Blowin' In The Wind", Star Trek's William Shatner's legendary take of "Mr. Tambourine Man", as well as three dramatic readings by Family Affair's Sebastian Cabot - "It Ain't Me, Babe", " All I Really Want To Do" and "Like A Rolling Stone". For good measure, there was also a version of The Animal's hit, "House Of The Rising Sun" by Andy Griffith. Eddie Albert, "Blowin' In The Wind" Let's have a bit of fun by enjoying these less revered, yet still entertaining, "interpretations". http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2010m5d18-Bob-Dylan-birthday-tribute--Part-two-Golden-Throats-Shatner-Cabot-Albert-cover-Dylan

Voldar: Happy birthday to you - Роберт Аллен Циммерман

Voldar: Возможно ко дню рождения размещена новая коллекция работ Боба,на его артистическом сайте. Bob Dylan's Drawn Blank series 2010: New portfolio of signed, limited edition graphics Fisherman Limited Edition Graphic of 295 Hand-signed by the artist Paper Size 27.5" x 22" £1,250.00 (inc. VAT) http://www.bobdylanart.com/standard-2010.asp?artID=2

Voldar: Michel Montecrossa's 'Michel & Bob Dylan Fest 2010' Released as Double Album NewswireToday - /newswire/ - Gauting, Bavaria, Germany, 05/24/2010 - Mira Sound Germany releases Michel Montecrossa's 'Michel & Bob Dylan Fest 2010' as Double Audio-CD and DVD containing 32 tracks. The ‘Together’ Climate Change Concert, released by Mira Sound Germany as double Audio-CD and DVD is Michel Montecrossa’s outstanding concert for the Michel & Bob Dylan Fest 2010. Performed in the Omnidiet Music-Hall the concert presents 32 songs including Michel Montecrossa’s title song ‘Together‘ and great songs like ‘Joy & Future‘, ‘Feelin’ Good‘, ‘Name Of The Game‘ and ‘In All There Is One Meaning‘. Michel Montecrossa’s Bob Dylan program includes killer-versions of ‘Beyond Here Lies Nothin’‘, ‘It’s All Good‘ and rarities like ‘Long Time Gone‘. Michel Montecrossa’s ‘Together’ Climate Change Concert features his performances of all songs included in Bob Dylan‘s album ‘Together Through Life’ and is available via the Mirapuri-Shop, iTunes and various other Online-Stores. About ‘Together’ Michel Montecrossa says "Together things go better." Michel Montecrossa Songs: ‘Together’; ‘What A Night, What A Day’; ‘The Woman’; ‘Chainless Girl’; ‘Steppin’ In’; ‘Joy & Future’; ‘Soul & Future’; ‘Eternal Woman’; ‘Love Unites’; ‘Courage & Love’; ‘Feelin’ Good’; ‘Met You In Paradise’; ‘The Day Is Comin’; ‘Green Tomorrow’; ‘Love Is Sweet, Love Is Cool’; ‘Happy Future’; ‘Name Of The Game’; ‘In All There Is One Meaning’ Bob Dylan Songs: ‘Beyond Here Lies Nothin’; ‘Life Is Hard’; ‘My Wife’s Home Town’; ‘If You Ever Go To Houston’; ‘Forgetful Heart’; ‘Jolene’; ‘This Dream Of You’; ‘Shake Shake Mama’; ‘I Feel A Change Coming On’; ‘It’s All Good’; ‘Like A Rolling Stone’; ‘Born In Time’; ‘Long Ago, Far Away’; ‘Long Time Gone’ The Songs, Disc One: ‘Together‘, ‘Beyond Here Lies Nothin’‘, ‘What A Night, What A Day’, ‘Life Is Hard’, ‘The Woman’, ‘My Wife’s Home Town’, ‘Chainless Girl’, ‘If You Ever Go To Houston’, ‘Steppin’ In’, ‘Forgetful Heart’, ‘Joy & Future‘, ‘Jolene’, ‘Soul & Future’, ‘This Dream Of You’, ‘Eternal Woman’, ‘Shake Shake Mama’ The Songs, Disc Two: ‘Love Unites’, ‘I Feel A Change Coming On’, ‘Courage & Love’, ‘It’s All Good‘, ‘Feelin’ Good‘, ‘Like A Rolling Stone’, ‘Met You In Paradise’, ‘Born In Time’, ‘The Day Is Comin“, ‘Long Ago, Far Away’, ‘Green Tomorrow’, ‘Long Time Gone‘, ‘Love Is Sweet, Love Is Cool’, ‘Happy Future’, ‘Name Of The Game‘, ‘In All There Is One Meaning‘ Michel Montecrossa's video and performance of Bob Dylan's song 'The Groom's Still Waiting At the Altar', now available via the Filmaur Multimedia Youtube Channel further completes the 'Michel Montecrossa sings Bob Dylan' series. http://www.newswiretoday.com/news/70848/

Voldar: 69 Things You Didn’t Know About Bob Dylan 12:31 pm Monday May 24, 2010 by Margaret Eby On this day in 1941 at 9:05 p.m., little Bobby Zimmerman — a.k.a. His Dylanness — was born. Earn your degree in Dylanology with our primer on unexpected Bobster trivia, featuring one fact for each of his 69 years, after the jump. Don’t think twice! 1. Before he renamed himself Bob Dylan, Robert Allen Zimmerman briefly went by Elston Gunn. 2. Dylan’s father, Abe, was a semi-professional baseball player before he contracted polio in his early twenties. 3. According to Bob Spitz, author of The Beatles: The Biography, it was Dylan who first introduced the Fab Four to marijuana. 4. The phrase next to Robert Zimmerman’s picture in the 1959 Hibbing High School Yearbook was “To join Little Richard.” 5. Dylan’s first professional recording was as a harmonica player at a Harry Belafonte session. 6. His great-grandfather and uncles owned the biggest movie theaters in Hibbing, Minnesota, allowing a young Dylan to watch films for free. 7. After seeing Rebel Without a Cause, Dylan became obsessed with James Dean. 8. In 10th grade, Dylan and his back-up band were rejected from a high school talent show because the student council judged his performance at the audition too shocking. 9. Before he flunked out of the University of Minnesota, Dylan pledged to the fraternity Sigma Alpha Mu. 10. In college, Dylan was known for scamming his friends out of cigarettes and articles of clothing. 11. In 1960, Tommy Smothers of the Smothers Brothers tried to get the manager of a Denver club to kick Dylan off the bill, complaining that his voice was awful. 12. During his days in Greenwich Village in the 1960s, Dylan became a chess fiend. 13. When Dylan met girlfriend Suze Rotolo’s mother, Mary, he lied and told her that he had a degenerative eye disease that would eventually lead him to go blind, earning him Mary’s eternal distrust. 14. Bob Dylan appeared with Joni Mitchell on the first episode of The Johnny Cash Show. 15. When he was first signed to Columbia Rcords, Dylan conned his way out of a stipulation that required his parents to sign (at 20, Dylan was considered a minor at the time) by convincing John Hammond that he was an orphan. 16. Suze Rotolo’s pet names for Dylan were “the Pig” and “RAZ.” 17. When a CBS censor informed him that he couldn’t play “Talkin’ John Birch Paranoid Blues” on The Ed Sullivan Show, Dylan refused to go on. 18. Dylan’s first major appearance on American television was on The Steve Allen Show in 1964. When Dylan announced that he was playing the song “Hattie Caroll,” only one audience member clapped in recognition. 19. In 2004, Dylan earned an honorary doctorate in music from the University of St. Andrews. 20. The only other honorary degree Dylan has accepted was in 1970 from Princeton. 21. Last year, Dylan was detained by the police in New Jersey after a homeowner spotted him wandering around a residential block in the rain. 22. During Dylan’s 1965 tour of England, reporters swarmed the singer at Heathrow. They were so entranced by Dylan that Lena Horne, then an enormous British celebrity, passed by the gaggle of photographers unnoticed. 23. The first time Donovan and Bob Dylan met, Dylan and his entourage all wore Halloween masks. 24. Dylan’s first draft of “Like a Rolling Stone” was six pages long. 25. His first wife, Sara Lownds, worked as a Playboy bunny. 26. One night at Max’s Kansas City, Dylan and his road manager, Bob Neuwirth, insulted The Rolling Stones’ Brian Jones until Jones broke down in tears. 27. Dylan struck up a short-lived friendship with Tiny Tim, who Dylan recorded singing “Like a Rolling Stone” while strumming the ukulele. 28. He appeared in the 1973 Sam Peckinpah film Pat Garrett & Billy the Kid as a drifter named Alias. 29. Kris Kristofferson was the custodian at the studio where Dylan recorded Nashville Skyline. 30. Aside from song-writing, Dylan is also a prolific painter. The cover of his 1970 Self Portrait is his own painting. 31. After his friend Phil Ochs died, Dylan took to polishing off a fifth of bourbon a day. 32. Pauline Kael called Dylan’s film Renaldo & Clara “what Louis and Marie Antoinette might have done at Versailles if only they’d had the cameras.” 33. According to Nico, Edie Sedgwick was the subject of “Leopard-Skin Pill-Box Hat.” 34. From around 1960 to 1964, Dylan’s preferred intoxicants were pot and Beaujolais. 35. After Dylan’s 1966 motorcycle accident, Allen Ginsberg brought him a box full of books to aid his recovery. 36. In the summer of 1970, Dylan was briefly involved in the production of a musical version of The Devil and Daniel Webster with poet Archibald MacLeish but backed out when he and MacLeish didn’t see eye to eye. 37. At John Prine’s second gig outside of Chicago ever, Dylan showed up to play backup harmonica. 38. The original title of Planet Waves was Ceremonies of the Horsemen. 39. The first words Dylan spoke to playwright Sam Shepard, who Dylan had hired to write scenes for the movie Eat the Document, were “We don’t have to make any connections. None of this has to connect.” 40. Shepard and Dylan cowrote a 12-minute song called “Brownsville Girl” based on the Gregory Peck film The Gunfighter. Dylan has only played it in concert once. 41. After Elvis died, Dylan didn’t speak to anyone for a week. 42. In 1978, Dylan took a three-month course at the Vineyard School of Discipleship as part of his conversion to born-again Christianity. 43. An offhand comment Dylan made at Live Aid inspired Willie Nelson to organize Farm Aid. 44. During his satellite radio hour, Bob Dylan covered a verse of LL Cool J’s “Mama Said Knock You Out.” 45. Dylan toured with the Grateful Dead for six shows in 1987. 46. Bruce Springsteen inducted Bob Dylan into the Rock and Roll Hall of Fame in 1988. 47. The Traveling Wilburys started when Tom Petty, Roy Orbison, George Harrison, and Jeff Lynne recorded a Harrison B-side called “Handle with Care” at Dylan’s house in Malibu. 48. The Pulitzer Prize committee gave Dylan a special citation in 2008 for “lyrical compositions of extraordinary poetic power.” 49. In 2001, Dylan received an Academy Award for his song “Times Have Changed,” featured in the film Wonder Boys. According to rumor, Dylan often props his Oscar up on the speakers when he’s playing. 50. Since 1988, as part of his “Never-Ending Tour,” Bob Dylan has played at least 100 concerts per year. 51. Dylan starred in a 1987 box-office flop Hearts on Fire as a rock star turned farmer. 52. When Dylan performed for Pope John Paul II in 1997, Cardinal Joseph Ratzinger (the current Pope Benedict), tried to stop Dylan from playing. 53. “Rainy Day Women #12 & 35″ was recorded in one take. 54. Joni Mitchell recently revealed a giant grudge against Dylan. 55. In 1999, Dylan appeared on an episode of Dharma & Greg. 56. Seinfeld veteran Larry Charles directed Dylan’s 2003 film Masked & Anonymous. 57. Dylan has played shows in supported of the ultra-Orthodox Lubavitcher sect of Judaism. 58. During a cross-country trip in 1964, Dylan showed up at Carl Sandburg’s doorstep and handed the poet a copy of The Times They Are A-Changin’. 59. At the release party for Blood on the Tracks, Bob Dylan’s table included guests Bette Midler and David Bowie. 60. Dylan’s experimental novel, Tarantula, was published in 1971. 61. When he was in high school, his standard order at the local luncheonette was cherry pie á la mode. 62. Patti Smith and Dylan toured together briefly in 1995. 63. He also appeared in a 2004 Victoria’s Secret commercial. 64. Weird Al Yankovic did a song entirely of palindromes called “Bob” that was styled on “Subterranean Homesick Blues.” 65. Dylan’s younger brother, David Zimmerman, is a record producer. 66. Dylan has nine grandchildren and sports a bumper sticker on his car that reads “World’s Greatest Grandpa.” 67. Dylan got the idea for some of the lyrics for his album Love and Theft from the book Confessions of a Yakuza. 68. Last year, Dylan released an album of Christmas songs entitled Christmas In the Heart, which includes a sped-up, Dylanized version of “Must Be Santa.” 69. In February, Dylan braved a blizzard to perform at a civil rights concert at the White House. http://flavorwire.com/93342/bob-dylan-69-birthday-facts

Voldar: По следам ДР Боба. WHAT ABOUT BOB: Why BobFest is creating new Dylan fans For years Don Greenwood carried around a cassette recording of a song that was never finished. Most of the words were garbled nonsense that stood in place of actual lyrics. The song was called "I'm not there," and it struck a nerve in Greenwood to the point he couldn't put it down. It didn't matter he couldn't sing along or understand the words - that's never been a problem for Greenwood. He's been a fan of Bob Dylan for 45 years, and is still learning something each time he listens to his music. "Anybody who claims they really understand Dylan's work are in some sort of fantasy (world), Greenwood said with a laugh. It's the rare work, the snippets of music that Greenwood prides himself on finding, that makes him a Dylanologist. But he realized one day that he needed to do something more to preserve Dylan's music. In the early 1990s, Greenwood attended a Dylan concert at the Riverside Theatre in Milwaukee with his daughter and her boyfriend. After the concert, they went to a party where Greenwood saw about 20 people, all half his age, deeply into Bob Dylan. There was a guy in one corner showing a video of a Dylan concert, and another person showing off his suitcase of Dylan music. "I'm sitting there thinking, there's hope for this world," Greenwood said. That's when it struck him that he needed to help bring Dylan's music to new generations. After talking with fellow Spring Green resident Todd Miller, an event called BobFest was formed in the late '90s on the grounds of Miller's Spring Green General Store. While Miller wasn't a Dylan fan at the time, he wanted to have an event over Memorial Day weekend for something to do in the area. "This guy is the Shakespeare of our age," Greenwood said. "We need to do something to keep it in front of people." BobFest, not to be confused with Fighting Bob Fest in Baraboo, is now in its 13th year this Sunday. It attracts those who want to hear Dylan music and a growing bunch who want to sing it. " We generally get 800 to 1,000 people coming back," Miller said. "It turned into kind of a big event." Finding Dylan Attending a Bob Dylan concert, you're never quite sure who will show up. Will it be the Dylan whose songs are on albums worldwide? Or the Dylan who mumbles through sets? When Don Greenwood first saw Dylan perform in 1965 in Chicago, he was a skeptic of his music, but walked away with a new appreciation. Soon after, he and his friends started collecting and sharing Dylan's work, trying to understand what it all meant. "He didn't seem to be really big on showbiz, or being really nice to the audience or anything," Greenwood said. "He seemed pretty much like he is now. I'm here to do what I like, if you like it, great, if you don't, tough luck." Dylan's songs like "Blowin' in the Wind" and "The Times They Are a-Changin'" became anthems in the 1960s for the Civil Rights and anti-war movements. As Dylan's sound has changed over time, Greenwood has enjoyed the ride - and the concerts. "Only on special occasions would you really call it singing," Greenwood laughed. While he believes Dylan is the best songwriter ever, Greenwood also enjoys Dylan's voice. "I think his singing is wonderful," he said. Since BobFest was created, Miller has seen Dylan perform several times, and has become a fan. He said he's always surprised at what Dylan will do with his own songs. "Sometimes (they're) almost unrecognizable," Miller said. Greenwood's knowledge of Dylan's music is impressive. He rarely, if ever, comes across something he hasn't heard. But he's not the type of fan that collects things like concert ticket stubs or merchandise. He's in it for the music. But if he wants to see stuff like that, he could visit one of his friends in Duluth, Minn., who went as far as buying the home that Bob Dylan was raised in for his first five years. Back when his name was Robert Allen Zimmerman. The Wonder Boy The first BobFest started at a time when Dylan's career was kind of at a low point. About 80 people attended the event, with most of the performers being solo acts with a few duos sprinkled in. "No, we didn't think it would take off," Greenwood said. Now, there are about 50 musicians who end up on stage during the event, touching on all periods of Dylan's career. Marty L'Herault has performed at every BobFest except one and said it's a perfect event because of Dylan's large song catalog. A Spring Green resident, L'Herault has spent this past week teaching freshman English and has talked with students about the meaning of songs. "Some of the boys in the class are giving me a hard time about Bob Dylan," he said. "Just because the music has been around a long time doesn't mean it's not cool music." L'Herault said that those attending BobFest will leave with an appreciation for Dylan's music, even if they came into it thinking he isn't much of a singer. While it started out with just locals, Miller said there is now a backlog of people who would like to play at BobFest, which has remained a free, family-friendly event. The only obstacle the event faces is rain. If showers move in, the event is moved inside the General Store, but there is only enough room for 150 people. To keep the event fresh, Miller posts past song lists on the General Store's Web site so people can figure out what they want to perform. "Locally, there is a lot of support for it," Miller said of the amount of performers who live close to the event. Dylan's music has found a resurgence over the past decade, and he's taken home Grammys and even an Oscar for his song "Things Have Changed," which he wrote for the film "Wonder Boys." The performers at BobFest bring their own sound and take on Dylan's songs, something that Dylan does himself. "I don't know how anybody can try to sound like Bob Dylan. Every time he does (a song), they sound different than before," Greenwood said. "Every once in awhile you will get someone who sounds like Dylan at a point in his career." BobFest has been so popular that last year Miller decided to create another event for Labor Day weekend to act as a bookend to the summer. In its first year, BeatleFest attracted about half the crowd BobFest does, but it is off to a strong start. But for Greenwood, it's Dylan's music that captivates. He said he still is uncovering things each time he listens to his work, and that's what has kept him a fan all these years. At BobFest, Greenwood may be the only person in the audience who has recognized every song performed over the past 12 years. And this year he will be performing about three songs, which will include one "very obscure outtake." "I just ask for 15 minutes," he said of performing at the event. "Andy Warhol said it was enough." http://www.wiscnews.com/portagedailyregister/news/local/article_39665ea2-69d3-11df-8662-001cc4c002e0.html

Voldar: Bob Fest now bigger than ever SPRING GREEN - How big has Bob Fest gotten? It's gotten so big it has spawned a book-end Beatle Fest on Labor Day weekend. Bob Fest - not to be confused with the political Fighting Bob Fest in September in Baraboo - is a celebration of the life and music of singer-songwriter-poet Bob Dylan, and has been going on here in the backyard of the Spring Green General Store and Cafe since 1998. Started to commemorate Bob Dylan's May 24 birthday, the store's owners have held it the following weekend, the Sunday before Memorial Day, so more people turn out. Each year, for the past three years, the event has drawn close to 1,000 people throughout the day. Dylan fans brought their own folding chairs and camp chairs, some brought children and dogs. A few women brought their knitting. Many congregated under large shade trees drinking local Furthermore Beer as temperatures reached the lower 90s. Lots of fans wore name tags that read, "Hello my name is: Bob." Todd Miller, who owns the Spring Green General Store with his wife, Karin, said it's the perfect event during the tough economic times. "There is no charge. There's nine hours of free music. The musicians seem to love to do this." Sixteen acts, including Miller, played the festival Sunday in mostly half-hour segments. Musicians submit the songs they're playing ahead of time to avoid duplication. Competition for slots is heavy, with most musicians contacting Miller early in the year. All of the performers volunteer their time. Festival founder Don Greenwood, 61, of Spring Green, called Dylan's music an amazing use of the English language. "He's our modern day equivalent of Shakespeare. My friends at APT don't always agree," he said, referencing the nearby American Players Theatre. "People come to hear the songs. It's a nice way to start the summer off," Greenwood said. Dave Saperstein, in his third year as emcee, told the crowd that the whole idea of the festival was to "celebrate the work and the life of the greatest American songwriter in the last 69 years," to which there was overwhelming applause. "We're celebrating him and all of his contributions. He's still making music, thank goodness." Dylan has cast a shadow over American music and influenced anybody who's made popular or American music in the last 50 years, Saperstein said later. "You can't help but be influenced by him," he said. Arvid Berge opened the festival with a six-member backup band called Street Legal, named for Dylan's 18th studio album, released by Columbia Records in 1978. Berge has played the festival three or four times, and noted that it was the first place he'd played in public. "It's so much fun. Fun, fun, fun," he said. "It's an opportunity to get together with friends and rehearse songs everyone's fairly familiar with. And of course, it's a good way to honor Bob Dylan. I'm a lifelong fan." Karin Miller, the store's co-owner, said it used to be you could roll a bowling ball through town and not hit anybody on Memorial Day weekend. "Basically everybody left town," she said. So when Greenwood suggested a festival honoring Bob Dylan she and her husband held an open mike indoors in the cafe space. In 13 years it's grown so big that last year when Todd turned 50, he marked the occasion with the first annual Beatle Fest. "Around here, if you start something you make a lifetime commitment," Karin said. "It's all Beatle songs and it's hard to find anyone that doesn't like the Beatles." http://host.madison.com/wsj/news/local/article_b07dd1ec-6c52-11df-8efb-001cc4c002e0.html

Voldar: Как это ни печально от рака умер Деннис Хоппер - друг Боба с давних времен. Volatile Dennis Hopper, of 'Easy Rider' fame, dies at 74 Dennis Hopper, 74, an actor and director whose low-budget biker movie "Easy Rider" made an unexpected fortune by exploring the late 1960s counterculture, and who changed Hollywood by opening doors to younger directors such as Steven Spielberg and George Lucas, died Saturday at his home in Venice, Calif. Hopper, who enjoyed a career resurgence in the 1980s and 1990s playing alcoholics and compelling psychopaths in films including "Hoosiers," "Blue Velvet" and "Speed," was diagnosed last year with cancer. "Easy Rider," released in 1969, was often called a generational marker, a film set to a pulsating rock soundtrack and filled with hallucinogenic imagery meant to evoke the rebellious youth counterculture. As the director, co-star and co-screenwriter of "Easy Rider," Hopper called the film his "state of the union message" about a country on the brink of self-destruction because of the Vietnam War, political assassination, prejudice, intolerance and greed. The story was about two small-time drug dealers (played by Hopper and Peter Fonda) who make a cocaine sale in Mexico and then set off across the country by motorcycle to Mardi Gras in New Orleans. Along the way, they meet hippies, dropouts and bigots. Hopper, actor Fonda and writer Terry Southern shared an Oscar nomination for best original screenplay. Independently financed, "Easy Rider" cost less than $500,000 to make and grossed tens of millions of dollars. Hopper was a first-time director when he made "Easy Rider." He had started his movie career with promise, appearing opposite James Dean in "Rebel Without a Cause" (1955) and "Giant" (1956). But his reputation for substance abuse problems and angering veteran directors had caused acting offers to dry up at major studios. "Easy Rider" catapulted Hopper to the center of the glamorous intersection of art, entertainment and politics that included his friends Bob Dylan, music producer Phil Spector and pop artists Andy Warhol and Roy Lichtenstein. His next film, "The Last Movie" (1971), was a $1 million box- office fiasco. He retreated to a commune in New Mexico, where he binged on rum, tequila and cocaine and fell into a fit of paranoia that led him to shoot off rounds from a machine gun he kept in his house. He took a handful of acting jobs, the best remembered of which was as the drug- addled Vietnam War photographer in Francis Ford Coppola's "Apocalypse Now" (1979), but his career was otherwise stalled. In 1984, he was committed to the psychiatric ward of a Los Angeles hospital after experiencing a violent hallucination. Hopper described this as the lowest point in his life. He said he stopped hard drugs and drinking and decided to channel his "compulsive" personality in other directions, namely work. He earned an Academy Award nomination for his supporting role as an alcoholic coach in the basketball drama "Hoosiers" (1986) opposite Gene Hackman and directed the police drama "Colors" (1988) starring Sean Penn and Robert Duvall. Mostly, Hopper specialized in portraying weirdly intense characters. Dennis Lee Hopper was born May 17, 1936, in Dodge City, Kan., where his father was a railroad postal worker. He grew up in San Diego. Hopper's marriages to socialite Brooke Hayward, actress Daria Halprin and dancer Katherine LaNasa ended in divorce. He was also married for eight days to Michelle Phillips of the singing group the Mamas and the Papas. "Seven of those days were pretty good," he said. "The eighth day was the bad one." Originally published by The Washington Post. http://www.californiachronicle.com/articles/yb/145614367 Key facts about 'Easy Rider' LOS ANGELES (Reuters Life!) - Following are some key facts about “Easy Rider,” the groundbreaking 1969 biker film directed by Dennis Hopper, who died at his home in Los Angeles Saturday from complications of prostate cancer. Hopper played Billy in the film, alongside Peter Fonda as Wyatt, a.k.a. Captain America. + Fonda came up with the idea while drinking beer and smoking marijuana in a Toronto motel room. He immediately called Hopper in the middle of the night, and proposed they both write and star, that Hopper direct and he produce. + Hopper viewed the story — two drug-dealing bikers who ride their Harley-Davidsons across the country to Mardi Gras, and are then shot by rednecks — as a fable about how pursuers of the American dream lose sight of their freedom. + The script was credited to Fonda, Hopper and influential writer Terry Southern, although they bitterly argued about who was responsible for the final product. + Hopper and Fonda, who also argued about profit-sharing, started the production as friends and ended it as feuding enemies. + Hopper was reluctant to cast the unknown Jack Nicholson as the alcoholic lawyer because he wanted someone with an authentic Texan accent. + Hopper claimed in 1994 that he had fired Rip Torn from the role ultimately played by Nicholson, because Torn had pulled a knife on him. Torn sued Hopper for defamation, and won a $475,000 judgment. + The film was budgeted at about $360,000, funded by windfall profits from the duo behind “The Monkees.” Hopper said it made its money back in one week, from one theater. + Music producer Phil Spector, later convicted of murder, has a cameo at the beginning as the cocaine buyer, supplying his own bodyguard and Rolls-Royce to keep down costs. + Hopper once took credit for America’s cocaine problem, saying “Easy Rider” popularized its use. + The marijuana the characters smoked on screen was authentic, high-quality product that had a quick effect. + Fonda shot his scene in the hot springs alone, three weeks after his co-stars did, because he was hospitalized with pneumonia at the time. + Hopper drew on the suicide of Fonda’s mother to cajole him into making the tearful outburst “I hate you so much” during the acid-trip scene in the New Orleans cemetery. + The redneck with the goitre who shot Fonda and Hopper’s characters was discovered by Hopper at a gas station. + Bob Dylan turned down Hopper’s request to use: “It’s Alright Ma I’m Only Bleeding” over the ending credits, and instead wrote the lyrics of “Ballad of Easy Rider,” which was sung by Roger McGuinn of the Byrds. + The custom-built bikes their characters rode were completely impractical for cross-country riding. They were stolen at gunpoint before filming was completed and likely dismantled, which is why they don’t appear in the final campfire scene. Fonda said Hopper later sold a replica, fraudulently claiming it was an original. + The film was released in July 1969, more than a year after filming had ended as Hopper agonized over the editing, at one point planning to release a version almost four hours long. http://www.vancouversun.com/entertainment/facts+about+Easy+Rider/3087882/story.html

Voldar: Журнал Rolling Stone обновил свой рейтинг 500 Greatest Songs of All Time,но №1 остался тот же. Here are the top 50 on the list: 1 Like a Rolling Stone Bob Dylan 1965 2 (I Can’t Get No) Satisfaction The Rolling Stones 1965 3 Imagine John Lennon 1971 4 What’s Going On Marvin Gaye 1971 5 Respect Aretha Franklin 1967 6 Good Vibrations The Beach Boys 1966 7 Johnny B. Goode Chuck Berry 1958 8 Hey Jude The Beatles 1968 9 Smells Like Teen Spirit Nirvana 1991 10 What’d I Say Ray Charles 1959 11 My Generation The Who 1965 12 A Change Is Gonna Come Sam Cooke 1964 13Yesterda y The Beatles 1965 14 Blowin’ in the Wind Bob Dylan 1963 15 London Calling The Clash 1980 16 I Want to Hold Your Hand The Beatles 1963 17 Purple Haze Jimi Hendrix 1967 18 Maybellene Chuck Berry 1955 19 Hound Dog Elvis Presley 1956 20 Let It Be The Beatles 1970 21 Born to Run Bruce Springsteen 1975 22 Be My Baby The Ronettes 1963 23 In My Life The Beatles 1965 24 People Get Ready The Impressions 1965 25 God Only Knows The Beach Boys 1966 26 A Day in the Life The Beatles 1967 27 Layla Derek and the Dominos 1970 28 (Sittin’ on) the Dock of the Bay Otis Redding 1968 29 Help! The Beatles 1965 30 I Walk the Line Johnny Cash 1956 31 Stairway to Heaven Led Zeppelin 1971 32 Sympathy for the Devil The Rolling Stones 1968 33 River Deep, Mountain High Tina Turner 1966 34 You’ve Lost That Lovin’ Feeling The Righteous Brothers 1964 35 Light My Fire The Doors 1967 36 One U2 1991 37 No Woman, No Cry Bob Marley 1975 38 Gimme Shelter The Rolling Stones 1969 39 That’ll Be the Day Buddy Holly 1957 40 Dancin’ in the Streets Martha and the Vandellas 1964 41 The Weight The Band 1968 42 Waterloo Sunset The Kinks 1968 43 Tutti Frutti Little Richard 1956 44 Georgia on My Mind Ray Charles 1960 45 Heartbreak Hotel Elvis Presley 1956 46 Heroes David Bowie 1977 47 Bridge Over Troubled Water Simon & Garfunkel 1970 48 All Along the Watchtower Jimi Hendrix 1968 49 Hotel California The Eagles 1976 50 The Tracks of My Tears Smokey Robinson 1965 http://recentissuetoday.com/entertainment/2417/rolling-stone-magazines-500-greatest-songs-of-all-time/ No. 1: "Like a Rolling Stone," by Bob Dylan "I wrote it. I didn't fail. It was straight," Bob Dylan said of his greatest song shortly after he recorded it in June 1965. There is no better description of "Like a Rolling Stone" - of its revolutionary design and execution - or of the young man, just turned 24, who created it. Al Kooper, who played organ on the session, remembers today, "There was no sheet music, it was totally by ear. And it was totally disorganized, totally punk. It just happened." The most stunning thing about "Like a Rolling Stone" is how unprecedented it was: the impressionist voltage of Dylan's language, the intensely personal accusation in his voice, the apocalyptic charge of Kooper's garage-gospel organ and Mike Bloomfield's stiletto-sharp spirals of Telecaster guitar, the defiant six-minute length of the June 16th master take. No other pop song has thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time. Just a few weeks earlier, as he was finishing up the British tour immortalized in D.A. Pennebaker's documentary Don't Look Back, Dylan began writing an extended piece of verse - 20 pages long by one account, six in another - that was, he said, "just a rhythm thing on paper all about my steady hatred, directed at some point that was honest." Back home in Woodstock, New York, over three days in early June, Dylan sharpened the sprawl down to that confrontational chorus and four taut verses bursting with piercing metaphor and concise truth. "The first two lines, which rhymed "kiddin' you' and 'didn't you,' just about knocked me out," he confessed to "Rolling Stone" in 1988, "and when I got to the jugglers and the chrome horse and the princess on the steeple, it all just about got to be too much." The beginnings of "Like a Rolling Stone" can be seen in a pair of offstage moments in Don't Look Back. In the first, sidekick Bob Neuwirth gets Dylan to sing a verse of Hank Williams' "Lost Highway," which begins, "I'm a rolling stone, I'm alone and lost/For a life of sin I've paid the cost." Later, Dylan sits at a piano, playing a set of chords that would become the melodic basis for "Like a Rolling Stone," connecting it to the fundamental architecture of rock & roll. Dylan later identified that progression as a chip off of Ritchie Valens' "La Bamba." Just as Dylan bent folk music's roots and forms to his own will, he transformed popular song with the content and ambition of "Like a Rolling Stone." And in his electrifying vocal performance, his best on record, Dylan proved that everything he did was, first and always, rock & roll. "'Rolling Stone"s the best song I wrote," he said flatly at the end of 1965. It still is. http://www.cbsnews.com/stories/2010/05/26/earlyshow/leisure/music/main6520238_page2.shtml

Voldar: От Тома не отстает и Боб.Вчера в Бухаресте прошел его концерт,который некоторые румыны назвали историческим.Отчет о концерте (перевод извините с румынского) Concertul Bob Dylan a strans in Bucuresti 7.000 de fani Dylan играл в среду ночью, первый раз в Румынии, Капитал района Арена перед 7000 зрителей, среди которых было много деятелей в области музыки, телевидения и политических Ducu Bertzi, и Мирча Мариус Цука Джоанэ. Среди тех, кто пришел к Bob Dylan концерт в Бухаресте, люди всех возрастов, были музыканты Ducu Bertzi, Мирча Baniciu, Moni Bordeianu и Мирча Флориан, работников средств массовой информации и Мариус Цука, Стелиан Тэнасе и Роберт Turcescu, но Джоанэ, со своей женой, Михаэла. Dylan концерт, предшествовала на сцене группа Bucium и Нику Alifantis с Зан, который хотел, чтобы посвятить их концерт состоялся "дорогим другом" кто "и хотела бы быть там сегодня" - Флориан Pittis - , начался незадолго до 21:00. Дилан вышел на сцену в сопровождении своей группы и исполнитель песен старых и новых стиле блюз, от одного конца до другого концерта. Связи с общественностью, которые ожидают показов Dylan, был почти не существует, нет neadresand слова художника толпы, но дает на бис, в котором она пела "Like A Rolling Stone, но достаточно далеко от оригинала неизвестно. Поэтому было непринужденной обстановке, без особого энтузиазма или общества. В конце концерта, недалеко от 22,30, люди шли к выходу, не будучи слышал о легендарной певицы ожидали. "Было здорово увидеть в 60-х. Теперь просто блюз певица," сказал Майкл Тита, в возрасте 24 лет. Еще одна молодая женщина, Кристина, 27 лет, сказала, что трудно было узнать и песни они знали, но уже не как голос художника с 30 лет тому назад и не звуковая система в концерте не слишком велики. "У него хороший голос, но вскоре был концерт в измерительных приборов. Это была его первая скрипка. Captivate зрители не знали, было очень холодно отношений. Жаль, могли остаться в наших сердцах", сказал он Mioara Савин, 50 лет. Другие люди просто почувствовал, что художник "пошли на что-то новое, хотя и предпочел бы услышать что-нибудь из" зарегистрировать знак протеста вы знаете. "Это был Боб Дилан" или "Я хотел его видеть, я ожидал, не намного больше" другие мнения были высказаны. Боб Дилан, знаковая фигура в истории музыки, исполненной впервые в Румынии, в Бесконечном Tour - непрерывный ряд выступлений певицы, началась в июне 1988 года. Боб Дилан, настоящее имя Роберт Аллен Циммерман родился 24 мая 1941 в г. Дулут, штат Миннесота, певица, композитор и поэт, он был на протяжении многих десятилетий одна представителя деятелей мировой музыки. Наиболее известные работы Дилана датируется 60-х годов, когда он стал знаменитым. Многие из его песен, как "Blowin 'на ветру" и "Иногда они-Changin" стал гимны истинной антивоенные движения за гражданские права. С впечатляющей карьеры почти половины века, Боб Дилан является одним из немногих художников, чьи записи включает в себя не менее 34 студийных альбомов, 13 концертных альбомов, 14 сборников и 58 синглов. Журнал Rolling Stone сказал, что наиболее важным соло всех времен в 2004 году, Dylan собрал с течением времени внушительную коллекцию наград, в том числе 11 премий Грэмми. В числе специальных наград "Грэмми 5 Зал славы в честь записи, которые более 25 лет, и замечательное культурное и историческое значение, а также специальную награду Пулитцеровской в 2008 году на глубокое влияние он оказал на музыку и культуру США. http://www.citynews.ro/sibiu/distractie-18/concertul-bob-dylan-a-strans-in-bucuresti-7-000-de-fani-83672/ А здесь можно посмотреть видео с концерта: http://www.metalhead.ro/stiri/Poze_si_filmari_cu_Bob_Dylan_in_concert_la_Bucuresti-aid-86036-l-1



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