Bob dylan Brown, Donald; Brown, Donald
2014., 2014, 2014-01-21
eBook
Tempo: A Scarecrow Press Music Series of Rock, Pop, and Culture offers titles that explore rock and popular music through the lens of social and cultural history, revealing the dynamic relationship ...between musicians, music, and their milieu. Like other major art forms, rock and pop music comment on their cultural, political, and even economic situation, reflecting the technological advances, psychological concerns, religious feelings, and artistic trends of their times. Whether you are a professional musician or regular listener, diehard fan or music student, titles in the Tempo series are the ideal introduction to major pop and rock artists and the music they produced and their cultural and musical impact on society. With each year, new books appear on Bob Dylan, attesting to his continuing importance as a major figure in American music and culture. Bob Dylan: American Troubadour is the first book on Dylan to look at his entire career, from his first album to his most recent, Tempest, released 50 years later in 2012. In a brief compass, Brown provides insightful critical commentary on Dylan’s entire corpus, placing full scope of Dylan’s career in the context of its times in order to assess the relationship of Dylan's music to contemporary American culture. Each chapter addresses a particular phase of Dylan’s career, taking its cue from events in Dylan’s life and from the collective experiences that shaped the times. As the artist who famously proclaimed “the times, they are a-changin’,” Dylan was never static as an artist, his music altering as the times changed. In Bob Dylan: American Troubadour, Donald Brown follows the shifting versions of Dylan, from his songs of conscientious social involvement to more personal exploratory songs; from his influential rock albums of the mid-‘60s to his adaptations of Country music; from his three very different tours in the 1970s to his “born again” period as a proselytizer for Christ, to his frustrations as a recording and performing artist in the 1980s; from his retrospective importance in the Nineties to the refreshingly vital albums he has been producing in the 21st century. Bob Dylan: American Troubadour will engage not only Dylan fans and students of his work but those interested American popular music, history, and culture. Anyone who has been touched, challenged or surprised by a Dylan song, who would like to know more about this long and fascinating career, who wants to discover Dylan within his context will find in Bob Dylan: American Troubadour a concise and informed critical overview of Dylan’s music and his place in the American musical landscape.
Counting Down is a unique series of titles designed to select the best songs or musical works from major performance artists and composers in an age of design-your-own playlists. Contributors offer ...readers the reasons why some works stand out from others. It is the ideal companion for music lovers. For fifty years, Bob Dylan’s music has been a source of wonder to his fans and endless fodder for analysis by music critics. In Counting Down Bob Dylan, rock journalist Jim Beviglia dares to rank these songs in descending order from Dylan’s 100th best to his #1 song. Surveying the near six-decade career of this musical legend, Beviglia offers insightful analyses into the music and lyrics and dishes out important historical information and fascinating trivia to explain why these 100 rank among Dylan’s best to date. At the same time, a portrait of the seemingly inscrutable Dylan emerges through the words of his finest songs, providing both the perfect introduction to his work and a comprehensive new take on this master of American songwriting. This work will appeal to the legions of Bob Dylan fans who have taken to analyzing his music. Unlike other Dylan books, which vary between the academic and the journalistic, Counting Down Bob Dylan uniquely renders Dylan’s music approachable to new fans by highlighting the powerful emotional forces that fuel his dazzling lyrics.
ZusammenfassungHintergrundRodeln bzw. Schlittenfahren gilt i. Allg. als relativ ungefährliche Freizeitbeschäftigung im Winter. Das vermehrte Aufkommen von z. T. schweren Verletzungen in unserer ...Notaufnahme im Einzugsgebiet mehrerer Rodelbahnen und Schlittenpisten war Anlass zur Analyse dieses Patientenkollektivs hinsichtlich Häufigkeit und Schwere der Verletzungen.Patienten und MethodenAnhand der Klinikdokumentation erfolgte eine retrospektive Auswertung aller Notaufnahmebesuche der Winter 2016–2019. Als Schlagwörter wurden die Worte „Rodel“, „Schlitten“, „Bob“, „Zipfelbob“, „Schlittenfahren“, „rodeln“ verwendet und die erfassten Daten in Bezug auf ambulante-, stationäre Behandlung, stationäre Behandlungstage, Behandlungstage auf der Intensivstation, Zahl der notwendigen Operationen, Verletzungsmuster sowie Verletzungsschwere analysiert.ErgebnisseInsgesamt wurden über den Zeitraum von 3 Jahren 175 Verletzte erfasst. Bei 94 Patienten (54 %) wurde die Verletzung als leicht eingestuft, 70 Patienten (40 %) benötigten eine stationäre Behandlung mit einer durchschnittlichen Verweildauer von 8 Tagen; in der Summe entstanden 590 stationäre Behandlungstage. Operativ behandelt wurden 49 (28 %) der Verunfallten mit insgesamt 66 Operationen, 81 Patienten erlitten schwere Verletzungen bis hin zu einer Polytraumatisierung mit einem Injury Severity Score (Iss) von 34.DiskussionUnsere Untersuchung zeigt, dass das Rodeln und Schlittenfahren ein deutlich höheres Verletzungspotenzial besitzen als allgemein angenommen, und dass die hierdurch entstehenden Kosten und Unfallfolgen nicht unerheblich sind. Insbesondere auf den ausgewiesenen Rodelpisten könnte durch entsprechende Maßnahmen und Regeln eine Erhöhung des Sicherheitsstandards erreicht werden.
Bob Dylan, Jimi Hendrix, and David Bowie are among three of the most influential figures in twentieth-century popular music and culture, and innumerable scholars and biographers have explored the ...history of their influence. However, critical historiography reminds us that such scholarship is responsible not just for documenting history but also for producing it. In brief, there is always some kind of logic underwriting these historiographies, drawing boundaries through and around our thinking. In Philosophizing Rock Performance: Dylan, Hendrix, Bowie, Wade Hollingshaus capitalizes on this notion by embracing a set of historiographical logics that re-imagine these three artists. Noting how Dylan, Hendrix, and Bowie first established their reputations amid the anti-establishment sentiments that emerged in Western counties during the 1960s and early 1970s, he connects them with the concurrent formative phase of Continental philosophy in the work of Giorgio Agamben, Jean-François Lyotard, Michel de Certeau, Jacques Rancière, Guy Debord, and Michel Foucault. In Philosophizing Rock Performance, Hollingshaus draws on the work of these latter Continental thinkers to explore how we might otherwise think about Dylan, Hendrix, and Bowie. This work is ideal for those in the fields of music history, performance studies, philosophy, American and European cultural and intellectual history, and critical theory.
Greil Marcus delves into three distinct episodes in the history of American commonplace song and shows how each one manages to convey the uncanny sense that it was written by no one. In these ...seemingly anonymous productions, we discover three different ways of talking about the United States, and three separate nations within its borders.
In the spring of 2002, motivated by the September 11, 2001, terrorist attacks, National Football League stalwart Patrick Daniel Tillman turned down a multimillion-dollar contract to join the US Army. ...Two years later, he died while serving his country in the mountains of Afghanistan. In the process, he became an American icon. Inspired by Pat Tillman’s story, Fallen Stars captures the lives and times of Tillman (1976–2004) and four other war-hero American athletes: Hamilton “Ham” Fish (1873–98), Hobart “Hobey” Baker (1892–1918), Nile Kinnick (1918–43), and James Robert "Bob" Kalsu (1945–70), all of whom died while serving in the US military. Why a focus on fallen war-hero athletes, and why these five? Because here we have over a century’s worth of men who faced the fears and uncertainties that come with life and made the ultimate sacrifice. Their stories give us a kaleidoscopic picture of America over the course of more than one hundred years, and through them we can explore the wars America has participated in, the values that Americans have celebrated, and what it has meant, over time, to be an American hero.
Bob Dylan, Jimi Hendrix, and David Bowie are among three of the most influential figures in twentieth-century popular music and culture, and innumerable scholars and biographers have explored the ...history of their influence. However, critical historiography reminds us that such scholarship is responsible not just for documenting history but also for producing it. In brief, there is always some kind of logic underwriting these historiographies, drawing boundaries through and around our thinking.
In
Philosophizing Rock Performance: Dylan, Hendrix, Bowie
, Wade Hollingshaus capitalizes on this notion by embracing a set of historiographical logics that re-imagine these three artists. Noting how Dylan, Hendrix, and Bowie first established their reputations amid the anti-establishment sentiments that emerged in Western counties during the 1960s and early 1970s, he connects them with the concurrent formative phase of Continental philosophy in the work of Giorgio Agamben, Jean-François Lyotard, Michel de Certeau, Jacques Rancière, Guy Debord, and Michel Foucault. In
Philosophizing Rock Performance,
Hollingshaus draws on the work of these latter Continental thinkers to explore how we might otherwise think about Dylan, Hendrix, and Bowie.
This work is ideal for those in the fields of music history, performance studies, philosophy, American and European cultural and intellectual history, and critical theory.
Zeitschriftenschau Pöhlmann, Horst Georg
Neue Zeitschrift für systematische Theologie und Religionsphilosophie,
01/2012, Volume:
54, Issue:
1
Journal Article
Peer reviewed
« Krötke, Wolf: Der Glaube an den einen Gott im Judentum, Christentum und Islam. Erkennen wir in der muslimischen Gotteshingabe noch den Gott des Alten und des Neuen Testaments, sodass im Glauben an ...ihn auch ein belastungsfähiges religiöses Band zwischen Judentum und Christentum einerseits und Islam andererseits gegeben ist?« Man redet von der abrahamitischen Ökumene, ähnlich der Ökumene zwischen den christlichen Kirchen. » Von solcher Einheit des Bekennens kann in Bezug auf den Islam nicht die Rede sein. Sie ist abzulehnen, wenn sie ein »playing God« sein will und der Mensch sich anmaßt, »homo creator« zu sein, sie kann aber bejaht werden, wenn der Mensch sich in ihr als »cooperator Dei« versteht. Bob Dylan, der bekannte Folk-, Rock- und Popmusiker, sagte nach der Verleihung des Grammy: »Mein Vater, der war ein einfacher Mann und konnte mir nicht viel hinterlassen, aber er hat mal zu mir gesagt, ...
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