Podcasts about Subterranean Homesick Blues

Music transports us through time as we explore musical milestones and memories that feel both distant and immediate, creating a fascinating perception of different decades.• Reminiscing about Atlanta's Music Midtown Festival from 1995 and the unique urban setting that transformed into a cultural gathering space• Why we struggle with 90s nostalgia being "30 years ago" while easily accepting the 80s as 40 years past• Eddie Van Halen sitting in with Paul Schaefer on Late Night with David Letterman 40 years ago• Bob Dylan's "Subterranean Homesick Blues" reaching #39 on Billboard Hot 100 in 1965, becoming his first Top 40 hit• Minute with Jimmy segment exploring New Order's "Love Vigilantes"• The Black Crowes' "Jealous Again" • Great driving songs from The Cure, Talking Heads, Fleetwood Mac, and Don HenleyWe'd love to hear your favorite driving songs or convertible memories! Contact us at musicinmyshoes@gmail.com and please like and follow our Facebook and Instagram pages."Music in My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldSend us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

A clip from the movie Don't Look Back was filmed 60 years ago today in London. Many believe Bob Dylan's so-called "Subterranean Homesick Blues" film was the forerunner of the music video movement that came to prominence in the 1980s.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Vasant Ramamurthy joins Patrick to induct Bob's 5th album, Bringing It All Back Home. This classic marked Dylan's first steps into recording with a full electric band and features landmark songs like “Subterranean Homesick Blues” and “It's All Over Now, Baby Blue.”  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Djinn RecordsStitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

In this episode of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd dive into their top five favorite Bob Dylan songs. From the poignant storytelling of "Hurricane" to the introspective beauty of "If You See Her, Say Hello," and iconic anthems like "The Times They Are A-Changin'," they explore why these tracks resonate with them. Honorable mentions include classics like "Tangled Up In Blue" and "Subterranean Homesick Blues." They also share a YouTube Music playlist featuring all the songs discussed so listeners can join in on the Dylan appreciation. Next, they issue a correction for a mistake made in Episode 386, Talking About Our Favorite Film Scenes, demonstrating their commitment to keeping things accurate for their audience. Finally, Tim the Nerd shares his initial thoughts on the teaser for James Gunn's upcoming Superman project, offering insights into what this new direction could mean for the iconic hero. As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms. Head to Friends Talking Nerdy's ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

Bevor morgen mit dem ersten New Music Friday das Musikjahr endgültig lanciert wird, gönnen wir uns noch ein letztes Mal Vorfreude auf grosse Momente, die auf uns zukommen: Die Sounds!-Inventur in Sachen Festivals, Clubkonzerte und (vielleicht?) Weltbewegendem anno '25. Haltet Eure Agenda bereit! +++ PLAYLIST +++ · 22:56 - KNOCKIN' HEART von HAMILTON LEITHAUSER · 22:52 - THIS SIDE OF THE ISLAND von HAMILTON LEITHAUSER · 22:49 - BARN NURSERY von HEY, NOTHING · 22:46 - WISH YOU WOULD NOTICE (KNOW THIS) von ZZZAHARA · 22:43 - SUGAR & SPICE von HATCHIE · 22:37 - BROKEN von ELA MINUS · 22:31 - SUMMER OF LOVE von PARCO PALAZ · 22:22 - T.K. COLLIDER von MNEVIS · 22:19 - BARRIO HUSTLE von HERMANOS GUTIERREZ · 22:16 - SPA von ANNA ERHARD · 22:12 - DOG DAYS von DEHD · 22:08 - ROLL WITH IT von OASIS · · 21:57 - OH SHIT von THE LIBERTINES · 21:53 - THE HAND THAT FEEDS von NINE INCH NAILS · 21:48 - COMPRESS / REPRESS von TRENT REZNOR/ATTICUS ROSS · 21:45 - ESPRESSO von SABRINA CARPENTER · 21:41 - SWEET LOVE von SYLVIE KREUSCH · 21:37 - REDONDO BEACH von PATTI SMITH · 21:32 - WONDER von EN ATTENDANT ANA · 21:26 - ROCKY TRAIL von KINGS OF CONVENIENCE · 21:21 - WILLST DU MIT MIR GEH'N von FÜNF STERNE DELUXE · 21:15 - BREAK YA NECK von BUSTA RHYMES · 21:10 - NOT LIKE US von KENDRICK LAMAR · 21:04 - TV OFF von KENDRICK LAMAR FEAT. LEFTY GUNPLAY · 20:56 - MR. TAMBOURINE MAN von CAT POWER · 20:52 - LIKE A ROLLING STONE von TIMOTHEE CHALAMET · 20:49 - SUBTERRANEAN HOMESICK BLUES von BOB DYLAN · 20:47 - HOOKED von FRANZ FERDINAND · 20:42 - MUSTANG von KINGS OF LEON · 20:38 - SERPENTINE PRISON von MATT BERNINGER · 20:31 - THE UNIVERSE von ROISIN MURPHY · 20:29 - DENIAL IS A RIVER von DOECHII · 20:24 - BULLFROG von DOECHII · 20:19 - X-RAY EYES von LCD SOUNDSYSTEM · 20:13 - BABY'S GOT A TEMPER von THE PRODIGY · 20:09 - POP POP POP von IDLES · 20:05 - ASPIRATION von ZAHO DE SAGAZAN

In kompakter Form besprechen wir Folgen 3 und 4 von „Skeleton Crew“. Zu Gast sind dieses Mal zwei, die Ihr schon öfter bei Blue Milk Blues gehört habt: Tim Griesbach, Music-Trooper und Host des „Space Opera Music Podcasts“, und Robert Hranitzky, Macher des Fanfilms „E-11: Standard Issues“. Dabei beleuchten wir unter anderem Monkey Island Vibes, […]

Timothée Chalamet qui incarnera Dylan y recrée une partie du clip original de la chanson "Subterranean Homesick Blues", Damiano David le chanteur de Måneskin a fait ses débuts en solo lors d'un concert intimiste à New York ce lundi 28 octobre, Blondie sortirait un nouvel album dans le courant de l'année prochaine, Sade dévoile une nouvelle chanson après 6 ans d'absence, The Last Dinner Party annule sa tournée européenne en raison d'un "épuisement émotionnel, mental et physique, Stevie Nicks a fait part de son idée pour une deuxième saison de Daisy Jones & The Six. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

När vi pratar om den 23 november 1963 och det Amerika som vaknar upp den morgonen, är det omöjligt att inte känna tyngden av en värld som har förändrats över en natt. Det är som att ett slags oskuld har gått förlorad, en naiv tro på framtiden som plötsligt har krossats. Dagen innan, den 22 november, förlorade USA inte bara en president; man förlorade en symbol för hopp och ungdom, för framtidstro och förändring. Källor:What Bob Dylan Wanted at Twenty-three (The New Yorker, 1964)Bob Dylan and the Subterranean Homesick Blues revolution (The Guardian, 2015)Why Bob Dylan is a Poetic Genius (Polyphonic, 2021)No Direction Home: The Life and Music of Bob Dylan Bok (Shelton, Robert 1986)Dylan: A Biography (Spitz, Bob 1991) Hosted on Acast. See acast.com/privacy for more information.

Kontentan bjuder på ett avsnitt inspelat under en weekend i London! Smått bakfulla och med tvivelaktigt ljud så gör vi en resa i Bob Dylans fotspår. Vi besöker puben där Dylan troligtvis spelade sin första spelning i Storbritannien och sen så tittar vi till platsen där musikvideon till “Subterranean Homesick Blues” spelades in. Senare under avsnittet sätter vi även oss ned i en park och bläddrar igenom två dagstidningar för att se vad den brittiska journalistiken har att erbjuda. Inspelat: 25/8 - 2024 Medverkande: Jonathan Ärfström och Linus Olofsson

DON'T THINK TWICE , IT'S ALRIGHT (1963) POSITIVELY 4Th STREET (1967) IT AIN'T ME BABE (1964) IF NOT FOR YOU (1970) SUBTERRANEAN HOMESICK BLUES (1965) MAGGIE'S FARM (1965) FOREVER YOUNG (1974) GOTTA SERVE SOMEBODY (1979) ALL ALONG THE WATCHTOWER (1967) TANGLED UP IN BLUE (1975) JUST LIKE A WOMAN (1966) I'LL BE YOUR BABY TONIGHT (1967) NOT DARK YET (1997)

The Underdoggs (with two g's) is the story of Jaycen "Two Js" Jennings (Snoop Dogg), a former NFL superstar wide receiver who is sentenced to community service. He decides to coach a rough-and-tumble ragtag youth football team as a means to regain his popularity and post-playing career opportunities. Topics discussed:Snoop Dogg's likability and humor Whether you should be alarmed by the profane language in the film Mike Epps' comedic performance Snoop's real-life youth football league The plot flaws and unnecessary roughness in the film Also check out: Snoop Youth Football LeagueCorrection: Dwayne "The Rock" Johnson graduated from Freedom High School, not Liberty High School. (We apologize for the error, Patriots!) The Freedom High football team got new gear from The Rock a few years ago."Mediate" music video by INXS, and the inspiration for it: "Subterranean Homesick Blues" by Bob DylanCreditsHip Hop Movie Club is produced by your HHMCs JB, BooGie, and DynoWright. Theme music by BooGie. We have a bunch of live events happening in the first half of 2024. You can see them at hiphopmovieclub.com, including our February 28 screening and live talkback of the 1992 classic Juice at SteelStacks in Bethlehem PA – get your free tickets now!And remember: Don't hate...liberate!

Welcome to the Instant Trivia podcast episode 1084, where we ask the best trivia on the Internet. Round 1. Category: Don'T Be Afraid Of The Dark 1: Umbra is the Latin word for this dark area that can follow you around. shadow. 2: Crepuscule is another word for this 8-letter moment just before darkness falls. twilight. 3: In the first line of Poe's "The Raven", this dark adjective describes midnight. dreary. 4: Shakespeare's Portia says, "How far that little" this "throws his beams! So shines a good deed in a naughty world". candle. 5: Preserved in Jerusalem, "The War of the Sons of Light Against the Sons of Darkness" is one of the 7 original these. Dead Sea Scrolls. Round 2. Category: Lights! Camera! Action Movie! 1: This actor was "Missing in Action" and feeling "Silent Rage" before he became TV's "Walker, Texas Ranger". Chuck Norris. 2: As Annie, the reluctant bus driver, Sandra Bullock ground through the gears in this 1994 action hit. Speed. 3: Like Scotland in 1995, the American colonies are defended by Mel Gibson in this jingoistic 2000 epic. The Patriot. 4: Randy Quaid and Will Smith help save the Earth in this 1996 action thriller. Independence Day. 5: Arnold Schwarzenegger has come back several times as one of these deadly title movie robots. The Terminator. Round 3. Category: Frequently Asked Questions 1: This question that traditionally follows "Halt!" might also be asked about an unlikely destination. Who goes there?. 2: Abbreviated WWJD, this question was popularized by the book "In His Steps". What would Jesus do?. 3: "Medical" catchphrase used when a performer takes ill on stage. Is there a doctor in the house?. 4: In 2001 Jared Martin of TV's "Dallas" was featured under this heading in People magazine. Where are they now?. 5: You can put a male friend's courage in doubt with this rodent-related query. Are you a man or a mouse?. Round 4. Category: Don'T Songs. With Don'T in quotes 1: Bobby Brown's first solo hit, it's also the title of an Elvis hit. "Don't Be Cruel". 2: Neil Diamond and Barbra Streisand recorded this song individually before performing it as a duet. "You Don't Bring Me Flowers". 3: In the Broadway musical, Evita asks for the support of her country in this song. "Don't Cry For Me Argentina". 4: This Andrews Sisters request precedes "with anyone else but me". "Don't Sit Under The Apple Tree". 5: This Cole Porter song in the style of a cowboy ballad was based on a poem. "Don't Fence Me In". Round 5. Category: Sub Category. With Sub in quotation marks 1: A smaller residential community, like Scarsdale, New York or Greenwich, Connecticut. Suburb. 2: The one associated with "Oliver Twist" is "The Parish Boy's Progress". Subtitle. 3: The voices of John, Paul, George and Ringo were dubbed by actors for most of this film. Yellow Submarine. 4: Examples of these are protons and neutrons. Subatomic particles. 5: Bob Dylan was no longer "underground" with this song, his first Top 40 hit. "Subterranean Homesick Blues". Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Welcome to the Nothing Shocking Podcast 2.0 reboot episode 214 with our guest Brett Scallions of Radiobot (Fuel, Circus Diablo, World Fire Brigade, Riders of the Storm).  In this episode we discuss Radiobot's new singles and upcoming album, and more! Radiobot is Brett Scallions, Eddie Wohl, and Billy Harvey.  Videos out now for Subterranean Home Sick Blues (Dylan Cover) and The World's on Fire. For more information visit: https://www.facebook.com/BrettScallionsMusic/ https://www.brettscallions.com/biography https://www.instagram.com/p/C0IG19dv3Zt/ https://www.youtube.com/@RadioBotOfficial   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org    Our bumber music this episode is "Come On Baby, Come On" by the band Star Crystal.  For more info visit: https://starcrystalband.com/ https://www.facebook.com/starcrystalband/ https://www.instagram.com/starcrystalband/ Youtube: https://www.youtube.com/c/StarCrystalBand Spotify: https://open.spotify.com/artist/2xXNXmo4VazBLW4HOV2n5j

Bob Dylan, the world renowned musical artist whose career now spans seven decades, has kept weather core to his writing. How so? Out of approximately 465 total Dylan songs, the word 'sun' is found in 63 different ones, 'wind' in 55, 'rain' in 40, and 'sky' in 36. 'Cloud', 'storm', 'summer', 'snow', and just 'weather' have been used in dozens more. Alan Robock, Distinguished Professor in the Department of Environmental Sciences at Rutgers University wrote all about this in his 2004 journal article Tonight as I stand in the Rain: Bob Dylan and Weather Imagery.  Robock, who just attended his 49th Bob Dylan show in November 2023, joins the podcast crew to take an inside look into Dylan's weather lyrics. Robock explores Dylan's weather topics, like whether you need a weatherman to see which way the wind blows (Subterranean Homesick Blues). Robock also hypothesizes why Dylan sings about the weather so much and more.  We want to hear from you! Have a question for the meteorologists? Call 609-272-7099 and leave a message. You might hear your question and get an answer on a future episode! You can also email questions or comments to podcasts@lee.net. About the Across the Sky podcast The weekly weather podcast is hosted on a rotation by the Lee Weather team: Matt Holiner of Lee Enterprises' Midwest group in Chicago, Kirsten Lang of the Tulsa World in Oklahoma, Joe Martucci of the Press of Atlantic City, N.J., and Sean Sublette of the Richmond Times-Dispatch in Virginia.See omnystudio.com/listener for privacy information.

If you are not familiar with The Nails don't feel bad.  They were not a hit on commercial radio, but this punk rock/new wave outfit from Boulder Colorado was much better known on college radio in the mid to late 80's.  Although Mood Swing is their debut album from 1984, the band originally formed in 1976 as a five-piece band.  They moved to New York and built both their musical chops and their following on the club circuit before their major label debut.At the time that Mood Swing was released the band consisted of Marc Campbell on vocals, Steve O'Rourke on guitar, George Kaufman on bass, Douglas Guthrie on saxophone, and David Kaufman on keyboards.  Drummer Tommy Cotogna had left the band prior to recording the album, and Dennis McDermott provided the drum work for the album sessions.The band produced a sound that included strong musicianship, dark and often deliberately shocking lyrics, but laced with a sense of humor.  Campbell claimed that their music came from “a mystical and sexual area.  I write in a cinematic way, trying to create through language and sound, texture and atmosphere, a specific mood.”  The songs on the album do indeed represent a diversity of mood.Wayne relives his days as a college radio DJ as he brings us this new wave group for the podcast, and we are joined by friend of the show Heather Lynch, sitting in for Bruce (and keeping Lynch in line). Every Time I Touch YouThe distinctive bass line followed by the screaming guitar leads into this song about being lost in a mix of love and lust, though we're not certain that this is a match made in heaven.  Love is a fire which can be explosive and tear the lovers apart.   And you never can go wrong with a sax!Let It All Hang OutThis is a cover from a 1967 song by the Hombres, and a “southern-fried parody” of Bob Dylan's “Subterranean Homesick Blues.” A number of other artists also covered this song, including Cream, John Cougar Mellencamp, and Wheezer.  It's a fun song.88 Lines About 44 Women If the Nail had a “hit” this was it.  This single peaked at number 46 on the US dance chart, and was laid out on a new Casio keyboard.  The Nails had released several versions of this song previously on independent labels.  Lead singer Campbell says that the song pays tribute to the power and glory of sex, drugs, rock and roll...and love.  It is dedicated to the women in my life to did their best to keep me human."Home of the BraveThis song has a Warhol-esque feel to it.  “Hectic madness of city living where the whores are dancing on the table tops and the juke box plays Apocalyptic bebop.”  ENTERTAINMENT TRACK:Theme from the television series “Night Court”We were introduced to Judge Harry T. Stone and the eclectic characters that pass through his courtroom on this sitcom that premiered in January 1984. STAFF PICKS:Say it Isn't So by Hall & OatesLynch starts of the staff picks with one of two new singles released on Hall & Oates compilation album "Rock 'n Soul Part 1."  It was stuck at number 2 on the Billboard Hot 100, behind Michael Jackson and Paul McCartney's "Say Say Say" for several weeks before finally taking the number 1 slot.  It is about the downside of fame, and the oddness of everyone seeming to know them. The Politics of Dancing by The Re-FlexRob's staff pick hits all the hallmarks of mid-80's music, including the keyboards, drum machine, spoken lyrics, and low tones.  This song went to number 24 on the Billboard Hot 100.  This is the title song from the debut album by The Re-Flex.  The band stopped working together by 1985, but members often collaborated on each other's solo projects.Break My Stride by Matthew Wilder Heather Lynch brings us a reggae-infused tune that hit number 5 on the Billboard Hot 100.  The song lyrics reflect a man smitten by a woman from whom he must move on, but it also reflects Wilder's struggles with delivering a hit that the record label would take.Holy Diver by DioWayne features heavy metal virtuoso Ronnie James Dio in a solo outing.  It was from his debut solo album of the same name.  The lyrics are about a Christ-figure on another planet who sacrifices himself for his people.  This song was one on Clear Channel's “inappropriate to play” songs after the attacks on 9/11. INSTRUMENTAL TRACK:1984 by Van HalenThis short instrumental leads off Van Halen's album of the same name.

played on an Enoch fretless banjo

played on an Enoch fretless banjo

In this episode medieval monks try to make a heaven-sent garden, drugs drag a writer to hell, and Bob Dylan creates a now-iconic short film. Hosted by Kate ReidGardening for God, written by Sarah Fleming and performed by Kate Reid [Covent Garden]Tales of the Odious Opium Eater, written by Zak Ghazi-Torbati and performed by Stephen Fry [4 York Place, and around Covent Garden]The Anthem of the Counterculture, written by James Rampton and performed by Robbie Stamp [The Savoy Steps, near the Savoy Hotel, the Strand]

Rishi Sunak's government is heading to court to challenge the Covid inquiry's right to demand ministers' unredacted messages, following a row over Boris Johnson's WhatsApp messages. The FT's Whitehall editor Lucy Fisher is joined by columnist Miranda Green and UK chief political commentator Robert Shrimsley to discuss the saga. Plus, the FT's global health editor Sarah Neville tells Lucy why more staff alone won't solve the NHS's problems. And the panel members reveal their musical tastes - with cultural recommendations for your own downtime. Follow Lucy on Twitter @LOS_FisherRead a transcript of this episode on FT.comWant more? UK government takes legal action over Boris Johnson's Covid messagesNHS productivity lags as recruitment fails to keep pace with demandHow the Thatcherites lost their Brexit dream and their partyThe great ‘Brexit' and ‘coalition' taboos are holding the Lib Dems back Clips from Sky News, BBC.”Subterranean Homesick Blues” by Bob Dylan. Written by Bob Dylan. SME, TuneCore (on behalf of Columbia); UMPG Publishing, CMRRA, LatinAutorPerf, LatinAutor - SonyATV, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, SOLAR Music Rights ManagementSign up for 90 free days of Stephen Bush's Inside Politics newsletter, winner of the World Association of News Publishers 2023 ‘Best Newsletter' award: https://www.ft.com/newsletter-signup/inside-politics Presented by Lucy Fisher. Produced by Anna Dedhar and Audrey Tinline. The executive producer is Manuela Saragosa. Audio mix and original music by Breen Turner. The FT's head of audio is Cheryl Brumley. Hosted on Acast. See acast.com/privacy for more information.

Let's talk about Katie's favorite movement: The Beats! We discuss free writing, freedom of speech, and ties to Blake, as the whole crew tries to convince Tim that Beat poems aren't too long. The space closes out with Tim's rendition of "Subterranean Homesick Blues" by Bob Dylan, at least one (maybe?) Beat he can get behind.

Helen and Gavin chat about The Traitors US, Plane, The Old Way, The Hatchet Wielding Hitchhiker, and Corsage, and it's Week 62 from the list of Rolling Stone's 500 Best Songs Ever, numbers 190 to 186; Fuck Da Police by NWA, Space Oddity by David Bowie, Little Wing by The Jimi Hendrix Experience, Subterranean Homesick Blues by Bob Dylan, I'll Take You There by The Staple Singers.

Dear ones, My life is a f**king magazine. Pages of projects, my life, twixting and twaining. I've grown up in them. You are your experience, and in the same way that you are what you sleep with, you become what you do, I guess.I wasn't sure whether to hammer your inboxes daily with micro-content, a la Patti Smith, in the run-up to my biggest news to date (beyond Psychomachia) or to just throw it ALL down here.Because what I really want to share is our. Beautiful. Single. (You can nab a pre-order of here).But it feels more honourable to make a cover star award of Geoff Travis, founder of Rough Trade - arguably the most important indie label in the history of the British recording industry.  We met as judges on the Doc n Roll Festival, he memorably said, “I bet you like performing,” as we hustled together for a group shot. He's right. Just gotta stay away from manifesting drama in one's personal life, and love you what you do - but like all those Wellness Live Ya Best Life aspirational platitudes - how do you jump off the cliff by a bungy rope if you ain't stapled in financially?When I went back to university at 25, bounding in all Educating Rita, like a spring daisy from another nervous breakdown/rehab (again), I did a BA in New Media Journalism and Radio, it taught me to be pretty self-sufficient and DIY, editing across media, coding, I was working in BBC Radio as a researcher by the second year, reporting at celeb parties and on September 11th, before making radio documentaries for 1XTRA, R2, etc. Authenticity has become more and more apparent to my sanity over the years. I've taught Media Ethics, Broadcasting, Pop video courses, loads of zine workshops with victims of torture, and minority groups, after school clubs - that sort of thing before getting more and more quasi-academic, and wannabe Doctor, shifting between teaching vocational media work to City & Guilds, B-Tec, undergrads and some Masters (in a particularly sketchy institution).  I've also consulted internationally for cash. I've become more and more capable over the years, but it also means I am pretty multi-skilled and good at problem solving, but it also prevents me from working to true calling. As life does for most people who have to earn a living.  The reality of being a writer and performer is that without compromise to industry demands, you're on your own.Which flips me back to Geoff Travis -  there was a crossover period when I was still trying to lecture and edit Ambit (Ambit won in the end, despite it being a charity, and the money not being as good as teaching, I felt more committed to the responsibility of helming this great institution).I invited Travis to give a guest lecture when I was leading a class on the Music Industry to American undergrads (employed by the brilliant writer, Heidi Dunbar James).  I was surprised what I knew, despite having written about music since my early days, DJing etc, you may know from PSYCHOMACHIA, which examines  the patriarchal nature of the 90s music industry as fiction, I've been around it forever -  before editing Ambit I was the “Off The Floor” editor of the arts on DJMag, but have never felt part of the boys club -  despite knowing so many of the wheeler dealers who have hustled through life making money from music -  we all feel like outsiders sometimes. My DJ moniker took a non-female angle, K-Rocka - a nickname, and it was through doing a series of lectures about the music industry in the UK, I kinda realised that actually I'm likely qualified as much as anyone else -  but the guest lecture from Geoff Travis was landmark - I hope you may have time to listen to this founder of Rough Trade, I've added the lecture as a podcast here.  It's a masterclass in independence. He's very cool, casually reeling out how he didn't sign The Stone Roses, and being at one of The Strokes first gigs, and not knowing that one of The Libertines was going to end up a heroin addict. There's also the pain of board meetings, not really being in it for the money, and the backend of the music industry. It's solid - thank you to the students of that class for their questions…Gil and I started sharing our work live in 2018.   He's what one may call a “professional musician”, his first A&R was John Niven and he's been signed to major labels and produced John Martyn among others. He was performing with Little Barrie when we met, at a book reading for Tony O'Neill (who also used to work in music, playing keys for my friend Kelli Ali, but also Kenickie, Marc Almond and others. His first book, Digging the Vein was published by Wrecking Ball Press who put my novel out). Gil and I became friends after that signing, and in the maelstrom of our relationship, his band with Little Barrie imploded - as bands do - despite their only single as Pet Weapons being loved and played by Lauren Laverne.Gil commenced on The Long Road of who am I, why am I, etc.  The important road.We collaborated before we got together -  co-writing a poem that introduced him at Red Gallery, 15 December 2015.  And by NOLA, 2018, we were making a film for Jeffrey Wengrofsky's festival in NYC, me writing a poem, chalking it up in the streets, filmed, and Gil then made music to accompany it.  We later showed it at the Liminality show at Gallery46, first performing together there. We then played other galleries, like the Bomb Factory in North London. In Berlin, The Social, Pikes Ibiza.   We've now done a couple of tours.Our friend Martyn Goodace did the Das Wasteland compilation which was our first  release, on vinyl, from Berlin days…We met Blang! Records boss Joe, who works with Paul and Jules, Beth and La, with his wife, after the first show we did out of lockdown, in Sheffield at Sidney & Matilda, a great venue, supporting Band of Holy Joy. (There's a documentary about Blang! Records which is worth finding - about antifolk and why they started)The sound guy at Sidney & Matilda was good, turned me onto local hip-hop poet Otis Mensah - but in the basement, people were conditioned to not stand close to each other and it felt like we were defo sharing air.  By the end of the tour - it was a futile underground party of sweat-filled sardine dancing in venues in Edinburgh and North Shields.  But that first night, it was that kinda romantic dream: a record label coming up to you after a show and showing interest.  Blang! Records were later doing a residency at the Hope n Anchor is Islington and asked us to play.  We filmed the shows for them, and they offered to put out a single.  Initially it was suggested we did it with Pink Eye Club on the flipside, but we played them Rock n Roll Is A Deathwish, after they'd chosen Paradise Burns - that's what's coming.  There are 50 lathe-cuts. The artwork's by the brilliant Bert Gilbert - “northern Marina Abramović” -  who's showing at the forthcoming Horror show at Somerset House, curated by Jane Pollard and Ian Forsyth (who directed 20000 Days with Nick Cave).  We've done a beautiful UV spot bespoke print and they really are limited and beautiful. Bert used Gustave Doré as her main influence on the piece.  A modernised rising of a new enlightenment, we can but dream.David Erdos has been super-kind in his review of the single in International Times. Comparing us to everyone between early Dylan (the first record I ever DJed was Subterranean Homesick Blues), and my vox being halfway between Wendy James and Siouxie Sioux. (It's in that link…he's a genius, love his acting too…)****I would like to invite you to our single launch at Rough Trade East on Wednesday -  there are some free tickets, but they are going fast…Jonny Halifax Invocation, Sharon Gal, Savage Pencil, Gil, some poets, we'll all be celebrating the first look of The War Issue of Ambit, which coincidently is equinox (the end of summer) and World Peace Day. I began talking about this “War issue” of Ambit back in 2020, with a submission that stood out, and went public on it in April. It's resulted in 50+ international contributors selected by myself and my brilliant co-editors in Beirut, Sarah Chalabi and Zeina Chamseddine of Dongola Books. We launch in Beirut,  supported by British Council Lebanon, 18 November.There's so much to say about this issue -  and the magazine does it.  Order here.  It's a reaction to the spectacle of War we receive in mass media through mainly direct experiences from Poets, Writers, Artists.  For me, it says more than most news orgs.****If you sneak onto our Bandcamp - you'll see the artwork, but as there's a holiday tomorrow, perhaps I'll have time to make a lil video.x. Love n light.Please come on Wednesday if you can. A few free TICKETS HERE. To hear more, visit kirstyallison.substack.com

This week's guest is Tim Bangert! After a few failed attempts by some friends to get Phish to stick in Tim's ears he finally took the plunge and went to The Great Went, and the rest is history! After The Great Went, the majority of Tim's Phish shows fell into the years of '98 & '99. We talked about Tim's First show experience, some of his favorite jams, the songs he is chasing, and what member of Phish he would most like to meet. To be featured on a future episode, shoot an email to sttf.weareeverywhere@gmail.com Tim summed up his trip to The Great Went in an essay that you can read below.   How did I end up in Limestone, Maine, in August of 1997 to see a band in which I had relatively little interest? I will start the tale of my first Phish show a few years prior to that. I did know a little of the band and had a few friends loan me their music telling me how great they were, but even with all the music I chased down in used music stores and played on a weekly college radio shows, Phish was a barely part of it. The first time I recall hearing the name of the band was in 1992 in a local radio ad for a Santana concert. Funny story there is that the announcer said, “with special guest Phish,” over Santana's “All I Ever Wanted.” I only knew the few Santana songs in K-SHE 95's rotation (“Black Magic Woman,” “Oye Como Va”), so my brain immediately associated “All I Ever Wanted” with Phish. Thinking about it, that might be a fun cover for Phish to play. Phish obviously wasn't getting played on local commercial stations in St. Louis, so that was that. The following winter in college a guy named Joe who lived across the hall from me told me I had to listen to Phish. He handed me a copy of A Picture of Nectar. I am not certain how much of it I listened to, but I think I thought it was too goofy and underproduced as it jumped from the manic “Llama” to gentle “Eliza” and so on. I still think it's goofy and underproduced but in a much more endearing way. A short while later my cousin came to visit me at school. She was a senior in high school and brought a copy of Junta along. I remember hearing “Fee” and once again thinking what a goofy band this was. Why were people recommending them to me? What was I missing here? Later that year she made me a mix tape that include The Mango Song. A strange one to hand anyone to say, hey, listen to this band! Somehow it wound its daft way into my brain with every listen. I think I thought the piano had a bit of Vince Guaraldi's sound from all the Charlie Brown specials. In the fall of 1994, a fellow RA named Matt asks me if I play any music by Phish on my weekly college radio show. I tell him I had heard a bit, but they never did it for me. He hands me a copy of the just-released Hoist and says to give it another shot. I immediately liked the opening track “Julius” and played it on my show. I recall liking “Down with Disease,” “Sample in a Jar,” and possibly “Wolfman's Brother” enough that I dubbed the whole thing and had it on a steady rotation in my car's cassette deck. There were a few songs I always skipped past. “Lifeboy,” “Dog Faced Boy,” and “Demand” come to mind. I'm still not big on them and oddly enough they are the three that I have never seen live (“Riker's Mailbox” and “Yerushalayim Shel Zahav” notwithstanding). Jump ahead to spring of 1996 and Andy Rosenhack, who worked in the dorms with me and showed me how to run the board and queue up songs at WRBU, returned to Peoria for Senior Walk (that's a whole different story). We were out to lunch with a group of friends and he starts telling me about going to see Phish and how great it was. His first show was the 12/7/95 Niagara Falls show. He was also talking a lot about seeing DMB and how great they were, which I think steered the conversation because by that point DMB was pretty big on the radio. I'm pretty sure I was evangelizing for Wilco around that point in time, which seemed pretty not-Phish. That summer I moved out to Colorado for a short time. Phish was in the news, as their four-night stand at Red Rocks was marred by the weird clashes taking place in Morrison by fans unable to get tickets to the shows. I was nowhere near it and Phish still was not really on my radar. I moved back to Illinois in early 1997, bounced around looking for work, and ended up with a contract job in the suburbs of Chicago. It was a pretty dreary time and I was looking for a way to get out of the rut that was surely forming in the 8-to-5 world of I.T. Andy contacts me and says I should come see Phish with him. Where are they playing? Why, in Maine! It's a festival! I tell him sure, why not. I've been at my job a few months and deserve some time off, right? He sent me two 90-minute cassettes to prep me for the show. The first was set 2 of the first night of the Clifford Ball 1. It's an interesting set covering a wide range of styles. The second tape was a doozy that probably made me say “What the hell is this?” It was the Bomb Factory Tweezerfest set. Really, is that what you hand somebody when you want them to listen to live Phish for the first time? It was out there. We wrangled another college friend Bill Korbecki to come along for the road trip. Bill lived near Chicago, so I had company for the drive to Rochester. If I recall correctly, we drove the northern route through Detroit and Niagara to get to Andy's place in Rochester, New York. Ah, for the days when crossing into and out of Canada didn't require a passport or a lot of suspicion. We didn't head straight up to the show, though. Andy was working as a day camp counselor that summer. Bill and I tagged along to help out, as they were making tie-dye t-shirts that day. I made mine out of a Sugar 1994 Tour shirt 2. That evening Bill and I hung out at Andy's place because he had tickets to take his girlfriend to see James Taylor. When he returned from the JT show we took off for Maine. It couldn't be that far, right? It's just getting to Massachusetts and then through a sliver of New Hampshire. Ha. Little did I realize how remote this concert would be. The route couldn't be easier. Take I-90 east until it hits I-95 outside Boston. Head north on I-95 until the final exit before New Brunswick. Hop off and go north on US-1 and follow the traffic jam to the decommissioned Loring Air Force Base. I remember hearing on the radio local kids in Arastook County were out of school for potato harvest. The residents in the area were curious about the parade of cars winding northward, but they were gracious nonetheless. Getting to the lot the morning of the show we were parked far back on the right side of the runway. The scale of it was overwhelming. Where the heck was the stage? Attempting to piece together the first day of music here. The walk to the concert grounds was far but did not feel that way. Too many interesting people and too much interesting merchandise being hawked. I don't remember much of the festival area. Andy did paint on one of the wooden planks flanking the area. Those planks would become part of the sculpture that evolved on the scaffolding to the right of the stage. I think Andy met Page in that time, too. I had no clue who any of the band were. 1 Split Open and Melt, Sparkle, Free, The Squirming Coil, Waste, Talk, Train Song, Strange Design, Hello My Baby, Mikes Song, Simple, Contact & Weekapaug Groove. 2 I can't believe I did that. My apologies to Bob Mould. The show started late that afternoon. “Makisupa Policeman” holds the honor of the first live song I saw Phish play. Keyword? “Goo balls.” Me being the neophyte I am, I thought Trey said “blue balls.” Ha. I had no idea the significance of the partial “Harpua” that followed. That day warped me for how long an opening set should be at around 100 minutes. I later learned listening to the tapes that the first few songs were a de facto soundcheck. Looking back it's strange to think I got a daytime YEM (it's hard to think of it without the lights) and a beautiful solo to end “Squirming Coil.” Page's words after his bow? “Stick around.” I knew only two songs they played that day. “Wolfman's Brother” to open the second set and “Julius” to close it out. That helped keep things familiar for me. I was worn out late in the third set and told the guys I would meet them back at the car, so I listened to the encore from afar. Not knowing much of anything, I obviously missed the late-night DJ set the band put on in the disco tent. The next morning was crisp and bright. Flyers had been circulating requesting participants for a mass photo shoot. The catch? It called for folks to doff their clothes. Anyone hearing this story would think I was the one who had to be dragged into such an event, but the opposite is the case. I told Bill and Andy that we should be in the photo. They thought I was bluffing and said if I was in, they'd be in, too. So sometime late that morning I led them to the staging area to sign waivers, drop our clothes near some bike racks, and parade out onto an empty stretch of runway in our birthday suits with 1,100 other people. It was not as nerve-wracking as I thought it might be. For our participation, we were supposed to be sent a copy of the photo, but unfortunately, I was bouncing between addresses at the time and mine never made it to me. Andy did receive his. The photo is rather morbid in my eyes. It's monochrome and looks like a thousand corpses lined up on pavement, which completely belies the festive atmosphere of the shoot. While I did not receive the poster, there is proof of me in one of the pictures in 1998's The Phish Book. Yep. My caveat for anyone seeing that page in the book is that northern Maine mornings are chilly. ;) We meandered about that day. I was amazed at all the vending taking place, though I was still too green to understand references to songs or other cultural touchstones. I did buy a lot shirt, though. It was tie-dye, had a Phish logo with Summer Tour 97 around it, and on the back a faux Maine license plate with GR8-WENT. It cost me $5 because it had some rips in the front and was the last of the vendor's lot. I don't think I ever wore it, but it's still stowed away too cherished to be thrown out. I remember much more of the second day of music. I loved the song “The Wedge” the moment they opened with it. Limestone blocks so large, indeed. After the set we wandered a bit for food and water. Getting back into the concert area we ended up about 20 to 25 rows back Page side. The place was buzzing as the night and cool air creeped in. One anomaly of this show that I did not realize was Fish not wearing his trademark donut dress. He was in jeans that weekend. For the second night he had on a fleece adorned winter hat. Trey also had on a warm striped beanie for the second set. They kicked off the set with “Down With Disease” which I knew from good old Hoist. The song raged on for twenty minutes and then dropped down to a simple little guitar and bass conversation between Trey and Mike, as Page and Fish stepped to two easels on the stage. We could see the two of them painting on shaped boards, similar to those Andy had painted on in the festival area. Trey played the chords of “Bathtub Gin” as Fish found his way back to the drum kit. The song was new to me, but it's so catchy. The cadence of lyrics at first reminded me of Bob Dylan's “Subterranean Homesick Blues” and of course was familiar with its Gershwin quotes throughout. Something clicked for me right then and there. Little did I know this would be one of the signature live jams of the band's career, but I did know something special was happening. It's a version that never loses steam and never grows stale on repeated listenings. There's a group on Facebook called “The Great Went Bathtub Gin Changed My Life.” I did not start the group, but I certainly understand why it was created. The song is 20 minutes of inspired playing and improvisation. As Gin wound down and melted into the quick bluegrass fix of “Uncle Pen,” we were only halfway through the set. The next 45 minutes would be just as inspired. The next song was just as familiar because Strauss' “Also Sprach Zarathustra” is embedded in the DNA of anyone alive after 2001: A Space Odyssey. More painting, this time Trey and Mike stepping to the easels while Fish and Page keep the jam going. What's up with all this painting, anyway? As 2001 fades into what becomes known as “Art Jam” on tapes, Trey tells us about creating art with the audience. The band's planks are crowd surfed over to the scaffolding where all the planks painted by festival-goers hang in one crazy pile. The spotlight is on the newly created sculpture as the band kicks into “Harry Hood.” Another new one for me, but it's a glorious swell. As “Hood” drops into the post “Thank you, Mr. Miner” jam, Trey asks Chris Kuroda to cut the lights because the moon is bright and the sculpture is growing in beauty with every passing second. With that, the air begins to fill with colored lights. A glowstick war breaks out. Without the usual concert lights to dampen things, the sticks take on an epic feel. The jam seems to rise and fall with the number in the air. It was exhilarating. I couldn't imagine being anywhere else. As “Hood” ended Trey tells the crowd to go get more of those things because they look amazing. 90 minutes had gone by in what seemed like 9. The crowd was floating. And we still had another set to go. Over the course of the second set the crowd grew more dense. We had nowhere to go between sets. I remember gallon jugs of water being passed around the crowd. I was so thankful for a few sips. It sustained me through the end of the show in an incredibly cramped space. The final set was not as epic, but introduced me to a few more facets of the band. I remember each song, but specifics of only a few. We were still pinned in with the crowd and hadn't had a chance to sit down in hours (maybe we did? I remember standing the whole time). I'm sure a lot of people took “Dirt” to be a chance to rest after the intricate “Guyute,” but it hit me just right. Combined with the cold air, Trey's whistling and the simple guitar line were an emotional high point for me. The same goes with the set closing “Prince Caspian.” I was thrilled hearing “When the Circus Comes” as the encore, since I am a big fan of the old Los Lobos tune. I didn't realize its lyric “the day I burn this whole place down” would soon become a reality as they tore into “Tweezer Reprise.” A huge timber dressed up as a match was lit and tipped against the sculpture that an hour or two earlier we had been admiring during “Harry Hood.” The whole thing went up in an intense blaze as the encore raged. The crowd was going crazy. Wow. Is this what every Phish show is like? Maybe so, maybe not. One of the great things about the fest were all the folks vending from their vehicles. I was famished after the nighttime sets. As we strolled back up the runway I hear a voice singing out “15 ingredient veggie burritos!” A burrito sounded like it would be perfect, so we stopped to grab one. As the woman is wrapping one up I can't resist asking, “So, what are the 15 ingredients in this burrito?” Here's how Andy recalls her reply: “Rice, 5 kinds of beans, cilantro, cheese, cilantro, rice, cilantro, 5 kinds of beans, cheese, rice, and cilantro.” Ha! Who am I to question that? It was delicious. We took time to rest at the car and headed out of the base the next morning. Traffic was heavy, but moved pretty well. When we hopped on I-95 again one of the strangest things I've ever seen happened. Troopers were pulling cars over en masse. We were not among those targeted by the state patrol, but it was weird. The only other Maine thing we really did when we were up that way was a stop at the L.L. Bean flagship store. I bought a wool plaid cap that I recently passed on to my daughter. The rest of the ride back to Rochester I remember mainly for Andy introducing us to the music of Ani Difranco. As the rest of the year went along, I got a bit more into Phish, but really sought out Ani's stuff. Two completely different sounds, but artists who completely do things their own way. The drive to Chicago is a bit of a blur to me now. I'm guessing exhaustion was setting in and we were looking forward to getting home.  

La participation est un principe central du travail d'Allan Kaprow. Rearrangeable Panels, vestige du décor du célèbre Eighteen Happenings in Six Parts de 1959, témoigne de sa volonté de confondre l'art et la vie et d'intégrer les spectateurs. Cet épisode donne à entendre l'artiste Jean-Jacques Lebel, ami de Kaprow et expert de l'histoire du happening, ainsi que le critique d'art Paul Ardenne à propos des artistes contemporains qui cherchent à renforcer le tissu social par leurs propositions d'art participatif dans l'espace public.Écriture et réalisation : Alice Maxia et Florence Sayag-MoratEnregistrement : Ivan Gariel Montage et mixage : Antoine Dahan Avec la participation d'Élisa Hervelin, Jean-Jacques Lebel et Paul ArdenneHabillage musical : Nawel Ben Kraïem et Nassim KoutiExtraits musicaux et sonores : The Dave Brubeck Quartet, Pick up Sticks, 1959 ; John Cage, Concerto for piano and orchestra, 1958 (interprété par l'Orchestre Philharmonique de la Radio Flamande, 2006) ; John Cage, Water Music, 1952 (adapté et interpreté par Luís Bittencourt, 2012) ; George Russell, A Helluva Town, 1959 ; Bod Dylan, Subterranean Homesick Blues, 1965; Allan Kaprow, How To Make A Happening, 1966 ; Helena Polka, Frank Yankovic & His Yanks, The All Time Great Polkas, 1959 ; Queen Latifah, U.N.I.T.Y., 1993 Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Gerade ist ein Jübiläumsvideo für diesen Song heraus gekommen - dessen Originalvideo schon ikonographisch ist. Insofern wird in dieser Episode ein bisschen mehr als sonst über Videodrehs etc. gesprochen und über heimische Beteiligungen. Aber vor allem wird über his Bobness geredet - und nein, nicht nur für Freaks - all Ihr Youngsters, kommt her und lernt etwas über die Quelle! Jetzt - anhören, teilen und weitersagen - Ihr wisst schon

For Filipinos who grew up in the Philippines, aside from family and food, there are many little things you know you will always be homesick for. You never really appreciate these things until you move overseas and miss them every day.It is easy to take things for granted. We know this feeling so well. Join us in this episode as we share the simple pleasures we miss back home. Episode highlights:Advantages of the malls in the Philippines from other countriesDiscussions neighborhoods in the PhilippinesProducts and easy access to stores in the PhilippinesThe beauty of beaches in the Philippines compared to US and DubaiHow different the community and connections of people in the Philippines are Quote shared in this episode:"Why do you go away? So that you can come back. So that you can see the place you came from with new eyes and extra colors. And the people there see you differently, too. Coming back to where you started is not the same as never leaving." ― Terry Pratchett, A Hat Full of Sky  Have questions, comments, or concerns? We'd love to hear from you. Email us at hello@taraletstalk.com.  Subscribe:  Apple Podcasts | Google Podcasts | Spotify | Stitcher | Audible | Amazon Music | Goodpods | iHeartRADIO |  If you enjoyed this episode, please don't forget to give us a five star rating. Or leave us a review on iTunes, Podcast Addict, Podchaser and Castbox. Follow us on Social Media:Taralets Talk Podcast on IGTaralets Talk Podcast on Facebook Taralets Talk is sponsored by Disenyo.co LLC:DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees. 

Be Careful With a Fool cuz even a Tangerine can be Vicious on a Lazy Day. That's as Clear As the Driven Snow. So How Do You Sleep? As for me, I dream The Dream of the Archer who's got the Subterranean Homesick Blues. He's thinking things Gotta Get Better. And they will cuz Have You Heard - The Voyage is about to begin. So, Are You Sitting Comfortably? I hope so. Meanwhile, we'll be Waiting in the Bamboo Grove.

For April, the 1st among fools Don't follow leaders.Bob DylanMarch 32, 2022Please refrain from using imperatives and the imperative mood. It is annoying, so just stop it.If you are not sure what an imperative is, look it up.Reflect on the deluge of the imperative that washes over our everyday existence, and be sure to observe how much you contribute to this imperative abuse. Face the fact that you are likely a major offender as well as a victim. Now, let's review all the examples of the imperative you see around you.Think about SignageConsider, for instance, signage produced by governments, businesses, churches, schools, and other authorities. Let's review a few. “Stand back.” “Pull forward.” “Stop.” “Proceed with caution.” “Yield.” “Stop. Look. Listen.” “Ring bell for service.” “Wait here until your number is called.” “Place order here.” “Speak into the microphone.” “Pay here.” “Use other door.” “Keep door closed.” “Park in back.” “Don't park here.” “Don't block driveway entrance.” “Don't block garage entrance.” “Park in designated area.” “Do not enter.” “Do not block.” “Do not exit.” “Place donation in box.” “Take one.” “Give here.” “Do not touch.” “Do not chew gum.” “Beware of the dog.” “Do not pet the dog.” “Curb your dog.” “Please dispose of dog waste properly.” “Please dispose of litter properly.” “Do not dispose of garbage here.” And finally, “Stay off the grass,” which, think about it, can serve as either a prohibition against trespassing or an admonition regarding the use of an infamous gateway drug.Consider Your Car BumperNote how bumper stickers are also a rich source of imperatives. “Vote.” “Save the whales.” “Eat the whales.” “Vote early and often.” “Don't tailgate.” “Eat Bertha's Mussels.” “Just try to take my gun.” “Vote Republican.” “Visit California.” “Vote Libertarian.” “Visit South of the Border.” “Vote Democrat.” “Stop at Wall Drugs.” “Honk if you love Jesus.” “Honk if you support Resolution 718b.” “Honk if you are horny.” “Vote as if your life depended on it.” “If you see this van a-rockin,' don't come a-knockin'.” “Don't laugh. It's paid for.” “Vote for the crook.” “Defund the police.” “Defend the police.” “Shop local.” “Don't vote for the crooks.” “Choose civility.” “Bring back prayer in school.” “Keep prayer out of school.” “Keep your laws off my body.” “Vote Green Party” “Coexist.” “Think peace.” “Free the People.” “Impeach Bush.” “Tax the rich.” “Don't eat meat.” “Eat the rich.” And, of course, the more recent additions, “Make America Great Again” and “Let's go, Brandon.”While you are at it, be sure to savor the wonderfully paradoxical authoritativeness of the classic bumper sticker directive:“Question authority.”Remember Your School DaysRecognize how your life has always been filled with commands and demands. Call to mind your own school days with teachers and staff barking orders all morning and every afternoon. “Pay attention.” “Do your work.” “Do your own work.” “Be quiet.” “Speak up.” “Spit it out now.” “Hurry up.” “Don't run.” “Speed it up.” “Slow down.” “Line up.” “Sit down.” “Stand up.” “Get over here.” “Stay there.” “Do this.” “Stop doing that.” And, revel along with me in my personal favorite from my Catholic high school days:“Get a haircut!”Listen to the MusicIf you really want to go nuts with imperatives, think about how many popular songs boss us around when it comes to matters of love and romance. “Love Me Tender.” “Love Me Harder.” “Love Me Two Times.” “Love Her Madly.” “Love Me Do.” “Love Me Like You Do.” “Stop, In the Name of Love.” And pause to appreciate how hard it is to best the frank seduction, “Lay, Lady, Lay. Lay across my big brass bed.” For a tour de force of musical imperative abuse, also by Bob Dylan, check out his “Subterranean Homesick Blues.” Delight in this one snippet:Get sick, get well Hang around a ink well Ring bell, hard to tell If anything is goin' to sell Try hard, get barred Get back, write braille Get jailed, jump bail Join the army, if you failIf you are not in the mood for love or just want to “Twist and Shout,” then “Let's Dance” away your sorrows. “Do the Hustle.” “Everybody Dance Now.” “Do the Locomotion.” “Dance the Night Away.” “(Do the) Mashed Potatoes.” “Save the Last Dance for Me.” “Do a Little Dance. Make a Little Love. Get Down Tonight.” Or, just keep it simple and “Dance, Dance.”If dancing is not your thing, enjoy this select list of motivational titles. “Get Up.” “Get up offa That Thing.” “Get Up, Stand Up.” “Party Up.” “Party Down.” “Walk This Way.” “Jump.” “Whip It.” “Come Together.” “Go Now.” “Call Me.” “Shout.” “Hush.” “Knock Three Times.” “Hit Me with Your Best Shot.” And “Do That To Me One More Time.”Finally, forgive my Fr*nch, but here is a classic hip hop imperative from the 80s: “F*ck the P*l*c*.”And Don't Forget to Support Our SponsorsNow ponder the biggest imperative offender of all: advertising. “Buy it now.” “Shop with us.” “Use our product.” “Use less.” “Use more.” “Pay less.” “Don't pay more.” “Buy now, pay later.” “Don't take our word for it.” “Ask your doctor.” “Ask your pharmacist.” “Ask your vet.” “Ask your grocer.” “Ask your friends.” “Ask about our layaway plan.” “Visit our store.” “Check out our website.” “Find us on Facebook.” “Follow us on Twitter.” “Like us on Instagram.” “Call any time.” “Apply for service.” “Don't be fooled by substitutes.” “Get what you deserve.” “Look for our coupons.” “Click here for more.” “Fly the friendly skies.” “Fly American.” “Buy American.” “Buy bulk and save more.” “Don't let it get away.” “Get away from it all.” “Don't throw away your money.” “Trust your money with us.” “Save money with us.” “Send money.” “Eat here.” “Eat beef for dinner.” “Eat mor chikin.” “Join now.” “Act now.” “Don't act yet.” “But wait, there's more.” “Don't let this deal get away.” “Call us now.” “Clip and save.” “Don't miss our sale.” “Live the good life.” “Retire here.” “Try our mattress.” “You've tried all the rest, now try the best.”Finally, ruminate on the liquor industry's masterfully duplicitous exhortation that simultaneously encourages a vice while moralizing against its consequences: “Drink responsibly.”“Just do it.”Scream in frustration if you must, but don't overlook the fact that imperative reform starts with you!Say what you will, since we are so awash in imperatives, it is, frankly, imperative that we extricate ourselves and our society from their pernicious ubiquity, so start with yourself. Conduct an imperative audit. Document how many times a day you use imperatives in your speech and writing. Keep precise notes and review your list at the end of the week. Notice how often you fall back on using imperatives and contemplate how overbearing it can be. Change your ways. Resolve to do better.Admit that we are all at fault, and feel free to point a finger at me. I am not immune to the lure of the imperative, but don't judge me too harshly. Remember that I am only human.Now, go forth. Do no harm. And stay off my lawn!Have a nice day.Do you know that imperative abuse is not a real thing? Did you not understand that my overuse of imperatives in this essay was just for fun?You can hone that sense of humor and sharpen your ability to spot irony, and I can help. Click below for your free consultation.Share your thoughts on this topic or participate in a discussion by leaving a comment below or by contacting me directly by email: You'll have to register with Substack and sign in to leave a comment, which is painless and free. Please share this post on social media.And don't forget to click subscribe to have Tools+Paradigms sent directly to your inbox. I look forward to hearing from you.Thanks for reading Tools+Paradigms! Subscribe for free to receive new posts and support my work.Intro and outro podcast theme music by LiteSaturation from Pixabay. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit jimsalvucci.substack.com

Many consider Simon & Garfunkel's third studio album to be the breakthrough album.  The tracks on Parsley, Sage, Rosemary and Thyme were written primarily by Paul Simon during his time as a visitor in England in the prior year.  The songs maintain the folk feel of previous albums, and are heavily tilted towards acoustic instrumentation.  Paul Simon and Art Garfunkel met in elementary school in Queens, New York, in 1953.  They had their first minor hit as teenagers in 1957 under the stage name Tom and Jerry.  They began by emulating the sound of The Everly Brothers, but moved towards a folk sound as that genre gained in popularity.  Parsley, Sage, Rosemary and Thyme was a follow-up to their second album, which had been a commercial success, but which the duo felt was rushed.  Simon insisted on control of the recording process, and they took nine months to craft and record the album.  The result would be both a critical and commercial success, peaking at number 4 on the Billboard Pop Album Chart and eventually achieving Triple Platinum status with the RIAA.The duet would go on to record five studio albums before growing apart and breaking up in 1971.  The duo would reunite several times afterwards, perhaps most famously for their concert in Central Park in 1981. Scarborough Fair/CanticleThe opening track originated from an English ballad that had its roots in a Scottish folk song from at least the 1670's.  Simon learned it from Martin Carthy in London, and set it in counterpoint against a song he had previously written in 1963.  It would appear as a single after being featured in the film "The Graduate" in 1968.Homeward BoundThis song had previously appeared on the UK version of the duo's second studio album before appearing on the this American release.  The single hit number 5 on the Billboard Hot 100 earlier in 1966, and was on the charts for 12 weeks.  SImon wrote it after returning from England in 1964. The 59th Street Bridge Song (Feelin' Groovy)The name of this song is from a bridge in New York, also known as the Ed Koch Queensboro Bridge.  The theme to the television series "H.R. Pufnstuf" originally considered composed by Sid and Marty Kroft, was found to be too similar to this song, and Paul Simon was given writing credits to this theme after a court suit.A Simple Desultory Philippic (or How I Was Robert McNamara'd into Submission) This song is considered a parody of Bob Dylan's "Subterranean Homesick Blues," which was released the year before.  The lyrics name-drop many contemporary politicians, musicians, and celebrities, including Art Garfunkel.  Robert McNamara was the U.S. Secretary of Defense at the time the album was released. ENTERTAINMENT TRACK:The theme from the television series "The Saint" Roger Moore starred as Simon Templar in this British spy series.  His work in The Saint would propel him to a future role as James Bond in the 007 movie franchise. STAFF PICKS:Psychotic Reaction by Count FiveWayne walks down the psychedelic path to open our staff picks.  The song name came from a professor in the lead singer's college psychology class.  The lyrics are about losing your mind due to heartache.  While this is a one-hit wonder, the Rock and Roll Hall of Fame lists this song as one of the "500 Songs That Shaped Rock."You Keep Me Hangin' On by The Supremes Brian's staff pick was written by Holland-Dozier-Holland, authors of the Motown sound.  This song was written specifically for The Supremes, and details the tragedy of a relationship in which a man cannot let go of the woman, but can't commit to her either.  This was one of a string of four number 1 songs by The Supremes.Walk Away Renee by the Left BankBruce brings us a little baroque pop, complete with harpsicord and strings.  co-writer Michael Brown claims he wrote the song about Renee Fladen-Kamm, who was the girlfriend of The Left Bank bassist Tom Finn, and with whom Michael Brown was infatuated.  Co-writer Tony Sansone contradicts Brown, saying it was a French girl's name selected at random, inspired by the Beatles' song "Michelle."A Hazy Shade of Winter by Simon & GarfunkelRob's closes out the staff picks with a famous Simon & Garfunkel single that was recorded during the studio sessions for the album, and was on the charts at the time, but which did not appear on this album. COMEDY TRACK:Boy Wonder, I Love You by Burt WardThis strange piece is a weird collaboration between Burt Ward (who played Robin in the 60's "Batman" series) and Frank Zappa.  

Subterranean Homesick Blues By Bob Dylan

Comic actor Thom Tuck discovered Bob Dylan when, growing up in Bangladesh, he caught the promo for Subterranean Homesick Blues on MTV Rewind. His family eventually returned to Leeds, where his outsider status was made even worse/better by his obsession with all things Bob. At university, he didn't improve his lot by writing a play called “One More Layer of Skin”. Despite it all, Thom maintains that Dylan remains his “prism by which to understand the world”.Opinions: Thom reserves a special place in hell for songs like Make You Feel My Love (“Adele heard the Billy Joel version and now every idiot does it”), whilst continuing to rate Under The Red Sky (“as an album to go to sleep to”). Along the way, we swap dozens of the best Dylan cover versions, from bluegrass to hard rock to the “deep thunder” of Tom Jones.Thom Tuck is an actor, writer and comedian. He is currently on tour in the acclaimed Birmingham Rep production of The Play What I Wrote. His theatre work includes Death Of A Salesman (Royal & Derngate), Three Sisters (Southwark Playhouse), Brexit (Spontaneity Shop), A Slight Ache (Pleasance) and Gutted!: A Revenger's Musical (Assembly Theatre). Thom's television work includes The Crown, Fresh Meat, Horrible Histories, Babylon and Drifters. As a comedian, Thom was nominated Best Newcomer at the Edinburgh Fringe for his show Thom Tuck Goes Straight-To-DVD, which was adapted for BBC Radio and is now out on DVD. His other solo shows are Thom Tuck Flips Out, The Square Root Of Minus One and An August Institution. Thom is one third of the acclaimed sketch troupe The Penny Dreadfuls.https://britishtheatre.com/the-play-what-i-wrote-tour/TwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 14th December 2021This show is part of Pantheon Podcasts

Comic actor Thom Tuck discovered Bob Dylan when, growing up in Bangladesh, he caught the promo for Subterranean Homesick Blues on MTV Rewind. His family eventually returned to Leeds, where his outsider status was made even worse/better by his obsession with all things Bob. At university, he didn't improve his lot by writing a play called “One More Layer of Skin”. Despite it all, Thom maintains that Dylan remains his “prism by which to understand the world”. Opinions: Thom reserves a special place in hell for songs like Make You Feel My Love (“Adele heard the Billy Joel version and now every idiot does it”), whilst continuing to rate Under The Red Sky (“as an album to go to sleep to”). Along the way, we swap dozens of the best Dylan cover versions, from bluegrass to hard rock to the “deep thunder” of Tom Jones. Thom Tuck is an actor, writer and comedian. He is currently on tour in the acclaimed Birmingham Rep production of The Play What I Wrote. His theatre work includes Death Of A Salesman (Royal & Derngate), Three Sisters (Southwark Playhouse), Brexit (Spontaneity Shop), A Slight Ache (Pleasance) and Gutted!: A Revenger's Musical (Assembly Theatre). Thom's television work includes The Crown, Fresh Meat, Horrible Histories, Babylon and Drifters. As a comedian, Thom was nominated Best Newcomer at the Edinburgh Fringe for his show Thom Tuck Goes Straight-To-DVD, which was adapted for BBC Radio and is now out on DVD. His other solo shows are Thom Tuck Flips Out, The Square Root Of Minus One and An August Institution. Thom is one third of the acclaimed sketch troupe The Penny Dreadfuls. https://britishtheatre.com/the-play-what-i-wrote-tour/ Twitter Trailer Episode playlist on Apple Episode playlist on Spotify Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 14th December 2021 This show is part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Comic actor Thom Tuck discovered Bob Dylan when, growing up in Bangladesh, he caught the promo for Subterranean Homesick Blues on MTV Rewind. His family eventually returned to Leeds, where his outsider status was made even worse/better by his obsession with all things Bob. At university, he didn't improve his lot by writing a play called “One More Layer of Skin”. Despite it all, Thom maintains that Dylan remains his “prism by which to understand the world”.Opinions: Thom reserves a special place in hell for songs like Make You Feel My Love (“Adele heard the Billy Joel version and now every idiot does it”), whilst continuing to rate Under The Red Sky (“as an album to go to sleep to”). Along the way, we swap dozens of the best Dylan cover versions, from bluegrass to hard rock to the “deep thunder” of Tom Jones.Thom Tuck is an actor, writer and comedian. He is currently on tour in the acclaimed Birmingham Rep production of The Play What I Wrote. His theatre work includes Death Of A Salesman (Royal & Derngate), Three Sisters (Southwark Playhouse), Brexit (Spontaneity Shop), A Slight Ache (Pleasance) and Gutted!: A Revenger's Musical (Assembly Theatre). Thom's television work includes The Crown, Fresh Meat, Horrible Histories, Babylon and Drifters. As a comedian, Thom was nominated Best Newcomer at the Edinburgh Fringe for his show Thom Tuck Goes Straight-To-DVD, which was adapted for BBC Radio and is now out on DVD. His other solo shows are Thom Tuck Flips Out, The Square Root Of Minus One and An August Institution. Thom is one third of the acclaimed sketch troupe The Penny Dreadfuls.https://britishtheatre.com/the-play-what-i-wrote-tour/TwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 14th December 2021This show is part of Pantheon Podcasts

Komik und Tragik der Liebe im Alter. | Aus dem Englischen von Ingo Herzke | Mit: Irene Kugler, Rüdiger Vogler und Matthias Breitenbach | Regie: Iris Drögekamp | Produktion: SWR 2016

What makes Christmas different in the Philippines? How do we celebrate Christmas when we're so far away from home?For Filipino immigrants, Christmas is when we feel more sad and homesick. It can be especially challenging to feel like we're part of the celebrations back home. But even though we're away from our families and loved ones, we still create our own little Christmas traditions that make us feel close to home. If you enjoyed this episode, make sure and give us a five star rating  and leave us a review on iTunes, Podcast Addict, Podchaser and Castbox. Follow us on Social Media:Taralets Talk Podcast on IGTaralets Talk Podcast on Facebook Taralets Talk is sponsored by Disenyo.co LLC:DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees.   

Legendary standup Margaret Cho joins Tom and Julie to rank bread baskets, talk shampoo bottle aesthetics, and watch GWAR on Joan Rivers. Plus a certified legendary segment in which Tom and Julie teach you how to successfully pitch a TV show. Also Julie's review of Clifford the Big Red Dog, can presidents drive, Uber Scooch, I'm Surrounded By Morons, ROFL, Todd Phillips' iPod, Woody Allen's Subterranean Homesick Blues, microwave popcorn tips, The 100 Laugh Guarantee, basic bitches, relatable references, Yellowstone, Yogi Bear, Geordi La Forge and Abraham Lincoln, Rogan the Rocky Snowman, James Hetfield's hair vs Dave Mustaine's hair, and Word-A-Day desktop calendars.SEE MARGARET CHO LIVE:https://margaretcho.comLISTEN TO DOUBLE THREAT AD-FREE ON FOREVER DOG PLUS:http://foreverdogpodcasts.com/plusDOUBLE THREAT MERCH:https://www.teepublic.com/stores/double-threatSEND SUBMISSIONS TO:DoubleThreatPod@gmail.comFOLLOW DOUBLE THREAT:https://twitter.com/doublethreatpodhttps://www.instagram.com/doublethreatpodDOUBLE THREAT IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/double-threatTheme song by Mike KrolArtwork by Michael KuppermanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Everything's off kilter this week, as Nick and Austin discuss "Airbag," "Subterranean Homesick Alien," and "Exit Music." Both gush over Baz Luhrmann's "Romeo and Juliet," while failing to even mention Bob Dylan's "Subterranean Homesick Blues." Austin tries to get into some Miles Davis, while Nick repeatedly gets the title of Sogyal Rinpoche's The Tibetan Book of Living and Dying wrong. (He's very sorry.) But first, Austin sees if Nick remembers how to play some songs we've already discussed. If you enjoy what you're hearing, please rate and review us. Like us on https://www.facebook.com/anyonecanplayguitarpodcast (Facebook) Follow us on https://twitter.com/anyonecanplayr1 (Twitter) Songs Discussed: 5:00 - "Airbag" 20:00 - "Subterranean Homesick Alien" 29:15 - "Exit Music"

NOTE: This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode. Episode one hundred and thirty of A History of Rock Music in Five Hundred Songs looks at “Like a Rolling Stone" by Bob Dylan, and the controversy over Dylan going electric, Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Hold What You've Got" by Joe Tex. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum A couple of times I refer to “CBS”. Dylan's label in the US was Columbia Records, a subsidiary of CBS Inc, but in the rest of the world the label traded as “CBS Records”. I should probably have used “Columbia” throughout... Resources No Mixcloud this week, as there are too many songs by Dylan. Much of the information in this episode comes from Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. I've used these books for all the episodes involving Dylan: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. The New Yorker article by Nat Hentoff I talk about is here. And for the information about the writing of "Like a Rolling Stone", I relied on yet another book by Heylin, All the Madmen. Dylan's albums up to 1967 can all be found in their original mono mixes on this box set. And Dylan's performances at Newport from 1963 through 1965 are on this DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a story that everyone tells about Bob Dylan in 1965, the story that has entered into legend. It's the story that you'll see in most of the biographies of him, and in all those coffee-table histories of rock music put out by glossy music magazines. Bob Dylan, in this story, was part of the square, boring, folk scene until he plugged in an electric guitar and just blew the minds of all those squares, who immediately ostracised him forever for being a Judas and betraying their traditionalist acoustic music, but he was just too cool and too much of a rebel to be bound by their rules, man. Pete Seeger even got an axe and tried to cut his way through the cables of the amplifiers, he was so offended by the desecration of the Newport Folk Festival. And like all these stories, it's an oversimplification but there's an element of truth to it too. So today, we're going to look at what actually happened when Dylan went electric. We're going to look at what led to him going electric, and at the truth behind the legend of Seeger's axe. And we're going to look at the masterpiece at the centre of it all, a record that changed rock songwriting forever. We're going to look at Bob Dylan and "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone"] While we've seen Dylan turn up in all sorts of episodes -- most recently the episode on "Mr. Tambourine Man", the last time we looked at him in detail was in the episode on "Blowin' in the Wind", and when we left him there he had just recorded his second album, The Freewheelin' Bob Dylan, but it had not yet been released. As we'll see, Dylan was always an artist who moved on very quickly from what he'd been doing before, and that had started as early as that album. While his first album, produced by John Hammond, had been made up almost entirely of traditional songs and songs he'd learned from Dave van Ronk or Eric von Schmidt, with only two originals, The Freewheelin' Bob Dylan had started out being produced by Hammond, but as Hammond and Dylan's manager Albert Grossman had come to find it difficult to work together, the last few tracks had been produced by Tom Wilson. We've mentioned Wilson briefly a couple of times already, but to reiterate, Wilson was a Black Harvard graduate and political conservative whose background was in jazz and who had no knowledge of or love for folk music. But Wilson saw two things in Dylan -- the undeniable power of his lyrics, and his vocals, which Wilson compared to Ray Charles. Wilson wanted to move Dylan towards working with a backing band, and this was something that Dylan was interested in doing, but his first experiment with that, with John Hammond, hadn't been a particular success. Dylan had recorded a single backed with a band -- "Mixed-Up Confusion", backed with "Corrina, Corrina", a version of an old song that had been recorded by both Bob Wills and Big Joe Turner, but had recently been brought back to the public mind by a version Phil Spector had produced for Ray Peterson. Dylan's version of that song had a country lope and occasional breaks into Jimmie Rodgers style keening that foreshadow his work of the late sixties: [Excerpt: Bob Dylan, "Corrina, Corrina (single version)"] A different take of that track was included on The Freewheelin' Bob Dylan, an album that was made up almost entirely of originals. Those originals fell into roughly two types -- there were songs like "Masters of War", "Blowin' in the Wind", and "A Hard Rain's Gonna Fall" which dealt in some way with the political events of the time -- the fear of nuclear war, the ongoing conflict in Vietnam, the Civil Rights movement and more -- but did so in an elliptical, poetic way; and there were songs about distance in a relationship -- songs like "Don't Think Twice, It's Alright", which do a wonderful job at portraying a young man's conflicted feelings -- the girl has left him, and he wants her back, but he wants to pretend that he doesn't.  While it's always a bad idea to look for a direct autobiographical interpretation of Dylan's lyrics, it seems fairly safe to say that these songs were inspired by Dylan's feelings for his girlfriend, Suze Rotolo, who had gone travelling in Europe and not seen him for eight months, and who he was worried he would never see again, and he does seem to have actually had several conflicting feelings about this, ranging from desperation for her to come back through to anger and resentment. The surprising thing about The Freewheelin' Bob Dylan is that it's a relatively coherent piece of work, despite being recorded with two different producers over a period of more than a year, and that recording being interrupted by Dylan's own travels to the UK, his separation from and reconciliation with Rotolo, and a change of producers. If you listened to it, you would get an impression of exactly who Dylan was -- you'd come away from it thinking that he was an angry, talented, young man who was trying to merge elements of both traditional English folk music and Robert Johnson style Delta blues with poetic lyrics related to what was going on in the young man's life. By the next album, that opinion of Dylan would have to be reworked, and it would have to be reworked with every single album that came out.  But The Freewheelin' Bob Dylan came out at the perfect time for Dylan to step into the role of "spokesman for a generation" -- a role which he didn't want, and to which he wasn't particularly suited. Because it came out in May 1963, right at the point at which folk music was both becoming hugely more mainstream, and becoming more politicised. And nothing showed both those things as well as the Hootenanny boycott: [Excerpt: The Brothers Four, “Hootenanny Saturday Night”] We've talked before about Hootenanny, the folk TV show, but what we haven't mentioned is that there was a quite substantial boycott of that show by some of the top musicians in folk music at the time. The reason for this is that Pete Seeger, the elder statesman of the folk movement, and his old band the Weavers, were both blacklisted from the show because of Seeger's Communist leanings. The Weavers were --- according to some sources -- told that they could go on if they would sign a loyalty oath, but they refused. It's hard for those of us who weren't around at the time to really comprehend both just how subversive folk music was considered, and how seriously subversion was taken in the USA of the early 1960s. To give a relevant example -- Suze Rotolo was pictured on the cover of The Freewheelin' Bob Dylan. Because of this, her cousin's husband, who was in the military, lost his security clearance and didn't get a promotion he was in line for. Again,  someone lost his security clearance because his wife's cousin was pictured on the cover of a Bob Dylan album. So the blacklisting of Seeger and the Weavers was considered a serious matter by the folk music community, and people reacted very strongly. Joan Baez announced that she wouldn't be going on Hootenanny until they asked Seeger on, and Dylan, the Kingston Trio, Dave van Ronk, Ramblin' Jack Elliott, and Peter, Paul, and Mary, among many others, all refused to go on the show as a result. But the odd thing was, whenever anyone *actually asked* Pete Seeger what he thought they should do, he told them they should go on the TV show and use it as an opportunity to promote the music. So while the Kingston Trio and Peter, Paul, and Mary, two of the biggest examples of the commercialisation of folk music that the serious purists sneered at, were refusing to go on the TV in solidarity with a Communist, that Communist's brother, Mike Seeger, happily went on Hootenanny with his band the New Lost City Ramblers, and when the Tarriers were invited on to the show but it clashed with one of their regular bookings, Pete Seeger covered their booking for them so they could appear. Dylan was on the side of the boycotters, though he was not too clear on exactly why. When he spoke about  the boycott on stage, this is what he had to say: [Excerpt: Dylan talks about the boycott. Transcript: "Now a friend of mine, a friend of all yours I'm sure, Pete Seeger's been blacklisted [applause]. He and another group called the Weavers who are around New York [applause] I turned down that television show, but I got no right [applause] but . . . I feel bad turning it down, because the Weavers and Pete Seeger can't be on it. They oughta turn it down. They aren't even asked to be on it because they are blacklisted. Uh—which is, which is a bad thing. I don't know why it's bad, but it's just bad, it's bad all around."] Hootenanny started broadcasting in April 1963, just over a month before The Freewheelin' Bob Dylan came out, and so it would have been a good opportunity for publicity for him -- but turning the show down was also good publicity. Hootenanny wouldn't be the only opportunity to appear on TV that he was offered. It would also not be the only one he turned down. In May, Dylan was given the opportunity to appear on the Ed Sullivan Show, but he agreed on one condition -- that he be allowed to sing "Talking John Birch Paranoid Blues". For those who don't know, the John Birch Society is a far-right conspiratorial organisation which had a huge influence on the development of the American right-wing in the middle of the twentieth century, and is responsible for perpetuating almost every conspiracy theory that has exerted a malign influence on the country and the world since that time. They were a popular punching bag for the left and centre, and for good reason -- we heard the Chad Mitchell Trio mocking them, for example, in the episode on "Mr. Tambourine Man" a couple of weeks ago.  So Dylan insisted that if he was going to go on the Ed Sullivan Show, it would only be to perform his song about them: [Excerpt: Bob Dylan, "Talking John Birch Paranoid Blues"] Now, the Ed Sullivan Show was not interested in having Dylan sing a song that would upset a substantial proportion of its audience, on what was after all meant to be an entertainment show, and so Dylan didn't appear on the show -- and he got a big publicity boost from his principled refusal to make a TV appearance that would have given him a big publicity boost. It's interesting to note in this context that Dylan himself clearly didn't actually think very much of the song -- he never included it on any of his albums, and it remained unreleased for decades. By this point, Dylan had started dating Joan Baez, with whom he would have an on-again off-again relationship for the next couple of years, even though at this point he was also still seeing Suze Rotolo. Baez was one of the big stars of the folk movement, and like Rotolo she was extremely politically motivated. She was also a fan of Dylan's writing, and had started recording versions of his songs on her albums: [Excerpt: Joan Baez, "Don't Think Twice, It's All Right"] The relationship between the two of them became much more public when they appeared together at the Newport Folk Festival in 1963. The Newport Folk Festival had started in 1959, as a spinoff from the successful Newport Jazz Festival, which had been going for a number of years previously. As there was a large overlap between the jazz and folk music fanbases -- both musics appealed at this point to educated, middle-class, liberals who liked to think of themselves as a little bit Bohemian -- the Jazz Festival had first started putting on an afternoon of folk music during its normal jazz programme, and then spun that off into a whole separate festival, initially with the help of Albert Grossman, who advised on which acts should be booked (and of course included several of the acts he managed on the bill). Both Newport festivals had been shut down after rioting at the 1960 Jazz Festival, as three thousand more people had turned up for the show than there was capacity for, and the Marines had had to be called in to clear the streets of angry jazz fans, but the jazz  festival had returned in 1962, and in 1963 the folk festival came back as well. By this time, Albert Grossman was too busy to work for the festival, and so its organisation was taken over by a committee headed by Pete Seeger.  At that 1963 festival, even though Dylan was at this point still a relative unknown compared to some of the acts on the bill, he was made the headliner of the first night, which finished with his set, and then with him bringing Joan Baez, Peter, Paul and Mary, Pete Seeger and the Freedom Singers out to sing with him on "Blowin' in the Wind" and "We Shall Overcome".  To many people, Dylan's appearance in 1963 was what launched him from being "one of the rising stars of the folk movement" to being the most important musician in the movement -- still just one of many, but the first among equals. He was now being talked of in the same terms as Joan Baez or Pete Seeger, and was also starting to behave like someone as important as them -- like he was a star. And that was partly because Baez was promoting Dylan, having him duet with her on stage on his songs -- though few would now argue that the combination of their voices did either artist any favours, Baez's pure, trained, voice, rubbing up against Dylan's more idiosyncratic phrasing in ways that made both sound less impressive: [Excerpt: Joan Baez and Bob Dylan, "With God On Our Side (live at Newport 1963)"] At the end of 1963, Dylan recorded his third album, which came out in early 1964. The Times They Are A-Changin' seems to be Dylan's least personal album to this point, and seems to have been written as a conscious attempt to write the kind of songs that people wanted and expected from him -- there were songs about particular recent news events, like "The Lonesome Death of Hattie Carroll",  the true story of the murder of a Black woman by a white man, and  "Only a Pawn in Their Game", about the murder of the Civil Rights activist Medgar Evers. There were fictional dramatisations of the kind of effects that real-world social problems were having on people, like "North Country Blues", in which the callous way mining towns were treated by capital leads to a woman losing her parents, brother, husband, and children, or "The Ballad of Hollis Brown", about a farmer driven to despair by poverty who ends up killing his whole family and himself. As you can imagine, it's not a very cheery album, but it's one that impressed a lot of people, especially its title track, which was very deliberately written as an anthem for the new social movements that were coming up: [Excerpt: Bob Dylan, "The Times They Are A-Changin'"] But it was a bleak album, with none of the humour that had characterised Dylan's first two albums. Soon after recording the album, Dylan had a final split with Rotolo, went travelling for a while, and took LSD for the first time. He also started to distance himself from Baez at this point, though the two would remain together until mid 1965. He seems to have regarded the political material he was doing as a mistake, as something he was doing for other people, rather than because that was what he wanted to do.  He toured the UK in early 1964, and then returned to the US in time to record his fourth album, Another Side of Bob Dylan. It can be argued that this is the point where Dylan really becomes himself, and starts making music that's the music he wants to make, rather than music that he thinks other people want him to make.  The entire album was recorded in one session, along with a few tracks that didn't make the cut -- like the early version of "Mr. Tambourine Man" with Ramblin' Jack Elliott that we heard in the episode on that song. Elliott was in attendance, as were a number of Dylan's other friends, though the album features only Dylan performing. Also there was the journalist Nat Hentoff, who wrote a full account of the recording session for the New Yorker, which I'll link in the show notes.  Dylan told Hentoff "“There aren't any finger-pointing songs in here, either. Those records I've already made, I'll stand behind them, but some of that was jumping into the scene to be heard and a lot of it was because I didn't see anybody else doing that kind of thing. Now a lot of people are doing finger-pointing songs. You know—pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know—be a spokesman. Like I once wrote about Emmett Till in the first person, pretending I was him. From now on, I want to write from inside me, and to do that I'm going to have to get back to writing like I used to when I was ten—having everything come out naturally." Dylan was right to say that there were no finger-pointing songs. The songs on Another Side of Bob Dylan were entirely personal -- "Ballad in Plain D", in particular, is Dylan's take on the night he split up with Suze Rotolo, laying the blame -- unfairly, as he would later admit -- on her older sister. The songs mostly dealt with love and relationships, and as a result were ripe for cover versions. The opening track, in particular, "All I Really Want to Do", which in Dylan's version was a Jimmie Rodgers style hillbilly tune, became the subject of duelling cover versions. The Byrds' version came out as the follow-up to their version of "Mr. Tambourine Man": [Excerpt: The Byrds, "All I Really Want to Do"] But Cher also released a version -- which the Byrds claimed came about when Cher's husband Sonny Bono secretly taped a Byrds live show where they performed the song before they'd released it, and he then stole their arrangement: [Excerpt: Cher, "All I Really Want to Do"] In America, the Byrds' version only made number forty on the charts, while Cher made number fifteen. In the UK, where both artists were touring at the time to promote the single, Cher made number nine but the Byrds charted higher at number four.  Both those releases came out after the album came out in late 1964, but even before it was released, Dylan was looking for other artists to cover his new songs. He found one at the 1964 Newport Folk Festival, where he met Johnny Cash for the first time. Cash had been a fan of Dylan for some time -- and indeed, he's often credited as being the main reason why CBS persisted with Dylan after his first album was unsuccessful, as Cash had lobbied for him within the company -- and he'd recently started to let that influence show. His most recent hit, "Understand Your Man", owed more than a little to Dylan's "Don't Think Twice, It's All Right", and Cash had also started recording protest songs. At Newport, Cash performed his own version of "Don't Think Twice": [Excerpt: Johnny Cash, "Don't Think Twice, It's All Right"] Cash and Dylan met up, with June Carter and Joan Baez, in Baez's hotel room, and according to later descriptions they were both so excited to meet each other they were bouncing with excitement, jumping up and down on the beds. They played music together all night, and Dylan played some of his new songs for Cash. One of them was "It Ain't Me Babe", a song that seems at least slightly inspired by "She Loves You" -- you can sing the "yeah, yeah, yeah" and "no, no, no" together -- and which was the closing track of Another Side of Bob Dylan. Cash soon released his own version of the song, which became a top five country hit: [Excerpt: Johnny Cash, "It Ain't Me Babe"] But it wasn't long after meeting Cash that Dylan met the group who may have inspired that song -- and his meeting with the Beatles seems to have confirmed in him his decision that he needed to move away from the folk scene and towards making pop records. This was something that Tom Wilson had been pushing for for a while -- Wilson had told Dylan's manager Albert Grossman that if they could get Dylan backed by a good band, they'd have a white Ray Charles on their hands. As an experiment, Wilson took some session musicians into the studio and had them overdub an electric backing on Dylan's acoustic version of "House of the Rising Sun", basing the new backing on the Animals' hit version. The result wasn't good enough to release, but it did show that there was a potential for combining Dylan's music with the sound of electric guitars and drums: [Excerpt: Bob Dylan, “House of the Rising Sun (electric version)”] Dylan was also being influenced by his friend John Hammond Jr, the blues musician son of Dylan's first producer, and a veteran of the Greenwich Village folk scene. Hammond had decided that he wanted to show the British R&B bands what proper American blues sounded like, and so he'd recruited a group of mostly-Canadian musicians to back him on an electric album. His "So Many Roads" album featured three members of a group called Levon and the Hawks -- Levon Helm, Garth Hudson, and Robbie Robertson -- who had recently quit working for the Canadian rockabilly singer Ronnie Hawkins -- plus harmonica player Charlie Musselwhite and Mike Bloomfield, who was normally a guitarist but who is credited on piano for the album: [Excerpt: John Hammond, Jr. "Who Do You Love?"] Dylan was inspired by Hammond's sound, and wanted to get the same sound on his next record, though he didn't consider hiring the same musicians. Instead, for his next album he brought in Bruce Langhorne, the tambourine man himself, on guitar, Bobby Gregg -- a drummer who had been the house drummer for Cameo-Parkway and played on hits by Chubby Checker, Bobby Rydell and others; the session guitarists Al Gorgoni and Kenny Rankin, piano players Frank Owens and Paul Griffin, and two bass players, Joseph Macho and William Lee, the father of the film director Spike Lee. Not all of these played on all the finished tracks -- and there were other tracks recorded during the sessions, where Dylan was accompanied by Hammond and another guitarist, John Sebastian, that weren't used at all -- but that's the lineup that played on Dylan's first electric album, Bringing it All Back Home. The first single, "Subterranean Homesick Blues" actually takes more inspiration than one might imagine from the old-school folk singers Dylan was still associating with. Its opening lines seem to be a riff on "Taking it Easy", a song that had originally been written in the forties by Woody Guthrie for the Almanac Singers, where it had been a song about air-raid sirens: [Excerpt: The Almanac Singers, "Taking it Easy"] But had then been rewritten by Pete Seeger for the Weavers, whose version had included this verse that wasn't in the original: [Excerpt: The Weavers, "Taking it Easy"] Dylan took that verse, and the basic Guthrie-esque talking blues rhythm, and connected it to Chuck Berry's "Too Much Monkey Business" with its rapid-fire joking blues lyrics: [Excerpt: Chuck Berry, "Too Much Monkey Business"] But Dylan's lyrics were a radical departure, a freeform, stream-of-consciousness proto-psychedelic lyric inspired as much by the Beat poets as by any musician -- it's no coincidence that in the promotional film Dylan made for the song, one of the earliest examples of what would become known as the rock video, the Beat poet Allen Ginsberg makes an appearance: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] "Subterranean Homesick Blues" made the top forty in the US -- it only made number thirty-nine, but it was Dylan's first single to chart at all in the US. And it made the top ten in the UK -- but it's notable that even over here, there was still some trepidation about Dylan's new direction. To promote his UK tour, CBS put out a single of "The Times They Are A-Changin'", and that too made the top ten, and spent longer on the charts than "Subterranean Homesick Blues". Indeed, it seems like everyone was hedging their bets. The opening side of Bringing it All Back Home is all electric, but the B-side is made up entirely of acoustic performances, though sometimes with a little added electric guitar countermelody -- it's very much in the same style as Dylan's earlier albums, and seems to be a way of pulling back after testing the waters, of reassuring people who might have been upset by the change in style on the first side that this was still the same Dylan they knew.  And the old Dylan certainly still had plenty of commercial life in him. Indeed, when Dylan went to the UK for a tour in spring of 1965, he found that British musicians were trying to copy his style -- a young man called Donovan seemed to be doing his best to *be* Dylan, with even the title of his debut hit single seeming to owe something to "Blowing in the Wind": [Excerpt: Donovan, "Catch the Wind (original single version)"] On that UK tour, Dylan performed solo as he always had -- though by this point he had taken to bringing along an entourage. Watching the classic documentary of that tour, Dont Look Back, it's quite painful to see Dylan's cruelty to Joan Baez, who had come along on the expectation that she would be duetting with him occasionally, as he had dueted with her, but who is sidelined, tormented, and ignored. It's even worse to see Bob Neuwirth,  a hanger-on who is very obviously desperate to impress Dylan by copying all his mannerisms and affectations, doing the same. It's unsurprising that this was the end of Dylan and Baez's relationship. Dylan's solo performances on that tour went down well, but some of his fans questioned him about his choice to make an electric record. But he wasn't going to stop recording with electric musicians. Indeed, Tom Wilson also came along on the tour, and while he was in England he made an attempt to record a track with the members of John Mayall's Bluesbreakers -- Mayall, Hughie Flint, Eric Clapton, and John McVie, though it was unsuccessful and only a low-fidelity fragment of it circulates: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] Also attending that session was a young wannabe singer from Germany who Dylan had taken up with, though their dalliance was very brief. During the session Dylan cut a demo of a song he planned to give her, but Nico didn't end up recording "I'll Keep it With Mine" until a couple of years later. But one other thing happened in England. After the UK tour, Dylan travelled over to Europe for a short tour, then returned to the UK to do a show for the BBC -- his first full televised concert. Unfortunately, that show never went ahead -- there was a party the night before, and Dylan was hospitalised after it with what was said to be food poisoning. It might even actually have been food poisoning, but take a listen to the episode I did on Vince Taylor, who was also at that party, and draw your own conclusions. Anyway, Dylan was laid up in bed for a while, and took the opportunity to write what he's variously described as being ten or twenty pages of stream of consciousness vomit, out of which he eventually took four pages of lyrics, a vicious attack on a woman who was originally the protagonist's social superior, but has since fallen. He's never spoken in any detail about what or who the subject of the song was, but given that it was written just days after his breakup with Baez, it's not hard to guess. The first attempt at recording the song was a false start. On June the fifteenth, Dylan and most of the same musicians who'd played on his previous album went into the studio to record it, along with Mike Bloomfield, who had played on that John Hammond album that had inspired Dylan and was now playing in the Paul Butterfield Blues Band. Bloomfield had been surprised when Dylan had told him that he didn't want the kind of string-bending electric blues that Bloomfield usually played, but he managed to come up with something Dylan approved of -- but the song was at this point in waltz time: [Excerpt: Bob Dylan, "Like a Rolling Stone (early version)"] The session ended, but Joe Macho, Al Gorgoni and Bobby Gregg stayed around after the session, when Tom Wilson called in another session guitarist to join them in doing the same trick he'd done on "House of the Rising Sun", overdubbing new instruments on a flop acoustic record he'd produced for a Greenwich Village folk duo who'd already split up. But we'll hear more about "The Sound of Silence" in a few weeks' time. The next day, the same musicians came back, along with one new one. Al Kooper had been invited by Wilson to come along and watch the session, but he was determined that he was going to play on whatever was recorded. He got to the session early, brought his guitar and amp in and got tuned up before Wilson arrived. But then Kooper heard Bloomfield play, realised that he simply couldn't play at anything remotely like the same standard, and decided he'd be best off staying in the control room after all.  But then, before they started recording "Like a Rolling Stone", which by now was in 4/4 time, Frank Owens, who had been playing organ, switched to piano and left his organ on. Kooper saw his chance -- he played a bit of keyboards, too, and the song was in C, which is the easiest key to play in. Kooper asked Wilson if he could go and play, and Wilson didn't exactly say no, so Kooper went into the studio and sat at the organ.  Kooper improvised the organ line that became the song's most notable instrumental part, but you will notice that it's mixed quite low in the track. This is because Wilson was unimpressed with Kooper's playing, which is technically pretty poor -- indeed, for much of the song, Kooper is a beat behind the rest of the band, waiting for them to change chords and then following the change on the next measure. Luckily, Kooper is also a good enough natural musician that he made this work, and it gave the song a distinctive sound: [Excerpt: Bob Dylan, "Like a Rolling Stone"] The finished record came in at around six minutes -- and here I should just mention that most books on the subject say that the single was six minutes and thirteen seconds long. That's the length of the stereo mix of the song on the stereo version of the album. The mono mix on the mono album, which we just heard, is five minutes fifty-eight, as it has a shorter fade. I haven't been able to track down a copy of the single as released in 1965, but usually the single mix would be the same as the mono album mix. Whatever the exact length, it was much, much, longer than the norm for a single -- the Animals' "House of the Rising Sun" had been regarded as ridiculously long at four and a half minutes -- and Columbia originally wanted to split the song over two sides of a single. But eventually it was released as one side, in full: [Excerpt: Bob Dylan, "Like a Rolling Stone"] That's Bruce Langhorne there playing that rather sloppy tambourine part, high in the mix. The record made the top five in the UK, and reached number two in the US, only being held off from the top spot by "Help!" by the Beatles.  It would, however, be the last track that Tom Wilson produced for Dylan. Nobody knows what caused their split after three and a half albums working together -- and everything suggests that on the UK tour in the Spring, the two were very friendly. But they had some sort of disagreement, about which neither of them would ever speak, other than a comment by Wilson in an interview shortly before his death in which he said that Dylan had told him he was going to get Phil Spector to produce his records. In the event, the rest of the album Dylan was working on would be produced by Bob Johnston, who would be Dylan's regular producer until the mid-seventies. So "Like a Rolling Stone" was a major break in Dylan's career, and there was another one shortly after its release, when Dylan played the Newport Folk Festival for the third time, in what has become possibly the single most discussed and analysed performance in folk or rock music. The most important thing to note here is that there was not a backlash among the folk crowd against electric instruments. The Newport Folk Festival had *always* had electric performers -- John Lee Hooker and Johnny Cash and The Staple Singers had all performed with electric guitars and nobody had cared. What there was, was a backlash against pop music. You see, up until the Beatles hit America, the commercial side of folk music had been huge. Acts like the Kingston Trio, Peter, Paul, and Mary, The Chad Mitchell Trio, and so on had been massive. Most of the fans at the Newport Folk Festival actually despised many of these acts as sell-outs, doing watered-down versions of the traditional music they loved. But at the same time, those acts *were* doing watered-down versions of the traditional music they loved, and by doing so they were exposing more people to that traditional music. They were making programmes like Hootenanny possible -- and the folkies didn't like Hootenanny, but Hootenanny existing meant that the New Lost City Ramblers got an audience they would otherwise not have got. There was a recognition, then, that the commercialised folk music that many of them despised was nonetheless important in the development of a thriving scene. And it was those acts, the Kingston Trios and Peter, Paul, and Marys, who were fast losing their commercial relevance because of the renewed popularity of rock music. If Hootenanny gets cancelled and Shindig put on in its place, that's great for fans of the Righteous Brothers and Sam Cooke, but it's not so great if you want to hear "Tom Dooley" or "If I Had a Hammer". And so many of the old guard in the folk movement weren't wary of electric guitars *as instruments*, but they were wary of anything that looked like someone taking sides with the new pop music rather than the old folk music. For Dylan's first performance at the festival in 1965, he played exactly the set that people would expect of him, and there was no problem. The faultlines opened up, not with Dylan's first performance, but with the performance by the Paul Butterfield Blues Band, as part of a history of the blues, presented by Alan Lomax. Lomax had no objection to rock and roll -- indeed, earlier in the festival the Chambers Brothers, a Black electric group from Mississippi, had performed a set of rock and R&B songs, and Lomax had come on stage afterwards and said “I'm very proud tonight that we finally got onto the Newport Folk Festival our modern American folk music: rock 'n' roll!” But Lomax didn't think that the Butterfield band met his criteria of "authenticity". And he had a point. The Paul Butterfield Blues Band were an integrated group -- their rhythm section were Black musicians who had played with Howlin' Wolf -- and they'd gained experience through playing Chicago blues on the South Side of Chicago, but their leader, Butterfield, was a white man, as was Mike Bloomfield, their guitarist, and so they'd quickly moved to playing clubs on the North side, where Black musicians had generally not been able to play. Butterfield and Bloomfield were both excellent musicians, but they were closer to the British blues lovers who were making up groups like the Rolling Stones, Animals, and Manfred Mann. There was a difference -- they were from Chicago, not from the Home Counties -- but they were still scholars coming at the music from the outside, rather than people who'd grown up with the music and had it as part of their culture. The Butterfield Band were being promoted as a sort of American answer to the Stones, and they had been put on Lomax's bill rather against his will -- he wanted to have some Chicago blues to illustrate that part of the music, but why not Muddy Waters or Howlin' Wolf, rather than this new group who had never really done anything? One he'd never even heard -- but who he knew that Albert Grossman was thinking about managing. So his introduction to the Butterfield Blues Band's performance was polite but hardly rapturous. He said "Us white cats always moved in, a little bit late, but tried to catch up...I understand that this present combination has not only caught up but passed the rest. That's what I hear—I'm anxious to find out whether it's true or not." He then introduced the musicians, and they started to play an old Little Walter song: [Excerpt: The Paul Butterfield Blues Band, "Juke"] But after the set, Grossman was furious at Lomax, asking him what kind of introduction that was meant to be. Lomax responded by asking if Grossman wanted a punch in the mouth, Grossman hurled a homophobic slur at Lomax, and the two men started hitting each other and rolling round in the dirt, to the amusement of pretty much everyone around. But Lomax and Grossman were both far from amused. Lomax tried to get the Festival board to kick Grossman out, and almost succeeded, until someone explained that if they did, then that would mean that all Grossman's acts, including huge names like Dylan and Peter, Paul, and Mary, would also be out.  Nobody's entirely sure whose idea it was, but it seems to have been Grossman who thought that since Bloomfield had played on Dylan's recent single, it might be an idea to get the Butterfield Blues Band to back Dylan on stage, as a snub to Lomax. But the idea seems to have cohered properly when Grossman bumped into Al Kooper, who was attending the festival just as an audience member. Grossman gave Kooper a pair of backstage passes, and told him to meet up with Dylan. And so, for Dylan's performance on the Sunday -- scheduled in the middle of the day, rather than as the headliner as most people expected, he appeared with an electric guitar, backed by the Paul Butterfield Blues Band and Al Kooper. He opened with his recent single "Maggie's Farm", and followed it with the new one, "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone (live at Newport)"] After those two songs, the group did one more, a song called "Phantom Engineer", which they hadn't rehearsed properly and which was an utter train wreck. And then they left the stage. And there was booing. How much booing, and what the cause was, is hard to say, but everyone agrees there was some. Some people claim that the booing was just because the set had been so short, others say that the audience was mostly happy but there were just a few people booing. And others say that the booing mostly came from the front -- that there were sound problems that meant that while the performance sounded great to people further back, there was a tremendous level of distortion near the front. That's certainly what Pete Seeger said. Seeger was visibly distraught and angry at the sounds coming from the stage. He later said, and I believe him, that it wasn't annoyance at Dylan playing with an electric band, but at the distorted sound. He said he couldn't hear the words, that the guitar was too loud compared to the vocals, and in particular that his father, who was an old man using a hearing aid, was in actual physical pain at the sound. According to Joe Boyd, later a famous record producer but at this time just helping out at the festival, Seeger, the actor Theodore Bikel, and Alan Lomax, all of whom were on the festival board, told Boyd to take a message to Paul Rothchild, who was working the sound, telling him that the festival board ordered him to lower the volume. When Boyd got there, he found Rothchild there with Albert Grossman and Peter Yarrow of Peter, Paul, and Mary, who was also on the board. When Boyd gave his message, Yarrow responded that the board was "adequately represented at the sound controls", that the sound was where the musicians wanted it, and gave Boyd a message to take back to the other board members, consisting of a single raised middle finger. Whatever the cause of the anger, which was far from universal, Dylan was genuinely baffled and upset at the reaction -- while it's been portrayed since, including by Dylan himself at times, as a deliberate act of provocation on Dylan's part, it seems that at the time he was just going on stage with his new friends, to play his new songs in front of some of his old friends and a crowd that had always been supportive of him. Eventually Peter Yarrow, who was MCing, managed to persuade Dylan to go back on stage and do a couple more numbers, alone this time as the band hadn't rehearsed any more songs. He scrounged up an acoustic guitar, went back on, spent a couple of minutes fiddling around with the guitar, got a different guitar because something was wrong with that one, played "It's All Over Now, Baby Blue", spent another couple of minutes tuning up, and then finally played "Mr. Tambourine Man": [Excerpt: Bob Dylan, "Mr. Tambourine Man (live at Newport)"] But that pause while Dylan was off stage scrounging an acoustic guitar from somewhere led to a rumour that has still got currency fifty-six years later. Because Peter Yarrow, trying to keep the crowd calm, said "He's gone to get his axe" -- using musicians' slang for a guitar. But many of the crowd didn't know that slang. But they had seen Pete Seeger furious, and they'd also seen, earlier in the festival, a demonstration of work-songs, sung by people who kept time by chopping wood, and according to some people Seeger had joined in with that demonstration, swinging an axe as he sang. So the audience put two and two together, and soon the rumour was going round the festival -- Pete Seeger had been so annoyed by Dylan going electric he'd tried to chop the cables with an axe, and had had to be held back from doing so. Paul Rothchild even later claimed to have seen Seeger brandishing it. The rumour became so pervasive that in later years, even as he denied doing it, Seeger tried to explain it away by saying that he might have said something like "I wish I had an axe so I could cut those cables". In fact, Seeger wasn't angry at Dylan, as much as he was concerned -- shortly afterwards he wrote a private note to himself trying to sort out his own feelings, which said in part "I like some rock and roll a great deal. Chuck Berry and Muddy Waters. I confess that, like blues and like flamenco music, I can't listen to it for a long time at a stretch. I just don't feel that aggressive, personally. But I have a question. Was the sound at Newport from Bob's aggregation good rock and roll?  I once had a vision of a beast with hollow fangs. I first saw it when my mother-in-law, who I loved very much, died of cancer... Who knows, but I am one of the fangs that has sucked Bob dry. It is in the hope that I can learn that I write these words, asking questions I need help to answer, using language I never intended. Hoping that perhaps I'm wrong—but if I am right, hoping that it won't happen again." Seeger would later make his own electric albums, and he would always continue to be complimentary towards Dylan in public. He even repeatedly said that while he still wished he'd been able to hear the words and that the guitar had been mixed quieter, he knew he'd been on the wrong side, and that if he had the time over he'd have gone on stage and asked the audience to stop booing Dylan. But the end result was the same -- Dylan was now no longer part of the Newport Folk Festival crowd. He'd moved on and was now a pop star, and nothing was going to change that. He'd split with Suze, he'd split with Joan Baez, he'd split with Tom Wilson, and now he'd split with his peer group. From now on Dylan wasn't a spokesman for his generation, or the leader of a movement. He was a young man with a leather jacket and a Stratocaster, and he was going to make rock music. And we'll see the results of that in future episodes.

This week Dave (https://dgshow.org/hosts/dave) and Gunnar (https://dgshow.org/hosts/gunnar) talk about the norms of dream coercion, the norms of encrypted messaging, and the norms of ransomware game theory Bo Burnham's “Inside” (https://www.youtube.com/watch?v=k1BneeJTDcU) Foo Fighters at the ICON Music Center (https://iconmusiccenter.com/) Are advertisers coming for your dreams? (https://www.sciencemag.org/news/2021/06/are-advertisers-coming-your-dreams) Silent Lucidity (https://www.youtube.com/watch?v=jhat-xUQ6dw) by Queensryche Unrelated: Sleep Sensing on Nest Hub (2nd gen) (https://support.google.com/googlenest/answer/10357288) Also unrelated: Amazon.com Wants to Monitor You in Your Sleep, for Your Benefit (https://www.bloomberg.com/news/articles/2021-07-09/amazon-com-wants-to-monitor-you-in-your-sleep-for-your-benefit) We Got the Phone the FBI Secretly Sold to Criminals (https://www.vice.com/en/article/n7b4gg/anom-phone-arcaneos-fbi-backdoor) Why everyone should use disappearing messages on WhatsApp and Signal (https://www.wired.co.uk/article/whatsapp-signal-disappearing-messages) Related XKCD (https://xkcd.com/538/) Opinion | Could Ransomware Become a Geopolitical Weapon? Game Theory Says Yes. (https://www.politico.com/news/magazine/2021/07/08/ransomware-game-theory-geopolitics-cyber-attack-498625) Cutting Room Floor * Smells Like Teen Spirit Cover In Classical Latin (75 BC to 3rd Century AD) Bardcore (https://www.youtube.com/watch?v=PbEKIW3pUUk) * Frozen's “Let It Go” Performed in Klingon (https://www.mentalfloss.com/article/606709/frozens-let-it-go-in-klingon) * “Don't Stop Believin'” Performed in Klingon (https://www.youtube.com/watch?v=uOJoOtk7Scw) * Subterranean Homesick Blues Performed in a Regional Jet Restroom (https://www.openculture.com/2021/06/the-airline-toilets-theatre-company.html) as performed by the Airline Toilets Theatre Company (and member of the Ukulele Orchestra of Great Britain (https://www.ukuleleorchestra.com/)) * ”Take on Me” Performed by Face Smacking (https://www.reddit.com/r/funny/comments/o137d0/oc_i_discovered_that_i_can_play_a_melody_by/) * Sublime Text (https://what-i-got.glitch.me/) to get What I Got We Give Thanks * The D&G Show Slack Clubhouse for the discussion topics!

In the heat of the mid-week trek, Bob & Jeff steam things up from Bob's secret basement studio lair. See omnystudio.com/listener for privacy information.

Esta semana celebramos a lo grande el 80º cumpleaños de Bob Dylan, las canciones del premio Nobel de Literatura con algunas figuras más que célebres y representativas de la música negra. Nina Simone, Stevie Wonder, Mavis Staples, Solomon Burke, Randy Crawford, Esther Phillips, Patti LaBelle o Jimi Hendrix interpretan a su manera al genio de Minnesota. Canciones para la Historia de la Humanidad como “Blowin’ In the Wind”, “Like A Rolling Stone”, “Maggie’s Farm” o “Knockin’ On Heaven’s Door” que describen notablemente la influencia del blues y el gospel en la composición dylaniana. Black is Dylan. DISCO 1 The Fairfield Four Are You Ready (GOTTA SERVE SOMEBODY - 5) DISCO 2 BEN SIDRAN Subterranean Homesick Blues (9) DISCO 3 NINA SIMONE Just Like A Woman (HOW MANY ROADS - 16) DISCO 4 PATTI AUSTIN Gotta Serve Somebody (6) DISCO 5 JOHNNY JOHNSON & His Bandwagon Mr Tambourine Man (Cara A) DISCO 6 MAJOR HARRIS Like A Rolling Stone (HOW MANY ROADS - 8) DISCO 7 The Sounds Of Blackness Solid Rock (GOTTA SERVE SOMEBODY - 5) DISCO 8 STEVIE WONDER Blowin’ In The Wind (THE 30Th Anniversary Concert CD 1 - 3) DISCO 9 SOLOMON BURKE Maggie’s Farm (HOW MANY ROADS - 4) DISCO 10 RANDY CRAWFORD Knockin’ On Heaven’s Door (10) DISCO 11 ESTHER PHILLIPS Tonight I’ll Be Stayin’ Here With You (HOW MANY ROADS - 19) DISCO 12 PATTI LABELLE Most Likely (HOW MANY ROADS - 13) DISCO 13 JIMI HENDRIX All Along The Watchtower (15) DISCO 14 BOB DYLAN & MAVIS STAPLES Gonna Change My Way Of Thinking (GOTTA SERVE SOMEBODY - 11) 5’17 Escuchar audio

In dem Song »Subterranean Homesick Blues« von 1965 porträtiert Bob Dylan eine leicht paranoide Gegenkultur, die sich bevorzugt an untergründigen Orten aufhält. Der Underground war der neue coole Ort, an dem man sich den Regulierungen der bürgerlichen Gesellschaft entzog. Die Idee, dass ein »niedriger« Ort mehr Erkenntnis ermöglicht, gibt es aber schon seit der Antike. Diese Podcast-Folge erzählt die Geschichte untergründiger Blickwinkel – und fragt danach, was heute Underground ist (Maximale Zeichen 4000 Inhaltliche Erläuterung der Folge, kurzes Portrait über eventuellen Gast, begleitende Links) Gast: Wolfram Eilenberger, geboren 1972, war langjähriger Chefredakteur des Philosophie Magazins, ist ZEIT-Kolumnist, moderiert die »Sternstunden der Philosophie« im Schweizer Fernsehen und ist Programmleiter der phil.cologne. Sein Buch »Zeit der Zauberer« stand monatelang auf der Spiegel-Bestsellerliste und wurde 2018 mit dem »Bayerischen Buchpreis« ausgezeichnet. Zuletzt erschien sein Bestseller »Feuer der Freiheit«. Host: Ralf Schlüter, geb. 1968, lebt als Kulturjournalist in Hamburg. Seine Jugend verbrachte er zu etwa gleichen Teilen in Plattenläden, Buchhandlungen und Museen, immer schon mit Hang zur Querverbindung: eine Zeile von Bob Dylan brachte ihn auf den Dichter Ezra Pound, ein Patti-Smith-Plattencover auf die zeitgenössische amerikanische Fotografie. Während seines Literaturstudiums im Berlin der 90er schrieb er für den deutschen Rolling Stone und die Berliner Zeitung nicht nur über Musik. Von 2006 bis 2020 war er Stellvertretender Chefredakteur des Kunstmagazins Art. Seit 2013 moderierte er die Sendung Art Mixtape beim Webradio ByteFM. Im Podcast Zeitgeister erkundet Schlüter, von der Musik ausgehend, den Kosmos der Gegenwartskultur noch einmal neu: auf der Suche nach übersehenen Details und unerzählten Geschichten. Shownotes: Bob Dylan, »The times they are a-changin'«: https://www.youtube.com/watch?v=e7qQ6_RV4VQ Video zu »Subterranean Homesick Blues«: https://www.youtube.com/watch?v=MGxjIBEZvx0 Dokumentation über Jack Kerouac: https://www.youtube.com/watch?v=Trw-Vvsn_nw Patti Smith bei der Nobelpreis-Verleihung 2016: https://www.youtube.com/watch?v=941PHEJHCwU Bob Dylan im Weißen Haus 2010: https://www.youtube.com/watch?v=aUa_MKByndU Dylan holt sich seinen Nobelpreis ab: https://www.thelocal.se/20170402/bob-dylan-receives-nobel-prize-in-stockholm/ Literatur: Fjodor Dostojewskij, Aufzeichnungen aus dem Kellerloch. Übertragen von Swetlana Geier, lieferbare Ausgaben bei Reclam und Fischer. Jack Kerouac, The Subterranean, Penguin. deutsch: Be-Bop, Bars und weißes Pulver. Rowohlt (antiquarisch) Mehr über den Podcast gibt‘s auch zu hören bei ByteFM: https://www.byte.fm/sendungen/bytefm-magazin/ Weitere Podcasts der ZEIT-Stiftung: https://www.zeit-stiftung.de/mediathek/videoundpodcast/podcast/

In dem Song »Subterranean Homesick Blues« von 1965 porträtiert Bob Dylan eine leicht paranoide Gegenkultur, die sich bevorzugt an untergründigen Orten aufhält. Der Underground war der neue coole Ort, an dem man sich den Regulierungen der bürgerlichen Gesellschaft entzog. Die Idee, dass ein »niedriger« Ort mehr Erkenntnis ermöglicht, gibt es aber schon seit der Antike. Diese Podcast-Folge erzählt die Geschichte untergründiger Blickwinkel – und fragt danach, was heute Underground ist (Maximale Zeichen 4000 Inhaltliche Erläuterung der Folge, kurzes Portrait über eventuellen Gast, begleitende Links) Gast: Wolfram Eilenberger, geboren 1972, war langjähriger Chefredakteur des Philosophie Magazins, ist ZEIT-Kolumnist, moderiert die »Sternstunden der Philosophie« im Schweizer Fernsehen und ist Programmleiter der phil.cologne. Sein Buch »Zeit der Zauberer« stand monatelang auf der Spiegel-Bestsellerliste und wurde 2018 mit dem »Bayerischen Buchpreis« ausgezeichnet. Zuletzt erschien sein Bestseller »Feuer der Freiheit«. Host: Ralf Schlüter, geb. 1968, lebt als Kulturjournalist in Hamburg. Seine Jugend verbrachte er zu etwa gleichen Teilen in Plattenläden, Buchhandlungen und Museen, immer schon mit Hang zur Querverbindung: eine Zeile von Bob Dylan brachte ihn auf den Dichter Ezra Pound, ein Patti-Smith-Plattencover auf die zeitgenössische amerikanische Fotografie. Während seines Literaturstudiums im Berlin der 90er schrieb er für den deutschen Rolling Stone und die Berliner Zeitung nicht nur über Musik. Von 2006 bis 2020 war er Stellvertretender Chefredakteur des Kunstmagazins Art. Seit 2013 moderierte er die Sendung Art Mixtape beim Webradio ByteFM. Im Podcast Zeitgeister erkundet Schlüter, von der Musik ausgehend, den Kosmos der Gegenwartskultur noch einmal neu: auf der Suche nach übersehenen Details und unerzählten Geschichten. Shownotes: Bob Dylan, »The times they are a-changin'«: https://www.youtube.com/watch?v=e7qQ6_RV4VQ Video zu »Subterranean Homesick Blues«: https://www.youtube.com/watch?v=MGxjIBEZvx0 Dokumentation über Jack Kerouac: https://www.youtube.com/watch?v=Trw-Vvsn_nw Patti Smith bei der Nobelpreis-Verleihung 2016: https://www.youtube.com/watch?v=941PHEJHCwU Bob Dylan im Weißen Haus 2010: https://www.youtube.com/watch?v=aUa_MKByndU Dylan holt sich seinen Nobelpreis ab: https://www.thelocal.se/20170402/bob-dylan-receives-nobel-prize-in-stockholm/ Literatur: Fjodor Dostojewskij, Aufzeichnungen aus dem Kellerloch. Übertragen von Swetlana Geier, lieferbare Ausgaben bei Reclam und Fischer. Jack Kerouac, The Subterranean, Penguin. deutsch: Be-Bop, Bars und weißes Pulver. Rowohlt (antiquarisch) Mehr über den Podcast gibt‘s auch zu hören bei ByteFM: https://www.byte.fm/sendungen/bytefm-magazin/ Weitere Podcasts der ZEIT-Stiftung: https://www.zeit-stiftung.de/mediathek/videoundpodcast/podcast/

Bob Dylan ist unzweifelhaft einer der einflussreichsten Solo-Künstler der Popmusikgeschichte. 80 Jahre alt wird er im Mai 2021, seit 60 Jahren veröffentlicht er seine Musik. Angefangen hat er in den Folk-Clubs von New York. Schnell stieg er auf zum musikalischen Wortführer einer Gegenkultur, auch wenn Dylan selbst dies immer abgelehnt hat und immer wieder die an ihn gestellten Erwartungen enttäuschte. Was macht seine Kunst aus? Wie hat er sich über seine zahlreichen Alben weiterentwickelt? Wie wichtig waren seine Impulse Mitte der 60er Jahre durch die Hinwendung zur Rockmusik? Peter Urban schätzt die Lieder und Entwicklung des wichtigsten Jahrzehnts des Künstlers Bob Dylan ein, er erzählt von ersten Erinnerungen an die Lieder und vom Kauf der Single „Like a rolling stone“ - ein Song, den viele Kritiker für einen der wichtigsten der Rockmusik halten. Peter Urban und Ocke Bandixen im Gespräch über Bob Dylan und die 60er Jahre. Habt Ihr Lob, Kritik oder Anregungen? Schreibt gerne an: Urbanpop@ndr.de Peters Playlist für Bob Dylan (1962-1969) Bob Dylan (1962): Song to Woody The Freewheelin‘ Bob Dylan (1963): Blowin in the Wind, Girl from the North Country, Masters of War, A Hard Rain's a-Gonna Fall, Don't think Twice, It's All Right, Oxford Town, I Shall Be Free The Times They Are a-Changin‘ (1964): The Times They Are a-Changin‘, Ballad of Hollis Brown, With God on Our Side, North Country Blues, Only a Pawn in Their Game, When the Ship Comes In, The Lonesome Death of Hattie Carroll Another Side of Bob Dylan (1964): Chimes of Freedom, My Back Pages, It Ain't Me Babe Bringing It All Back Home (1965): Subterranean Homesick Blues, She Belongs to Me, Maggie's Farm, Love Minus Zero/No Limit, Mr. Tambourine Man, Gates of Eden, It's Alright Ma (I'm Only Bleeding), It's All Over Now, Baby Blue Highway 61 Revisited (1965): Like a Rolling Stone, Tombstone Blues, Ballad of a Thin Man, High 61 Revisited, Desolation Row Blonde on Blonde (1966): Rainy Day Women No. 12 & 35, Visions of Johanna, I Want You, Stuck Inside of Mobile with the Memphis Blues Again, Just Like a Woman, Most Likeley You Go Your Way and I'll Go Mine, Sad-Eyed Lady of the Lowlands John Wesley Harding (1967): John Wesley Harding, I Dreamed I Saw St. Augustine, All Along the Watchtower, The Ballad of Frankie Lee and Judas Priest, I'll Be Your Baby Tonight

Joe Walsh Enters a Life Of Illusion; It's Better Late Than Never for Tonio K; Clapton and Knopfler take you live down the Tunnel Of Love; and Black Sabbath goes Snowblind. Only on that tiny little radio station with the HUGE classic rock library... Deep Cuts Radio - Signal 7 ~ signal7@att.net Deep Cuts Radio - Signal 7   Title Artist 7/31/2020 The Verdict Joe Jackson 20:56:59 KJLR - Saint Charles Signal 7 21:02:24 FOX News Radio Hourly Newscast FOX News Radio 21:02:29 Deepest Library Signal 7 21:07:45 LIfe of Illusion Joe Walsh 21:07:53 Heard it in a Love Song Marshall Tucker Band 21:11:11 HOUSTON PROBLEM LINER 21:16:00 Stay With Me Rod Stewart 21:16:10 How Much I Feel Ambrosia 21:20:43 Better Late Than Never Tonio K 21:25:22 Heart Full Of Soul Rush 21:29:36 ON DOPE LINER 21:32:25 Tunnel of Love Eric Clapton & Mark Knopfler 21:32:35 SHAZAM LINER 21:47:04 Dedicated Follower of Fashion Kinks 21:47:12 Anything For Rock 'n Roll Touch 21:50:08 Subterranean Homesick Blues Bob Dylan 21:53:41 Snowblind Black Sabbath 21:55:52 KJLR - Saint Charles Signal 7 22:01:15 Hourly News NPR News 22:01:19    

294. Subterranean Homesick Blues - Bob DylanRelated links for 294. Subterranean Homesick Blues - Bob Dylan: Reply to this episode on ykyz: https://ykyz.com/p/c14fbd37d4f197630d9297e6440348ebd41fb0c0 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Sixième épisode de Scanners autour du vidéoclip, forme hybride et populaire, en compagnie d’Antoine Gaudin, maître de conférence à l’Université Paris Sorbonne Nouvelle et auteur de Le vidéoclip musical : approches théoriques et critiques d’un art pop, à paraître courant 2020 aux Presses du Septentrion. Programme 01:17 – Le vidéoclip, format hybride entre publicité et comédie musicale (Josué Morel) 06:00 – Le datamoshing dans Welcome to Heartbreak de Kanye West, après Takeshi Murata et Paul B. Davis (Corentin Lê) 11:28 – Les clips de Jesse Kanda pour Björk, Arca et FKA Twigs (Chloé Cavillier) 15:53 – Entretien avec Antoine Gaudin, maître de conférence à l’Université Paris Sorbonne Nouvelle Ressources – Bob Dylan, Subterranean Homesick Blues : https://www.youtube.com/watch?v=MGxjIBEZvx0 – The Beatles, Paperback Writer : https://www.youtube.com/watch?v=yYvkICbTZIQ – Daft Punk, Around the world : https://www.youtube.com/watch?v=LKYPYj2XX80 – Fatboy Slim, Weapon of Choice : https://www.youtube.com/watch?v=wCDIYvFmgW8 – Kanye West, Welcome to Heartbreak : https://www.youtube.com/watch?v=wMH0e8kIZtE – Takeshi Murata, Monster Movie : https://www.youtube.com/watch?v=t1f3St51S9I – Paul B. Davis, Compression Study #1 : https://www.youtube.com/watch?v=CWG5jqzYsEI – Rihanna, Umbrella : https://www.youtube.com/watch?v=CvBfHwUxHIk – Cranberries, Zombie : https://www.youtube.com/watch?v=BtV1-gJ_bm0 – Paul B. Davis, Define Your Terms (or Kanye West Fucked Up My Show) : http://www.seventeengallery.com/exhibitions/paul-b-davis-define-your-terms-or-kanye-west-fucked-up-my-show/ – Björk, Arisen my senses : https://www.youtube.com/watch?v=6VrqR_GfvzE – Bjork, Mouth mantra : https://www.youtube.com/watch?v=iIhLCXmrCm8 – Arca, Fluid Silhouettes : https://www.youtube.com/watch?v=XBxlPZyHQlU – FKA Twigs, How’s That : https://www.youtube.com/watch?v=a7CTo2-bAA8 – Björk, Notget : https://www.youtube.com/watch?v=aWrV8NQnbqE – Björk, Utopia : https://www.youtube.com/watch?v=Sqbv7cCM5AI – Arca, Reverie : https://www.youtube.com/watch?v=0WKWZ9y-dvU – Antoine Gaudin, Le vidéoclip : un art populaire intermédial à l’ère numérique, 2015 : https://hal.archives-ouvertes.fr/hal-01385712 Générique Mathieu Bonnafous : https://soundcloud.com/catartsis Une émission animée et réalisée par Corentin Lê.

Knew it was gonna snow, but its only December 2. A compare and contrast of Winters in NYC versus Miami. These Uber drivers have no business out here driving in the elements. Was Drake really the first successful rapper/singer? Bomani's no spoilers "Queen and Slim" review. Bo's tells the story about his Uber driver who couldn't read. Why a train ride from New York to Chicago is not an efficient mode of travel. Bo is all in on "The Irishman" The implausibility of calling "Subterranean Homesick Blues" the first rap song and more...

Is Bob Dylan a poet? We ask Ian McMillan, one of the UK’s best. Ian compares Bob to Dylan Thomas, both of them “great poets who can rub vowels against consonants and make a kind of smoke come out of them… a kind of music.” “Meaning doesn’t matter”, he says. “The basis of poetry is being able to mint a phrase like “Lay, lady, lay”. I was so excited when Dylan won the Nobel Prize. Dylan’s stuff will last forever”. Yorkshire-born Ian recalls arguing with his Andy Stewart-loving Scottish father about the merits of Lay Lady Lay, over the washing up. How he was so moved hearing Sad-Eyed Lady Of The Lowlands that he wrote a poem about it. Other topics include in-depth dissections of One More Cup Of Coffee and Subterranean Homesick Blues, Paul Simon and John Cheever’s short fiction, Dylan’s Tarantula and Gerry Rafferty’s Baker Street. Join us for a free-flowing episode with plenty of literary smoke. Ian McMillan is a poet, journalist and broadcaster. He presents poetry programme The Verb on BBC Radio 3 and is a regular on BBC Breakfast, Pick of the Week, You & Yours, Last Word and The Arts Show. He’s been a castaway on Desert Island Discs (where he famously chose John Cage’s 4'33"). His television work also includes The Review Show and Have I Got News For You. He has written many volumes of poetry, in addition to his verse autobiography Talking Myself Home. Ian was resident poet for the English National Opera, was Yorkshire TV’s Investigative Poet and Humberside Police’s Beat Poet. https://www.bbc.co.uk/programmes/p02yxmxw Trailer Twitter: @IMcMillan Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 6th September 2019 This show is part of Pantheon Podcasts.

Bruce presents the fifth album by Australian rock band The Church. It would be their breakthrough album for international success. After starting as a new wave band in 1980, The Church drifted into a little alternative, a little psychedelic, a little goth - some would call it dream pop. The lyrics and music are both a little dark and wistful, a result of their recording far from home in Los Angeles, and pouring their feelings of being in a strange place they didn't really like into their music. Arista was their new label for this studio album, and despite the homesickness of the band, their work in LA paid off with a great album. Destination This is the first track on the album and describes a dystopian totalitarian bureaucracy. "It's not a religion, it's just a technique, it's just a way of making you speak. Distance and speed have left us too weak, and destination looks kind of bleak." Reptile The second hit from the album is a song about a bad relationship. "Go now, you've been set free. Another month or so, you'll be poisoning me with your lovely smile." Under The Milky Way This is the first and biggest hit from the album with a great 12-string acoustic foundation. The title is inspired by a music hall in Amsterdam that is in a former milk factory. The name of the hall is Melkweg, Dutch for "Milky Way." ENTERTAINMENT TRACK: “With A Little Help from My Friends” by Joe Cocker This was the theme song from "The Wonder Years" TV series. STAFF PICKS: “Tunnel of Love” by Bruce Springsteen Brian's staff pick is off the solo (minus the E. Street Band) album from The Boss. The tunnel of love is an amusement park ride in Asbury Park Boardwalk, and is a metaphor for the ups and downs of a relationship. “Rhythm of Love” by Yes Wayne's staff pick takes a prog rock turn with a Beach Boys harmony feel. All roads lead to Yes, in this case off their 12th studio album "Big Generator." “Devil Inside” by INXS The Australian group had a huge album in "Kick", and Rob's staff pick is one of the hits off this album. "The future uncertain, but certainly slight." HBO used this song on the trailer for the fourth season from "A Game of Thrones." “It's The End Of The World As We Know It (And I Feel Fine)” by REM This fast talking hit off the 1987 album “Document” channels Bob Dylan's stream-of-consciousness approach from "Subterranean Homesick Blues." LAUGH TRACK: “You Talk Too Much” George Thorogood & the Destroyers We go out this week on George Thorogood's comedic rant about a girlfriend who just won't stop talking.

For our first-ever episode, we're talking about music from the year 1965! It's not the Summer of Love, and it's not the year Sgt. Pepper taught the band to play, but 1965 was a big year for music. Dylan went electric, the Beatles slowly went psychedelic and the Vietnam War became a much, much bigger deal on college campuses. James and David talk about two songs from 1965 that capture the transitional nature of the era. And, y'know, rock out too. Songs featured in this epsiode include: "Turn! Turn! Turn! (To Everything There is a Season)" written by Pete Seeger, performed by The Byrds. ℗ Originally Released 1965, 1966, 1967, (P) 1999 Sony Music Entertainment Inc. "Subterranean Homesick Blues" by Bob Dylan. ℗ Originally Released 1965 Sony Music Entertainment Inc. Intro and outro music taken from "Run in the Night" by The Good Lawdz from their album A Lil Sumthin' Sumthin'. Licensed under an Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) license. To hear the full song or get more information, visit the song page at the Free Music Archive.

Mixed Up Confusion is our vehicle to discuss the culture that surrounds our weekly conversation about Bob Dylan. This week we look at the music video for "Subterranean Homesick Blues." As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – See That My Playlist is Kept Clean – and join the conversation on Twitter, message us on Facebook, and like on Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks!

Sign on the Window isn't the Bob Dylan podcast you need, but it's definitely the one that you want! Each week we select a Dylan song at random, live with the song for a week (or two) and then get together to discuss. This week we dive into the iconic "Subterranean Homesick Blues" off 1965's Bringing It All Back Home. Daniel and Kelly have returned from the lazy river and celebrate summer with Dylan's classic! They discuss what led to Dylan's recording this song (7:30), the song itself (16:30), its legacy (36:00) and its place in popular music history. As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – See That My Playlist is Kept Clean – and join the conversation on Twitter, message us on Facebook, and like on Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks! Next week: You were born with a snake in both of your fists

The Ponyboys, now fully recovered, explore the elven city beneath Shadowfell's Stormcall, as they begin to prepare themselves for revenge against the dragon and an eventual encounter with the Lich of Shadows.

I'm so excited to introduce you to Shawnee Kilgore in this episode!  She is an Austin, TX based singer-songwriter living a crowd-funding fairy tale.   In 2014, Shawnee launched a Kickstarter campaign to fund her fourth solo album, A Long and Precious Road. In her video message to potential backers, a tribute to Dylan's Subterranean Homesick Blues, she held up a card that said "I'm learning to ask for help." This vulnerable and honest phrase struck a chord for one particular music fan perusing Kickstarter projects on his rare off time  Joss Whedon. Whedon, one of Hollywood's most prominent directors (Buffy the Vampire Slayer, Firefly, The Avengers) loved Shawnee's music and her voice, and backed the project, taking the first step towards what would become the unlikeliest of creative partnerships.     Insights and Takeaways   Good things happen when you just “DO THE THING” Crowdfunding a project v. ongoing fan support from Patreon Creating a sustainable income with Patreon Flexing our songwriting muscles Why house concerts rock Working on an EP with Joss Whedon   Links and Resources   Shawnee Kilgore and Joss Whedon Back to Eden Shawnee Kilgore Shawnee Kilgore is creating a song a week! | Patreon Shawnee Kilgore (@ShawneeKilgore) | Twitter https://www.instagram.com/shawneekilgore/   Connect with Jen   Home Page - Brassy Broadcasting Company YouTube Channel Instagram Twitter Subscribe to the Podcast Apple Podcasts Android

Paul Banks and RZA, aka Banks and Steelz, describe their shared love of the music of Leonard Cohen. Then Lizzo explains the powerful impact Lauryn Hill’s “Zion”, Radiohead’s “Subterranean Homesick Blues,” and the city of Minneapolis had on her music.

Paul Banks and RZA, aka Banks and Steelz, describe their shared love of the music of Leonard Cohen. Then Lizzo explains the powerful impact Lauryn Hill’s “Zion”, Radiohead’s “Subterranean Homesick Blues,” and the city of Minneapolis had on her music.

POD DYLAN Episode 29 - Subterranean Homesick Blues Look out, kid! Rob welcomes artist Xum Yukinori to talk about the classic "Subterranean Homesick Blues", the opening song from 1965's BRINGING IT ALL BACK HOME. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan XUM YUKINORI - http://xum-yukinori.blogspot.com Subscribe to the show on iTunes: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Buy "Subterranean Homesick Blues" on iTunes: https://itunes.apple.com/us/album/bringing-it-all-back-home/id177964575 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts

Welcome back! In this week’s episode, we tackle two favourites of ours; Devin Townsend Project’s Epicloud and Deaf Havana’s Old Souls. There is a vast amount of digression from both these albums, as usual, we hope you can tolerate this and Romy’s habitual ranking blathering. Apologies for any slurring/stumbling/stuttering; this was recorded at 9am after a rather heavy night and thus our abilities to speak were slightly hindered… Recommendations - Dream Theater’s The Astonishing, Rick’s cover of Mulan, The Big Short, Arrested Development and the Raw Meat All-Dayer at Belgrave/Headrow Headrow House (including The Xcerts, God Damn, Brawlers and many more). Correction - the song Romy was talking about was Subterranean Homesick Blues, by the mighty Bob Dylan (and not Springsteen...) You can subscribe to the podcast on iTunes if you so desire (and rate/review us too if you’re feeling super generous!), and is also available on Overcast, Stitcher and TuneIn. iTunes - itunes.apple.com/gb/podcast/first…d1079801210?mt=2 Overcast - https://overcast.fm/itunes1079801210/first-impressions Stitcher - http://www.stitcher.com/s?fid=82642&refid=stpr TuneIn - http://tunein.com/radio/First-Impressions-p831744/ Please direct any questions/thoughts/abuse (please don’t abuse us, we’re very sensitive souls) to one of us, Soundcloud or our email, podcastfirstimpressions@gmail.com. Next week’s albums: Machine Head’s The Blackening and Jack’s Mannequin’s Everything in Transit

Mark, Aaron and Keith Enright give a look at D.A. Pennabaker's documentary portrait of Bob Dylan in Dont Look Back (the no apostrophe is intentional). This was a pivotal period in the artist's career, and both the film and the music were influential. We dig deep as to what type of persona Dylan revealed, the cinéma vérité filmmaking style that captured him in his element, and also his attitude towards the press and others who wanted to label him. About the film: Bob Dylan is captured on-screen as he never would be again in this groundbreaking film from D. A. Pennebaker. The legendary documentarian finds Dylan in England during his 1965 tour, which would be his last as an acoustic artist. In this wildly entertaining vision of one of the twentieth century's greatest artists, Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price. Featuring some of Dylan's most famous songs, including “Subterranean Homesick Blues,” “The Times They Are A-Changin',” and “It's All Over Now, Baby Blue,” Dont Look Back is a radically conceived portrait of an American icon that has influenced decades of vérité behind-the-scenes documentaries. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro & Welcome Keith 3:30 – Caitlin Kuhwald Aftermath 9:40 – Schedule Update 11:10 – Aaron's Blog Announcement 14:35 – Arik's Criterion Presentation 12:20 – 18:15 – Short Takes (The Apu Trilogy, My Golden Years, Hollis Frampton Odyssey, La Ronde, Labyrinth, Revanche) 33:00 – The Newsstand 34:45 – Dont Look Back FB Photo Album Episode Credits Mark Hurne: Twitter | Letterboxd | Amazon Wishlist Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Jellyfish Eyes

The music video:  "What had been a liberating possibility for visual artists working in film, to bring their work towards a wider audience, without the pressure of narrative, without the necessity to tell stories, has become an absolutely fixed promo for the consumerism aimed at the youth market". So says Professor Rod Stoneman in this, the third in Pod Academy’s series based on his book, Seeing is Believing: the Politics of the Visual. which is produced and presented by Esther Gaytan Fuertes. In this podcast, Rod Stoneman talks about the visual experimentation made possible by the music video, which pushes the boundaries of mainstream narrative film. You can find other podcasts in the series here: Podcast 1 on Fashion images and Podcast 2 on graffiti Rod Stoneman: This image [above] comes from a film called Berlin Horse made by Malcolm Le Grice in 1970, an experimental film from the London Filmmakers’ Co-op. And it’s a striking visual image made from permutations of colour printing, using loops, a horse going round in a circle and a clip from an early American silent film, working alongside music in an interesting way. The music is created by Brian Eno using loops of guitar chords, which the chords are of different lengths so as they go round they change the relationship of the different sets of guitar chords to one another. And it suggests a previous history of work with sound and image happening in the experimental domain: Kenneth Anger made Scorpio Rising and Kustom Kar Kommandos even within I’d say mainstream films but even within feature film productions like Performance by Nicholas Roeg and Donald Cammell there is a sequence where Mike Jagger comes out of character to create a music video, you could say, or premonition of, and Bob Dylan’s famous film with the different lines from Subterranean Homesick Blues. These are precursors of something that really developed when music television started in the early 70s, when MTV was created. Gary Kemp from Spandau Ballet was absolutely right when he said, video was something that a band had to be good at; if you weren’t visual, if you couldn’t work in front of a camera you were not going to happen as a band. It's absolutely clear that, at that moment, MTV offered a possibility for brave and experimental work which didn’t have to be concerned with story telling or narrative to connect with contemporary music and reach a wider audience. But, quite quickly industrial constraints exerted themselves and some videos were taken to be too difficult or too experimental or —occasionally the phrase was used— not ‘MTV- friendly’. That excluded some work, also contracts to be drawn up —I mean, a pop-promo is precisely a promotional tour— and contracts began to be drawn up defining what the film-maker had to achieve in terms of, say, featuring a medium close shot of the lead singer of the band within the first 30 seconds. So that began to close what had been a liberating possibility for visual artists working in film, to bring their work towards a wider audience, without the pressure of narrative, without the necessity to tell stories. The current version of music videos is an absolutely fixed promo for the consumerism, aimed at the youth market. MTV itself has moved off to other formats, to reality television, and the space for something as extraordinary as Malcolm Le Grice’s Berlin Horse —which, interestingly, was used in the Doves’ music video Catch the Sun in a rather decorative way— the space for new visually experiment has really been closed off. If you have enjoyed this podcast, remember you can listen or download the rest of this series from our website, www.podacademy.org Seeing is Believing: The politics of the visual is published by Black Dog (UK £19.95, US £29.95) It explores the complex and reciprocal dynamic between world and image in this most visually mediated society. Everyone ‘knows’ images can be false or deceptive,

Dokumentären Till Ungdomen, som har premiär den här helgen, skulle egentligen ha handlat om drömmar, visioner och politiskt engagemang hos fyra norska ungdomar. Tanken var att följa dom inför valkampanjen 2011, men mitt i inspelningsarbetet inträffar då terrordådet på Utöya, och filmen får ett helt annat innehåll. För alla ungdomarna påverkas på olika sätt. Kinos reporter Hugo Lavett träffade Till ungdomens regissör kari Anne Moe och en av de medverkande ungdomarna Sana el Morabit, och ingen av dem kommer någonsin att glömma var de var den 22 juli 2011. Filmarna D A Pennebaker och Chris Hegedus har gjort legendariska dokumentärer. Pennebaker kommer för evigt att gå till filmhistorien som mannen som fångade Bob Dylan i Don't look back från 1967 - den där Dylan håller stora skyltar med ord ur texten till Subterranean Homesick Blues. Han har också dokumenterat musikfestivalen i Monterey i filmen Monterey Pop. Och tillsammans med sin fru Chris Hegedus har de också gjort filmen Town Bloody Hall som vi berättade om förra veckan, samt The War Room om president Clintons presidentvalskampanj. Kino fick finbesök av regissörsduon i studion. Här kan du lyssna på den klippta versionen: Och här på den lite längre: I helgen är det faktiskt premiär för hela två filmer som handlar om en period av livet som många tenderar att mytologisera. Både svenska Bitchkram och franska Min ungdoms kärlek kretsar kring åren runt tjugo. En period av sökande, stormiga kärlekshistorier och karriärdrömmar. I Min ungdoms kärlek är det Camille som måste ta sig vidare efter att tonårsförälskelsen kraschat och historien bygger faktiskt på regissören Mia Hansen-Löves egna erfarenheter av att tillbringa större delen av tiden mellan 15 och 19, gråtande på en säng. När Nina Asarnoj träffade Mia Hansen-Löve på ett hotell i Stockholm så handlade samtalet ganska snabbt om hur det EGENTLIGEN var de där dramatiska åren. Och om att göra en långfilm för att komma över minnena från den tiden. När filmsajten Netflix lanserades i Sverige i måndags hade man flugit in tre höjdare för att möta den svenska pressen. Roger Wilson var där för att ta reda på vad sajten egentligen innehåller, och ta reda på mer om Netflix satsningar på egna tv-serier - där man tänker släppa säsongernas samtliga avsnitt på en och samma gång. Att Lars von Trier gillar regler och koncepttänk, det vet vi efter till exempel Dogmaprojektet med sina stränga regler, och filmen de fem benspaend, där han tvingade den danske regissören Jörgen Leth att spela in en film utifrån vissa begränsningar som Lars von Trier hittat på. Och lite samma stuk hittar man i konstprojektet Gesamt som von Trier har tagit intitiativet till. Där har han valt ut sex konstverk ur kulturhistorien som sedan filmare över hela världen fick tolka eller inspireras av. De gjorde sedan vars en max fem minuter lång film, som sedan regissören Jenle Hallund i sin tur klippte ihop till nya filmer. Det kom in över 500 bidrag från 52 länder som Hallund fick sätta saxen i. Sveriges Radios kulturkorrespondenet Gunnar Bolin åkte till konsthallen Charlottenborg i Köenhamn för att se Gesamt, där han visades in av Christian Skovbjerg Jensen. Programledare: Roger Wilson Producent: Lisa Bergström

Sing in me, Muse, and through me tell the storyof that man skilled in all ways of contending,the wanderer, harried for years on end,after he plundered the strongholdon the proud height of Troy.Songs about mines and standard transcendentalism.1,"Dialup Intro","Giosue Etranger","Ut Supra Infra"2,"Phone Talk","Dr. Ring-Ding & The Senior Allstars","Dandimite!"3,"Dandimite Ska","Dr. Ring-Ding & The Senior Allstars","Dandimite!"4,"Oracle & Intro","O Brother","Oktoeight"5,"The Carrying Arms","The Antlers","In the Attic of the Universe"6,"Two Characters in Search of a Country Song","The Magnetic Fields","The Charm of the Highway Strip"7,"Fool Looks For Logic in Chambers of Human Heart","O Brother","Oktoeight"8,"Dark as the Dungeon","Johnny Cash","At Folsom Prison"9,"Working in the Coal Mine","Lee Dorsey","Great Googa Mooga Disc 1"10,"Subterranean Homesick Blues","Bob Dylan","Bringing It All Back Home"11,"Heart of Gold","Neil Young","Harvest"12,"Big Rock Candy Mountain","Harry ""Haywire Mac"" McClintock","O Brother"13,"Desert Love","Sonny Lester & The Sonny Lester Orchestra","Exotica"14,"Rock Island Line","Lead Belly","The Very Best of Leadbelly"15,"Indian War Whoop","John Hartford","O Brother"16,"I Am a Man of Constant Sorrow (radio station version) (feat. Dan Tyminski)","The Soggy Bottom Boys","O Brother"17,"Man of Constant Sorrow","Bob Dylan","Bob Dylan"18,"Paradigm of Hope","O Brother","Oktoeight"19,"Lucifer Sam","Pink Floyd","The Piper At The Gates Of Dawn"20,"Fire","The Jimi Hendrix Experience","Are You Experienced"21,"Temple Mystique","The Hidden Words","Free Thyself From The Fetters of This World"22,"Spiritually Unaffiliated","O Brother","Oktoeight"23,"Technicolor Health","Harlem Shakes","Technicolor Health"24,"Lover of Mine","Beach House","Teen Dream"25,"Solitude Is Bliss","Tame Impala","Innerspeaker"26,"Tractor Man","Ariel Pink's Haunted Graffiti","Underground"27,"Where Is My Mind?","Pixies","Surfer Rosa / Come On Pilgrim"28,"Bangers + Mash","Radiohead","In Rainbows (bonus disc)"29,"My Wife, Lost in the Wild","Realpeople / Beirut","Holland"30,"Useful Chamber","Dirty Projectors","Bitte Orca"31,"On Miracles","O Brother",32,"Dialtone Fades Out","Giosue Etranger","Ut Supra Infra"Lyrics in podcast ID3 tag [again].

I’ve intentinoally been spending as much time alone as possible this week.  Initially it was because I was homesick for the first time since my arrival and I thought I needed some space from the noise and commotion of my normal affairs here.  It’s given me time to reflect on this experience, which is now [...]

I’ve intentinoally been spending as much time alone as possible this week.  Initially it was because I was homesick for the first time since my arrival and I thought I needed some space from the noise and commotion of my normal affairs here.  It’s given me time to reflect on this experience, which is now [...]