| October 1st, 2004 10:15 AM |
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| Gazza |
Just went into my local newsagents today to pick up the above maagzine when I found out that the version we get over here is the "International" edition and doesn't contain either the Bob cover or the interview.
Would any of you kind folks across the pond be able to airmail me TWO copies of this issue (it's the current issue - cover date 4th October). I'll send a few CDR's your way to compensate your costs. This is the cover phot, taken from the online edition:
[Edited by Gazza] |
| October 1st, 2004 10:31 AM |
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| Martha |
Gary I'll get them for you and mail them on Monday. You're covered.
Just send me a really good vibe....I cannot get good seats (it's been horrible) for the Dylan show in Columbus on 11-4...and I am highly bummin' out. Today was no better than yesterday during the presale. Weird. |
| October 1st, 2004 10:52 AM |
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| Factory Girl |
Martha, just go to the show and maneuver your sweet self to the good seats. I'm sending good vibos your way also  . |
| October 1st, 2004 10:54 AM |
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| Gazza |
muchas gracias, Martha. J.R., My friend & fellow Bobcat thanks you too.
I'm sure you'll be able to get good seats somehow or another on the night. I can feel it in my water!
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| October 1st, 2004 11:27 AM |
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| TMR |
You may also want to try tomorrow at the crack of ticket sales. I think they always block off a certain amount of tickets and they might have sold all the ones in sections 121 and 122, or wherever you were pulling. |
| October 1st, 2004 11:50 AM |
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| Martha |
quote:
TMR wrote:
You may also want to try tomorrow at the crack of ticket sales. I think they always block off a certain amount of tickets and they might have sold all the ones in sections 121 and 122, or wherever you were pulling.
They went on sale to the general public today...it sucked. I pulled nothing good and called the BO and TXbastard...all to no avail. I appreciate all the good vibes....thank you FG and Gazza! I will keep my eye on the prize.
peace out!
And I don't know, how much longer I can wait....... |
| October 1st, 2004 01:40 PM |
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| Factory Girl |
I'm listening to "Time Out of Mind" now. I can't decide which is more brilliant L&T or TOM... |
| October 1st, 2004 04:05 PM |
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| TMR |
That's a tough call because they are both excellent albums. I think I'm partial to TOOM over L&T in that I've heard so many of the L&T tunes versus not as many of the TOOM tunes. I also have more favorites on TOOM - Not Dark Yet, Love Sick, Highlands!.. But more ingenious, which I think you asked, I'd say L&T considering the "noise" created where he got most of the songs' lyrics, etc. and how he put it together in such a listenable manner.
I also have a funny Newsweek/Bob Dylan story to share.... 
So, I was off to Chicago on Wednesday, to a show of course and decided to pick up my Newsweek cuz I didn't get a chance to hit the supermarket the night before. I picked up 6. I mean, you can't get just one and wanted to bring one to my friend whom I was also visiting and attending the show with.
Anyway, I go to check out and here goes the conversation:
Her: "you buying all these?"
Me: "uh, yea"
Her: "who's he?"
Me: "Bob Dylan" (while holding back laughter)
Her: "what's he do, sing?"
Me: "Yea" |
| October 1st, 2004 04:27 PM |
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| Factory Girl |
Hey, TMR welcome to RO. That is an amusing story. |
| October 1st, 2004 10:00 PM |
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| Soldatti |
quote:
Factory Girl wrote:
I'm listening to "Time Out of Mind" now. I can't decide which is more brilliant L&T or TOM...
TOM... |
| October 2nd, 2004 02:30 AM |
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| luridchief |
I'm a bit more partial to LOVE & THEFT--"Honest With Me," "Cry Awhile," "Lonesome Day Blues"--my, how they rock! |
| October 2nd, 2004 02:41 AM |
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| luridchief |
BTW--you can check out the NEWSWEEK Dylan piece online:
http://www.msnbc.msn.com/id/6100668/site/newsweek/ |
| October 2nd, 2004 01:50 PM |
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| F505 |
Both outstanding. Love And Theft a little better because of High Water: what a brilliant song!!! |
| October 2nd, 2004 05:59 PM |
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| Soldatti |
TOF is an incredible album, his best on more than 20 years. I still enjoy that CD,. |
| October 3rd, 2004 01:56 PM |
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| Ten Thousand Motels |
Dylan feared obessive fans
Oct 3, 2004 Irish Examiner
Legendary singer Bob Dylan was so fearful of obsessive fans during his heyday in the 1960s he kept firearms at home to defend himself and his family.
The Mr Tambourine Man star felt so besieged by his followers - during a decade marked by the high-profile assassinations of John F Kennedy and Martin Luther King - he stored three guns including a Colt pistol and a Winchester rifle at his Woodstock home in upstate New York.
Dylan says that "unaccountable-looking characters, gargoyle-looking gals, scarecrows, stragglers looking to party and raid the pantry" would turn up at his doorstep.
He continues: "I wanted to set fire to these people. Road maps to our homestead must have been posted in all 50 states for gangs of drop-outs and druggies."
� Thomas Crosbie Media 2004.
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| October 3rd, 2004 03:45 PM |
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| Martha |
Time Out Of Mind......nuthin' gets to me like this one. I do love Love and Theft though. It runs a close second. |
| October 3rd, 2004 09:09 PM |
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| glencar |
I know of neither of these albums but Love & Theft is a better title. |
| October 4th, 2004 12:02 PM |
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| Martha |
quote:
glencar wrote:
I know of neither of these albums but Love & Theft is a better title.
I beg to differ. "TIme Out Of Mind" is much deeper. Although, it's taken me a while to fully get that. I get it now.
...and the clouds are weepin' |
| October 4th, 2004 12:48 PM |
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| Lazy Bones |
quote:
Martha wrote:
I beg to differ. "TIme Out Of Mind" is much deeper. Although, it's taken me a while to fully get that. I get it now.
...and the clouds are weepin'
I think I'm with you, Martha. Within a year or so after Love And Theft was released, I was more attracted to it rather than Time Out Of Mind. Within the last year or so, however, the deep, haunting twists of TOOM have been more appealing.
Certainly now as I've lost my last grandparent - this morning. I lost my last 3 grandparents in the last 14 weeks. Albums like Time Out Of Mind always lends more comfort in such times. |
| October 4th, 2004 06:29 PM |
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| glencar |
My condolences... |
| October 5th, 2004 11:34 AM |
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| Lazy Bones |
quote:
glencar wrote:
My condolences...
Thanks, glencar! |
| October 5th, 2004 01:09 PM |
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| Factory Girl |
I'm really sorry, Lazy Bones.
And, I agree, TOM is a more haunting, more powerful album. It takes a while to get it, but its worth the time... |
| October 5th, 2004 01:32 PM |
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| TMR |
quote:
Lazy Bones wrote:
Certainly now as I've lost my last grandparent - this morning. I lost my last 3 grandparents in the last 14 weeks. Albums like Time Out Of Mind always lends more comfort in such times.
My condolances my friend! |
| October 5th, 2004 01:38 PM |
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| Gazza |
That sucks, mate. My condolences to you & your family |
| October 5th, 2004 01:56 PM |
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| glencar |
BTW If any Americans want this Dylan Newsweek, PM me. I haven't actually read the Bob story but I should finish the issue today. It is a bit curled up as I took it with me on recent travels. |
| October 5th, 2004 02:10 PM |
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| Lazy Bones |
Thanks, FG, TMR and Gazza! Thoughful words are always cherished.
Thanks for the chuckle, TMR. I read your profile - you're from a Civic. Dead give away!
[Edited by Lazy Bones] |
| October 5th, 2004 06:49 PM |
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| Martha |
Oh my gosh I'm so sorry for your loss Lazy Bones. You've been getting hit hard. I know TOOM will sooth you through it always works for me as I grieve.
Chris and I are sending out prayers to you and your girls sweetie. Wish I could give you a hug right now.
When we meet then. :-)
Here's some more good stuff to put in the mind from the net...
�Posted 10/4/2004 9:51 PM
Dylan chronicles his journey
By Edna Gundersen, USA TODAY
For more than four decades, fans have searched for the man behind the myth and the music.
Dylan was surprised to learn he didn't enjoy writing a book as much as writing songs. "I'm surprised anybody gets a book out, " he says.
They scrutinized enigmatic lyrics on his 43 albums and puzzled over evasive comments in rare interviews. His abstract poetry in Tarantula and sketches in Drawn Blank only enhanced the riddle, while a vast library of unauthorized biographies tended to blur his identity with conflicting theories and agendas. He remained a closed book.
Until now. Another side of Bob Dylan emerges today in Chronicles: Volume One (Simon & Schuster, $24), a candid memoir that pulls the veil of mystique from pop culture's reluctant icon to reveal a creative giant unlocking his destiny. He tells his story, but he's not calling it an autobiography.
"I don't exactly know what that word means anyway, so I don't think I'd be up to that task," Dylan, 63, says in a phone interview.
After reviewing Dylan's unpublished notes on early albums, Simon & Schuster publisher David Rosenthal suggested he write about specific periods rather than undertake a life story.
"I understood that strategy," says Dylan, who says he wrote Chronicles to share key recollections, not to amend errors by other authors. "I didn't feel like I had to counteract anything. I maybe had to put to rest a lot of superstitions, but it wasn't like it troubled me to write the book. I didn't have to write an apology. I wasn't trying to explain anything to anybody. I was intrigued by the whole process with words and how they would flow and with how certain people would light up my memory. I was just trying to charm my way through it, really."
Dylan's memory yielded richly detailed anecdotes, events and conversations. Using a vintage Remington typewriter, he wrote off and on for the past three years, completing entire sections in single sittings "because if I stopped, I didn't want to have to go back and read it."
The articulate, well-read but private singer found Chronicles far more challenging than songwriting.
"Writing a song is what I can do and know how to do and need to do," he says. "I'm surprised anybody gets a book out. I use a lot of metaphors and symbolism in songs, and they're based on rhythmic value. Obviously, you can't do that when you're writing a manuscript, which has to make literal sense. I had to regulate my imagination; I couldn't just wander all over the place.
"I can't say I liked the process. When I write a song, it stays in my mind for a brief period, and I don't have to connect it to the next song. When I'm writing a song, I feel like I'm still living life.
"With a book like this, it occurs to you after a while that you're really not living life. You're trying to put it on pages in a typewriter. I don't mean to sound like I wrote the book by an oil lamp, but I did feel like I was closing myself off."
Recalling the early days
In 293 pages, Dylan recounts his youth in Minnesota, his early days as a performer on the folk circuit in Greenwich Village and the creation of 1970's New Morning and 1989's Oh Mercy.
Salient details emerge. As a teen captivated by military history, he briefly yearned to attend West Point. Born Robert Allen Zimmerman, he tried on stage names, including Elston Gunn. After discovering poet Dylan Thomas, he considered Bobby Dylan (rejected because of other Bobbys � Vee, Darin, Rydell). He thought Bob Allyn sounded like a used-car salesman, so he settled on Bob Dylan.
In New York, Dylan's talent flowered as he hungrily explored the city's arts and colorful characters, from boxer Jack Dempsey to folkie Dave Van Ronk.
"Everything had a different gratification and delight back then," he says, reflecting on gigs at Cafe Wha? and the Gaslight. "That's when I was coming up as a performer. My life hadn't been filled with too many mistakes leading up to that. As time went on, things began to scratch and sting. All of a sudden, the magic carpet got yanked away."
Dylan's stardom brought media scrutiny and unwelcome canonization as a protest prophet. He retreated to Woodstock to raise a family, dodge his stalkers and shed the millstone of '60s messiah.
"When I was in Woodstock, it became very clear to me that the whole counterculture was one big scarecrow wearing dead leaves," he says. "It had no purpose in my life. It's been true ever since, actually."
Though Dylan insists no topic was off limits in Chronicles, he barely acknowledges his 1966 motorcycle accident and avoids mention of his divorce and conversion to Christianity in the late '70s.
"That would fall under the category of what doesn't matter," he says. "If somebody wanted me to write an article about my motorcycle accident, I'm sure I could come up with one, but what's the point? In no way is the book an open confession. It was never intended to be. The confessional stuff is OK if you do the penance along with it, but that was never my intention."
"Confessional stuff" apparently includes naming wives and children, which he studiously avoids.
"Personal details are important if they move the story along, but these chronicles are nothing more than shaking down the tree of life and seeing what comes out," Dylan says. "Those things didn't come out. I'm in possession of those things, but I don't think that's enough to really excite a reader. I could have been more nasty and sultry if I wanted to be, but there wasn't any reason."
Inspiration in literature
Dylan expounds with gusto on his musical odyssey, outlining his influences, his growth as a performer and songwriter, his models and collaborators. Folk music was the fulcrum, but Dylan also found inspiration in jazz and blues, train whistles and church bells, in newspapers and literature. He read Balzac, Faulkner, Byron, Pushkin, Milton, Shelley, Poe and Dickens.
"I went to it on my own," he says. "I was into the folk-song language, and intuitively I knew all these books would enrich the human mind. People I was meeting in the late '50s and early '60s were much older than me. They all had books on their shelves. Up till that time I'd probably just seen comic books. In high school, I'd read Sir Walter Scott, and my favorite books were Uncle Tom's Cabin and Ben-Hur. The folk songs were all beer and Bibles and rum. It seemed to me that all those words on the shelf led to a different kind of glory."
Chronicles' happiest passages dwell on exploring and sharing music. The tone sours when fame and battle fatigue set in. After a serious hand injury and while on tour in the mid-'80s, Dylan writes, "I felt done for, an empty burned-out wreck ... I'm a '60s troubadour, a folk-rock relic ... I'm in the bottomless pit of cultural oblivion."
Spent and uninspired, Dylan pondered retirement.
"It was just a misdirection of my talent," Dylan says. "It burned itself out at that time. I would not have called it a creative slump. I had horse-whipped myself so bad, and I was critically hurt in so many ways, I really didn't have much more to say at that point."
Permanence in song
As it turns out, Dylan had plenty left to say. His latest albums, 2001's Love and Theft and 1997's Time Out of Mind, rank among his classics. He has written songs for his next studio album, which he'll tackle after completing a U.S. tour in November. A restless troubadour, Dylan keeps his songs alive on stage. When he takes his final bow, those tunes won't leave the spotlight.
"They're not worth much if they don't have permanence," he says. "A lot of them will last. A lot of them won't. I came to terms with that a long time back. What made my songs different, and still does, is I can create several orbits that travel and intersect each other and are set up in a metaphysical way. They all came out of the folk music pantheon, and those songs have lasted. So if my songs were written correctly and eloquently, there's no reason they wouldn't last."
Whether Chronicles has a long shelf life is less certain.
"I was just happy when I turned it all in and they agreed it was good enough to put out and I wouldn't have to do any more," Dylan says, laughing. He's in no rush to plunge into a second volume. He's quick to add that he didn't approach Chronicles as a vanity project.
"In a lot of ways, this is written like I play," he says. "There's a certain section of my mind that is playing for people who've never heard of me or never heard my songs. In the same way, I don't have to trade on my reputation to write a book. It can't stand if it's only written for people who know about me or are familiar with my work. This book has to reach people who might not have heard my name before."
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| October 5th, 2004 09:58 PM |
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| Soldatti |
My condolences Lazy Bones... |
| October 5th, 2004 10:46 PM |
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| glencar |
Today's NY Times review of the new Dylan book makes him sound a wee bit odd but entertaining nevertheless. |
| October 5th, 2004 10:55 PM |
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| Lazy Bones |
Thanks, Martha and Soldatti! |
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