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Art and words © 2014 Rob Castro
Yo Juzno,
Wassup?! How in da world could I have missed dis album? You know what I'm talkin' 'bout - Desire by Bob Dylan. Where was I, and what kind of chemistry was going in my head? Don't answer dat. Yo, okay, dat time but I thought it was un-cool to be listening to da music of a troubadour who wore white face makeup. Folklore acoustic guitar and janky monotone yelps – gimme a break! Back den I was only listenin' to B. B. King and Muddy on da colored radio. Den I saw da movie The Hurricane. You know, with da brother - Denzel Washington playing Hurricane Carter. You remembuh boxer Rubin “Hurricane” Carter, who was wrongly imprisoned for murder? How dare dem leet crackers canned da brother. But back to Dylan - All of da sudden I was having a whoa experience. Man o man. I came away listening to Desire with da bitter sweet feeling of melancholy realizing how flow off da wheezy dis was. It is pure dope.
Lemme know when you gonna invite me again to your soiree.
Peace out.
Your Beautiful Sista,
Kainda
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
Apologies this is undoubtedly the worst photograph I have ever posted of Flickr but I wanted to mark Bobs 70th birthday is some way. PLEASE DON’T FEEL YOU HAVE TO COMMENT ON THIS BUT IF ANYONE OUT THERE ADMIRES DYLAN GREAT TO HEAR FROM YOU.
I was introduced to Dylan’s music in late 1965 when I was about 11. We had a student lodging with us then, one day it brought home the single “Like a rolling stone”. It was a revelation and at that age I might not have been able to say why I liked it but I knew intuitively that it was extraordinary, it’s power and depth making the little ditties of the Beatles sound like nursery rhymes. Dylan’s music has been a constant in my life since then. He has been rich source of musical and intellectual nourishment. His stance on the world I find sympathetic; live your own life don’t swallow someone else’s political social or religious ideologies about how to live your own life
From “To Ramona”
I've heard you say many times
That you're better 'n no one
And no one is better 'n you
If you really believe that
You know you have
Nothing to win and nothing to lose
From fixtures and forces and friends
Your sorrow does stem
That hype you and type you
Making you feel
That you gotta be just like them.
Dylan has remarkably never allowed anyone even his fans to put him in a box such as “protest singer” He has remained constantly changing and surprising
A critic in the English newspaper The Independent had a piece last week when he gave 70 reasons for celebrating Dylan’s birthday three of these will do for me
1 Because he wrote "Visions of Johanna", the greatest song of all time. Former Poet Laureate Andrew Motion proclaimed it the greatest song lyric ever.
2 Because he made Blonde on Blonde, the greatest album ever recorded.
3 Because he made teenagers interested in poetry again. He offered a route into symbolists like Rimbaud, Verlaine and Baudelaire, and City Lights beats like Kerouac Ginsberg, Corso and Ferlinghetti.
So Mr Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
THANKS FOR YOUR VISIT HAVE A GREAT DAY
In September 2009 I found a film can of mine with a roll of HP5 in it that was never developed. It was shot in 1978 at a Bob Dylan concert in Fort Worth, Texas. Ilford technical services guided me through the development process. We expected a heavily fogged result, but were surprised to find wonderful images that withstood the test of time. Ilford used my shots in the October 2009 PhotoPlus Show in New York City. Nikkormat ELW shooting HP5 @ 800 ASA in Ilfotec DD-X 1:4 @68 degrees for 11 minutes. Here is a shot of the original film tin with film rolls as I found it, and a French magazine article about the film rolls.
NOTE: The Ilford company's snap of the booth on the left generated the Canon EOS 40D EXIF data. I don't know about the rest of you but I find it ironic as hell that they used a digital camera ))))))).
All right, I’ll take a chance, I will fall in love with you
If I’m a fool you can have the night, you can have the morning too. Can you cook and sew, make flowers grow,
Do you understand my pain?
Are you willing to risk it all
Or is your love in vain?
©Jane Brown2014 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
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Please visit my Kreative People group Member Highlight
I have been invited by Karen (hollykl) to produce a gallery of manipulated images . . . I'm chuffed to bits. Many thanks to the Kreative People group
found down a side alley off Oxford Road, about a mile from the place Dylan was actually labelled a Judas for picking up an electric guitar - haven't times changed?
Bob Dylan in concert in Fort Worth, Texas on November 24, 1978 with pushed Ektachrome in a 35mm Nikkormat ELW and 70-210 Vivitar. This was a transitional point in my life. Stevie Ray Vaughan and I were going in two different directions at this points in our lives. My older brother and the Vaughans were losing decibels in their ear canals in garages and bars around Texas. Would I change anything? Yes. But life is not always distinct in its direction. I would have finished the documentary with Stevie and then learned how to fly...
I think Bob looks a little like George Harrison in this one. Yet, this is one of my favorite snaps of all time. Shot two rolls of 35mm Ektachrome that night and the processing lab I used in Dallas stole 1 of the rolls. An editor in Austin did the same thing with one of my black and white HP5 rolls. So I've always wondered what the best shots looked like on those other two rolls. What are the odds of two rolls disappearing at the same time and the thieves taking the lesser quality work?
I'm hoping that some day someone will find the slides and negatives that were taken from me and try to sell them. Perhaps a Dylan fan will find them and compare the style with mine and then let me know. If I am long gone, get in touch with my daughters Courtney and Jenny. Hey, I'm entitled to my fantasies!
Bob Dylan and his band performing at Family Circle Magazine Stadium on Daniel Island near Charleston, SC on May 4, 2013 - © 2021 David Oppenheimer - Performance Impressions concert photography archives - www.performanceimpressions.com
Havia um tempo...romântico, mas adorava mesmo o som dos Rolling Stones. Bom, estávamos juntos o tempo todo, então gostávamos das mesmas músicas, ouvíamos muito Janis Joplin...Led Zeppelin..Pink Floyd, Bob Dylan e a gente adorava dançar...também..era anos 70.
"Há 40 anos", que tais os acontecimentos me voltavam à mente..a memória".
Original poster - 'Blowing in the Mind/ Mister Tambourine Man', colour screen-print from multiple stencils on gold foil paper, designed by Martin Sharp, London, 1968. It is a complex multi-stencil design in red and black inks screen-printed on gold foil paper, the design featuring multiple radiating circular motifs with two portraits of Bob Dylan, the large central frontal profile with reflecting dark glasses and caption 'Blowing in the Mind', the smaller side profile placed in front of an entwined 'Mister Tambourine Man'. Lyrics of the song are written within letters and circles. This was the first "serious" poster I bought.
Dylan's 7th studio album and third in his trilogy of rock albums (Bringing It All Back Home and Highway 61 Revisited being the other two). Often ranked as one of the greatest albums of all time.
The Tintic Standard Reduction Mill—also known as the Tintic Mill or Harold Mill—built in 1920, and only operating from 1921 to 1925, is an abandoned refinery or concentrator located on the west slope of Warm Springs Mountain near Goshen, Utah, in the United States. Metals processed at the mill included copper, gold, silver, and lead, all of which were received from another mill near Eureka, Utah. The metal content of ore was increased through the process to make transportation less expensive. The reducing process used was an acid-brine chloridizing and leaching process which became outdated, leading to the abandonment of the site in 1925. At the mill's highest productivity it processed 200 tons of ore yearly from the Tintic Mining District.
What remains of the mill are foundations for water tanks, crushers, roasters, iron boxes, leaching tanks, and drain boxes. The site dominates the surrounding landscape with its size and unique colors and shapes.
It was designed and built by W. C. Madge. It is significant as the only American mill using the Augustin process during the early 1920s.
It was listed on the National Register of Historic Places in 1978.
It has been speculated that the mill may be the contributor of heavy metal pollution in the Goshen Warm Springs which lie below it.
Bob Dylan and his band performing at Family Circle Magazine Stadium on Daniel Island near Charleston, SC on May 4, 2013 - © 2018 David Oppenheimer - Performance Impressions Concert Photography Archives - www.performanceimpressions.com
Robbie Robertson was the self-titled solo debut album by the ex member of The Band . The album peaked at #38 on both the Billboard 200 and UK Album Charts while it’s singles peaked even higher on Billboard’s Mainstream Rock Track chart (“Somewhere Down the Crazy River” at #24, “Sweet Fire of Love” at #7 and “Shadow at Big Sky” at #2). The track “Broken Arrow” would be covered by Rod Stewart on his 1991 album Vagabond Heart. Stewart's version would reach #20 in the Billboard Hot 100 that year.
Jaime "Robbie" Robertson ( born Jaime Robert Klegerman ; July 5th , 1943 ) is a Canadian-American singer-songwriter and guitarist best known for his work as lead guitarist and primary songwriter within The Band . Robertson's first brush with live music came at the Six Nations Reservation, his mother's girlhood home ; at the age of five, he also gained exposure to the country music of rural America. Not long after, he began taking guitar lessons from a cousin, and gradually began composing his first songs. In 1958, he hooked up with rockabilly star Ronnie Hawkins' backing band the Hawks, joining fellow sidemen Levon Helm, Rick Danko, Garth Hudson and Richard Manuel . After remaining with Hawkins through 1963 , the Hawks began working on their own ; they soon came to the attention of Bob Dylan , and became the support unit on the singer's now-legendary 1965-1966 world tour . Continuing their affiliation with Dylan , the group , renamed simply the Band , went on to become one of rock's seminal acts ; propelled by Robertson's acute , evocative examinations of American mythology and lore , they made a series of seminal LPs , including 1968's Music From Big Pink and the following year's self-titled masterpiece. The Band .
As a songwriter , Robertson is credited with such songs as " The Weight " , " The Night They Drove Old Dixie Down ", " Up On Cripple Creek " , "Broken Arrow " and " Somewhere Down the Crazy River " . He has been inducted into the Canadian Songwriters Hall of Fame , and was ranked 59th in Rolling Stone magazine’s list of the 100 Greatest Guitarists of All Time .
Ah, you've been with the professors and they've all liked your looks
With great lawyers you have discussed lepers and crooks
You've been through all of F. Scott Fitzgerald's books
You're very well-read, it's well-known
But something is happening here and you don't know what it is
Do you, Mr. Jones?
- Bob Dylan -
Kenny Wayne Gunner and his dog, Mr Tijuana,, Busking at the Bob Dylan show.
The Moore Theatre, Seattle, WA. 10-04-09
Few more below
Connections, memories, this is what music is about.
What we saw when we heard the tunes, heard the words, the instruments play.
Who were we with, what were we doing. We looked at the album art, wished we were there, knew who they were then, did what they did.
All because of the music.
It happens every time you hear it. It makes you dance and sing, work and sleep, and maybe carry signs and shout. What your mind tells you to do when you hear the sounds comes from the total of what makes you. It is the summary of you.
And through the music.
We will continue to record ourselves, our feelings, capture the past and the future. Much like we do with photography. It's really all about memory. We've done this since the beginning of man, record our cultures, traditions, and generational differences through it. The combined memories of a people.
So on with the music. What can I play for you?
"Week #03" Theme - "Memories" 52 of Twenty Eleven
Used to tell Ma sometimes
When I see them riding blinds
Gonna make me a home out in the wind
In the wind, Lord in the wind
Make me a home out in the wind
I don’t like it in the wind
Wanna go back home again
But I can’t go home thisaway
Thisaway, Lord Lord Lord
And I can’t go home thisaway
—Bob Dylan, in "I Left Home When I Was Young"
You can hear Dylan's heartbreaking rendition here.
Je n'ai découvert Bob Dylan que tard. Très tard.
Bien sûr, comme tout le monde, j'avais une copie de Highway 61 et Blood on the tracks, quelque part sur les étagères. Mais je n'avais jamais vraiment accroché. Ou plutôt, la voix de chacal écorché m'avait toujours un peu rebuté.
Il y avait bien eu le long article de Laurent Chalumeau qui nous expliquait que le Zimm avait toujours voulu être Elvis à la place d'Elvis. Avec déjà, plein d'anecdotes assez réjouissantes pour qui n' a jamais pu encaisser plus de 3min. de Joan Baez sans s'endormir : "chaque fois que je l'entend chanter 'blowin in the wind' je me demande quel est le connard qui a bien pu écrire ça !". Vachard mais tellement vrai.
Et puis il y a eu 'no direction home' et 'I'm not there'. J'ai découvert les 2 la même année, 2008.
Mon intérêt limité pour Dylan ne m'avait effectivement pas incité à me précipiter sur le docu de Scorcese. Au moins, j'étais allé voir le film de Todd Haynes à sa sortie en salle, mais ce qui m'avait motivé c'était surtout l'annonce de la prestation de Kate Blanchett, incarnant le Dylan de 66, le Royal Albert Hall 'Judas' concert, les interviews psychédéliques. Le parallèle avec le docu de Scorcese et les extraits du film de Penebakker, est saisissant. Mais ce n'est qu'une partie du film qui donne pas moins de 6 incarnations de celui qui n'est pas là. En orphelin noir, en prédicateur, en ermite...Toujours différent, toujours le même, jamais le même.
'No direction home' est ciblé sur la transition, la 'trahison' rock de Dylan. Comment il est passé de l'icône folk du Village... au rock. Comment ça a été vécu comme une trahison par une partie du public.
3 albums, et c'est devenu autre chose. Avec lui, on a su qu'on pouvait avoir des paroles sur chansons rock.
3 albums : 'bringing it all back home' contre l'envahissante brit pop, 'highway 61 revisited' et le télémétrique Nikon de Daniel Kramer, et 'blonde on blonde' le 1er double album de l'histoire et sa photo de couverture floue par Jerry Schatzberg.
3 albums et Dylan qui avaient si bien su ne pas donner ce qu'ils attendaient à ses fans de la première heure, s'est retrouvé avec une pression encore plus forte.
Et puis il y a eu l'accident de moto, et après ce fut encore différent.
...
Je suis quand même passé à côté plusieurs fois. A un point que j'en ai un peu honte, des fois. Ainsi, j'ai vu "the last waltz" à sa sortie en salle, oui en 76. Et je me souviens m'être un peu assoupi... J'ai trouvé ça un peu chiant, quoi.
Faut dire qu'à l'époque (faut que j'arrête d'employer 'à l'époque' !), tous ceux qui passaient sur scène m'étaient largement inconnus.
Ce n'est que bien plus tard que je me suis rattrapé. Je ne connaissais rien des liens de Dylan et The Band, "songs from the big pink", les "basement tapes"... j'ai attendu "Mingus" pour découvrir Joni Mitchell (et Mingus par la même occasion).
Et même Neil Young : à peine si je connaissais Harvest.
Bref, un ignare, un inculte !...
et comme on dit par chez nous : "le dernier arrivé est fan de Phil Collins"
Bob Dylan Series
F.lickr 2017 x 100 Challenge 19/100
From the song I shall be free No. 10 from Another Side of Bob Dylan released in 1964. Another of his repertoire of songs of the deliciously ridiculous.
"I got a woman, she’s so mean
She sticks my boots in the washing machine
Sticks me with buckshot when I’m nude
Puts bubblegum in my food
She’s funny, wants my money, calls me “honey"
However, I thought the line about being a poet married in nicely with last years Nobel Prize for Literature.
"Now they asked me to read a poem
At the sorority sisters’ home
I got knocked down and my head was swimmin’
I wound up with the Dean of Women
Yippee! I’m a poet, and I know it
Hope I don’t blow it"
Thanks to A.J, ajhaysom the photoshop guru for some advice when getting stuck while making this composition. The base image of the very young and handsome Dylan is from the internet
They're selling postcards of the hanging, they're painting the passports brown
The beauty parlor is filled with sailors, the circus is in town
Here comes the blind commissioner, they've got him in a trance
One hand is tied to the tight-rope walker, the other is in his pants
And the riot squad they're restless, they need somewhere to go
As Lady and I look out tonight, from Desolation Row
Cinderella, she seems so easy, "It takes one to know one, " she smiles
And puts her hands in her back pockets Bette Davis style
And in comes Romeo, he's moaning. "You Belong to Me I Believe"
And someone says, "You're in the wrong place, my friend, you'd better leave"
And the only sound that's left after the ambulances go
Is Cinderella sweeping up on Desolation Row
Now the moon is almost hidden, the stars are beginning to hide
The fortune telling lady has even taken all her things inside
All except for Cain and Abel and the hunchback of Notre Dame
Everybody is making love or else expecting rain
And the Good Samaritan, he's dressing, he's getting ready for the show
He's going to the carnival tonight on Desolation Row
Ophelia, she's 'neath the window for her I feel so afraid
On her twenty-second birthday she already is an old maid
To her, death is quite romantic she wears an iron vest
Her profession's her religion, her sin is her lifelessness
And though her eyes are fixed upon Noah's great rainbow
She spends her time peeking into Desolation Row
Einstein, disguised as Robin Hood with his memories in a trunk
Passed this way an hour ago with his friend, a jealous monk
Now he looked so immaculately frightful as he bummed a cigarette
And he when off sniffing drainpipes and reciting the alphabet
You would not think to look at him, but he was famous long ago
For playing the electric violin on Desolation Row
Dr. Filth, he keeps his world inside of a leather cup
But all his sexless patients, they're trying to blow it up
Now his nurse, some local loser, she's in charge of the cyanide hole
And she also keeps the cards that read, "Have Mercy on His Soul"
They all play on the penny whistles, you can hear them blow
If you lean your head out far enough from Desolation Row
Across the street they've nailed the curtains, they're getting ready for the feast
The Phantom of the Opera in a perfect image of a priest
They are spoon feeding Casanova to get him to feel more assured
Then they'll kill him with self-confidence after poisoning him with words
And the Phantom's shouting to skinny girls, "Get outta here if you don't know"
Casanova is just being punished for going to Desolation Row"
At midnight all the agents and the superhuman crew
Come out and round up everyone that knows more than they do
Then they bring them to the factory where the heart-attack machine
Is strapped across their shoulders and then the kerosene
Is brought down from the castles by insurance men who go
Check to see that nobody is escaping to Desolation Row
Praise be to Nero's Neptune, the Titanic sails at dawn
Everybody's shouting, "Which side are you on?!"
And Ezra Pound and T.S. Eliot fighting in the captain's tower
While calypso singers laugh at them and fishermen hold flowers
Between the windows of the sea where lovely mermaids flow
And nobody has to think too much about Desolation Row
Yes, I received your letter yesterday, about the time the doorknob broke
When you asked me how I was doing, was that some kind of joke
All these people that you mention, yes, I know them, they're quite lame
I had to rearrange their faces and give them all another name
Right now, I can't read too good, don't send me no more letters no
Not unless you mail them from Desolation Row
by Bob Dylan