Один блогер озаботился посчитать книги о Бобе и насчитал их 81...
Bob Dylan Books
When I gathered my Dylan books together, I was surprised to find that I only have sixteen (twelve are pictured above). A quick search of the Seattle Public Library catalog shows eighty-one books in their collection about or by Bob. Entering the artist's name into the search field at Amazon and clicking on books brings up an astonishing 1690 titles with references to the singer. I'm sure that many devoted fans have at least as many titles as me and certainly any true collector has many more.
Here's where I confess, in these opening weeks of my blog, that writing about books is just my excuse to write about Dylan. Okay, not exactly, but besides books and kids and family and nature, Bob is pretty much next on the list of things I care about in life. As noted above, there is no shortage of words in print about his music, and that holds true for the web also. You can click away to at least a dozen high quality sites devoted to the singer, including his own. I will add those links to this blog soon.
So there is no need for me to ramble on endlessly about Dylan. I will write about him only on occasion. But I believe I have found a slightly different way to approach the topic of Zimmerman: every so often I will discuss one of the above mentioned books. From his own 2004 memoir, Chronicles, Volume 1, to Larry Sloman's excellent reportage of the 1975 Rolling Thunder tour, On the Road with Bob Dylan, there are plenty to choose from. I hope that tomorrow's Dylan fan (it's amazing how many 16 to 25 year-olds you see at his concerts), wondering which book to read about our greatest living artist, will be able to come here, to the Idiot Child, for a preview of what each one holds in store.
Here's one really cool thing about Dylan, and the reason that there's always room for another book and another website: every Bob story is a personal story. Beyond the statistics on shows and songs and LP's, there is no objective truth. Dylan is the masked man. Anyone who listens closely will, sooner or later, get a peek beneath that mask. Sometimes you will see a bizarre distortion of reality or maybe you will see Mr. Jones or a sensitive lover, but in most cases that glimpse you get of Dylan will look like your own face. I'm not talking about Dylan the real human being, of course. I'm speaking about the art. Every person who has interacted closely with the music has found a unique relationship with it and sometimes a corresponding sequence of crazy real life events. Even in the most scholarly and supposedly detached tomes about Dylan these personal stories are revealed. Many authors have seen fit to spend many hours thinking and writing about Bob Dylan. I intend to share my take on what they've discovered and, in keeping with the theme of this blog, look for a less obvious, more cryptic interpretation of the bare facts.
Speaking of crazy, I have a personal Dylan story too, and even a book to go with it. The Golden Bird is a memoir of my own strange adventures in the decade of my twenties. It's only a little bit about Bob, really. Dylan is a side character, but an important one. It's like the experience of many Dylan fans, where Bob's art and even his presence has a strong and steady influence in a life that goes all kinds of ways they never planned or expected. I'll be writing more about my book when it is released and available for your reading pleasure.
In the meantime I am re-reading Chronicles, and it will be the subject of my next post. Bob's memoir is a good place to start, because unlike in the music, where you can't tell for sure if it's Bob talking, or that guy you met once in a bar in Spain, or what you thought to yourself yesterday when you were stuck in traffic, the voice in Chronicles is clearly the man who wrote the songs. He manages to tell details of the most revealing sort and yet remain mysterious as all heck. Only this time, because we are getting a look at the real human being a little more strongly than the songs, it's mostly his face behind the mask.
Отправлено:28.12.10 12:13.Заголовок:The Bob Dylan Motorc..
The Bob Dylan Motorcycle Crash
Did the folk-rock legend cheat death of simply duck the limelight?
Of course Bob Dylan rode a Triumph. The coolest troubadour to ever hang a harmonica around his neck owned a 1964 Triumph T100, smaller 500cc brother to the Bonneville 650. Some say he almost died on the bike. Others claim the Triumph may have preserved his sanity.
Just what happened that July 29, 1966, ain't exactly clear. Dylan was riding in upstate New York, not far from the future site of the Woodstock Festival, when he and the bike parted company. The extent of his injuries, again, is unclear. Facial abrasions, unconsciousness, even broken vertebrae were reported, forcing cancellation of his upcoming concert at the Yale Bowl. Rumors were rampant: Dylan was horribly disfigured, hopelessly paralyzed, quite possibly dead.
Yet, no hospital records have ever been procured relating to the incident, and no one remembers an ambulance carting off the Tambourine Man. At least one alleged witness has claimed that Dylan-apparently not very skilled behind the handlebars-had a simple, low-speed get-off that required a trip to the doctor's office, nothing more.
So what gives? Remember that just a few short years before, Dylan had been unknown, a struggling coffee-house singer. His first album sold just 5000 copies. Now he was the so-called Voice of a Generation, expected to weigh-in on civil rights, the Vietnam War, labor relations, and he was starting to chafe under the pressure. "Me, I don't want to write for people anymore-you know, be a spokesman," he said in '64. "From now on, I want to write from inside me ... I'm not part of no movement ... I just can't make it with any organization."
At the time of his crash, Dylan had released five albums in little more than two years, each one projected to out-do the previous, fans combing the lyrics for symbolism and hidden meaning. He had book deals, TV deals, movie deals. Sixty concert dates had been scheduled. Is it out of the question, then, that the poor man simply took his minor crack-up as an opportunity to check out for the next nine months?
Dylan all but confirmed this in his 2004 autobiography, Chronicles, saying, "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race."
Then as now, no better vehicle for that than a motorcycle-wheels down preferred.
Remix a Classic Bob Dylan Track With Your Own Music
Sony’s giving users a chance to perform a remix of the classic “Subterranean Homesick Blues” by Bob Dylan, and whoever does the best job of re-creating the song wins a trip to South by Southwest in Austin in March.
Each of Dylan’s recorded tracks are separated for your mixing pleasure. Individual Dylan vocals, drums, electric guitar and bass lines, along with dozens of other tracks performed by various artists, can all be mixed together for a unique result.
This is tons of fun. Once you get the hang of it, it feels like you’re actually creating a new piece of music.
The Remix Project Flash app allows more talented users to record their own musical tracks to add to the mix. It gets really interesting when you take a look at the remixes people have already created — these are sorted on the site using a filter for most recent or most watched, along with an offer to search for a username.
A panel of Sony judges will decide which remixes are the best, and the company will announce the top 10 remixes on January 24 via its Facebook Page. Visitors to Sony’s Facebook Page will also be invited to vote for their favorites.
This is a brilliant piece of viral marketing from Sony, shining the light on the brand without forcing the issue. It’s not surprising, given Sony’s history of creating fun apps and games to call attention to its brand. For example, look at the company’s spy-themed Facebook app from last May.
Отправлено:11.01.11 10:54.Заголовок:Боба настолько уважа..
Боба настолько уважают в Австралии,что готовы выделить для его выступлений специальные дни.
Music will play on as Bluesfest gets extra day
THE legendary US singer-songwriter Bob Dylan may yet extend his stay in Byron Bay this Easter after the council decided to allow the annual Bluesfest to run an extra day.
Ahead of a hearing in the Land and Environment Court, the Byron Shire Council convened an extraordinary meeting to consider the festival's application to take advantage of the Anzac Day holiday and run for six days. Six councillors out of the seven present voted in favour.
''It's a bit of 'watch this space' now,'' said the festival director, Peter Noble. ''We're hoping to have that extra day of Bluesfest on sale by the end of the month.'' Advertisement: Story continues below
The dispute flared up last month because of what Mr Noble called the council's ''bloody-mindedness'' and what the council called ''proper planning process'' in deferring a decision on the extension until February, which would not leave organisers enough time to secure Dylan for a second show.
Mr Noble filed an application to have the matter heard urgently in the Land and Environment Court, but the council's decision yesterday meant the court case would not be necessary.
Mr Noble welcomed the ''expected'' decision.
''It's just one or two mavericks on that council … and the others are normal, reasonable, intelligent people,'' Mr Noble said. ''Most normal, ordinary Australian people don't have any problem with Bob Dylan or Bluesfest, including in Byron shire.''
Byron shire's general manager, Graeme Faulkner, said the council had tried to get the balance right between the region's creative industries and residents' needs. There were 30 community submissions on the application and the extra day would apply for this year only, he said.
''Byron Shire Council is committed to seeing the region's creative industries thrive,'' Mr Faulkner said.
''But … it was only fair community members had a right to have a say on what is proposed near their backyards.''
This year's Bluesfest will run from Thursday, April 21, to Tuesday, April 26.
Отправлено:12.01.11 12:32.Заголовок:Bob Dylan and Johnny..
Bob Dylan and Johnny Cash: Two Songwriting Titans Make History
When it comes to creative freedom, Johnny Cash and Bob Dylan have been two of the most historically defiant risk-takers among American singer-songwriters. Loyal only to the muse, it was inevitable that the paths of these two visionaries would eclipse during the most experimental and inspired phases of their careers, with an ensuing co-conspiracy and friendship that would last a lifetime.
Two Greats Collide
After making a huge dent in the country charts during the late 1950s, Cash spent the early 1960s exploring and infusing his sound with music from the American folk tradition. When The Freewheelin' Bob Dylan was released in 1963, the album captivated Cash. He wrote Dylan, telling him how much he enjoyed the record. A flattered Dylan wrote back, explaining that he grew up listening to Cash's music, and an impassioned correspondence ensued.
The two eventually met at the 1964 Newport Folk Fest where they both appeared on the bill—Cash the seasoned country legend, Dylan the fresh new star. The two spent the evening in Cash's hotel room with June Carter Cash, Joan Baez, Jack Elliot, and others. In a legendary moment, Cash pulled Dylan aside and handed him his Martin as a gift, a traditional gesture of honor among country musicians.
Cash in Dylan's Defense
During his Newport set, Dylan played "Chimes of Freedom" (purchase/download) and "Mr. Tambourine Man" (purchase/download) two new songs that would soon appear on his third album released a month later, Another Side of Bob Dylan. Stamped with personal lyrics and a more literary songwriting style, and lacking political messages, the album deviated greatly from everything he'd recorded to date. In response, Irwin Silber, editor of Sing Out! magazine, published “An Open Letter to Bob Dylan,” which lambasted the young songwriter, accusing him of falling into the fame trap and straying from his responsibilities as a “protest” singer in the folk movement.
Spurred to action, Johnny Cash came to Dylan's side, publishing a response demanding that Dylan's detractors “SHUT UP! … AND LET HIM SING!” As Dylan later wrote of the spat, “The editors had published a letter chastising me for the direction my music was going. Johnny wrote the magazine back an open letter telling the editors to shut up and let me sing, that I knew what I was doing. This was before I had ever met him, and the letter meant the world to me. I've kept the magazine to this day.”
Dylan and Cash Circa 1965-67
Dylan and Cash were huge mutual inspirations, each covering the other's songs accordingly. The first nod came in 1965, when Cash recorded his version of “It Ain't Me, Babe” for his album Orange Blossom Special. Then, following his 1966 motorcycle accident, Dylan and The Band spent a good portion of the next year in Saugerties, NY, recording over 100 tracks for what became The Basement Tapes. Among the cover songs stuffed on the reels, Cash's presence looms large with Dylan covering “Belshazzar,” “Big River” and “Folsom Prison Blues.”
Duets were also a staple of the Cash/Dylan fraternity, and filmmaker D.A. Pennebaker captured the two dynamos caterwauling backstage on a couple piano duets during Dylan's 1966 tour. You can catch a clip of Pennebaker's rare footage of them stumbling through “I'm So Lonesome I Could Cry” in Martin Scorcese's 2005 film, No Direction Home. Meanwhile, the legendary scene with the two dusting up on Cash's “I Still Miss Someone” is featured in Dylan's still-unreleased film, 1967's Eat the Document.
Dylan recorded most of his first all-country record, Nashville Skyline, on February 13-14, 1969 in Nashville. At the wrap-up sessions on February 17-18, Cash—who'd been recording at the studio next door—dropped in to visit, and ended up spending two days there, recording what's become known as the Bob Dylan/Johnny Cash Sessions. The 23 duets the label-mates laid down included everything from Cash's “Big River” to Dylan's “One Too Many Mornings,” along with covers of Jimmie Roger's “Blues Yodel #1,” plus “That's All Right Mama” and “You Are My Sunshine.”
Although this session was a bootlegger's wet dream, few of the songs were strong enough for an official album release. However, the crème of the session, a duet of “Girl from the North Country,” was included as the opening track to Nashville Skyline, which also featured liner notes written by Cash. During his stay in Nashville, Dylan also ended up writing “Wanted Man” for Cash—a song the Man in Black would debut live to a cafeteria full of California inmates a week later at San Quentin penitentiary.
Johnny Gets His Own Show
Dylan was still very much in country mode when, on June 7, 1969, he appeared as the debut guest star on the premiere airing of ABC's new hit program, The Johnny Cash Show. The weekly series was explosively successful, lasting until March 31, 1971 after 58 episodes. Much to the producers' agitation, Cash loved controversy, doing things like inviting outspoken anti-war activist-singer Pete Seeger, and refusing to change the word “stoned” during Kris Kristofferson's performance of “Sunday Morning Coming Down.”
Nervous about having his very own TV show, Cash hammered record producer Bob Johnston to help him get Dylan for the first airing, believing that the show's success lay in the balance. In his first television appearance in four years, Dylan's performance was stunning. Besides debuting his newest country song, “I Threw It All Away,” Dylan performed “Lay, Lady, Lay,” as well as an arresting duet with Cash on “Girl from the North Country.”
“Cash Is King”
When Cash died on September 12, 2003 (just three months after his wife passed), Rolling Stone magazine asked Dylan for a statement. In an essay called “Cash Is King” that could have easily worked as liner notes for Cash's next album, Dylan wrote, “In plain terms, Johnny was and is the North Star; you could guide your ship by him—the greatest of the greats then and now... Truly he is what the land and country is all about, the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him, but we can't define him any more than we can define a fountain of truth, light and beauty.”
На офсайте Боба появилась информация о туре по Австралии.На концерт в Аделаиде приглашен Би Би Кинг.
Bob Dylan to tour Australia in April – B.B. King to make special guest apperance in Adelaide
Bob Dylan is coming to Australia this April for his first dates Down Under in nearly four years. Dylan will play shows in Adelaide, Melbourne, Syndey and Wollongong as well as making festival appearances in Byron Bay for Bluesfest and Fremantle for West Coast Blues & Roots.
For the date in Adelaide on 19 April, Dylan will be joined by the blues legend B.B. King. Further special guests are to be announced for the other dates. Dylan is also guaranteed a warm welcome when he plays WIN Entertainment Centre in Wollongong, Southern NSW, the venue that he opened thirteen years ago in 1998.
Bob Dylan has recorded more than 50 albums, has a career spanning six decades, is listed in Time Magazine’s ‘100 Most Important People of the Century’, is a Grammy award winner and Academy award winner. He turns 70 this year and continues on the road on his ‘Never Ending Tour’.
Tickets for all shows go on sale on Monday 31 January at 9am. A pre-sale will take place on 24 January with details to be posted on the tour section of Bob Dylan’s official website. Links and full dates are included below.
BOB DYLAN AUSTRALIAN TOUR DATES 2011
Apr17 Fremantle, Western Australia, Australia West Coast Blues 'n' Roots
* Apr19 Adelaide, South Australia, Australiia Entertainment Centre with special guest B.B. King
1/31 9:00am 1/24 9:00am
* Apr20 Melbourne, Victoria, Australia Rod Laver Arena
1/31 9:00am 1/24 9:00am
* Apr23 Wollongong, NSW, Australia WIN Entertainment Centre
1/31 9:00am 1/24 9:00am
* Apr25 Byron Bay, NSW, Australia Byron Bay Bluesfest
* Apr27 Sydney, NSW, Australia Entertainment Centre
Filmmaker Sandi Bachom on Dylan's 1966 warm-up show at Riverside College
Bob Dylan played a warm-up gig in 1966 at Riverside College that does not appear to be documented in any book or on any web-site, according to filmmaker and "New Media Maven" Sandi Bachom.
In a recent telephone interview, Bachom told me she attended an open rehearsal concert by Bob Dylan and The Hawks, then attended the after-party, where Donovan was one of the guests.
I was contacted by Bachom after a friend sent her a link to my Examiner story about Dylan's appearance at the 1963 March On Washington. She informed me that her "old man", the late Stuart Scharf, played guitar with Dylan, Len Chandler, and Joan Baez on Chandler's song, "Hold On (Keep Your Eyes On The Prize)."
I thanked her for the information, and asked if she had any other Dylan-related stories. Bachom informed me that she not only attended a 1973 mixing session, with Dylan in the room, for "Knockin' On Heaven's Door," but had seen an electric mid-1960s show, probably with her friend, a young Jackson Browne.
Bachom is the daughter of two Walt Disney Animation Studio artists, film editor Jack Bachom and airbrush artist Dorothy Higgins, who worked together on such classic "Golden Age" films as Bambi, Fantasia, and Pinocchio . Sandi grew up in Hollywood, California, where she was a folksinger and a surfer. In 1965, Sandi moved to Boston for a while, went back to California, then joined Scharf in New York City in 1967, where she lives to this day.
Bachom went on the become an award-winning producer of television commercials, and has created hundreds of films she calls “Schlockumentaries.” She has also written three books, created an on-line tribute to Manny's World after the legendary music store closed (which features an autographed photo of Dylan), and is currently organizing an eight-day Greenwich Village Music Festival.
Once we got on the subject of the mid-1960s concert, we spent the next couple of hours trying to figure out when she saw this rare, electric Dylan show.
Although she had been a fan since his early folkie days, Bachom was surprised to discover that Dylan was initially "electric" only from July 25, 1965, (Newport) to July 29, 1966 (motorcycle accident). "I didn't realize how rare that was," she said, referring to seeing a concert during this one year time frame.
Bachom remembered that she saw the electric Dylan show "at Riverside College, in Orange County. That's 'The Barricades Of Heaven' Jackson (Browne) sang about."
So when, exactly, did this concert take place?
We both went into detective mode. While I was rummaging through my Dylan books, I directed her to Olof's Still On The Road site, to show her where Dylan played during this time period. "I'm amazed such a site even exists!" she said. On the "1965 Concerts, Interviews & Recording Sessions" page, it listed a one-off gig at the Hollywood Bowl on September 3, then a return to California at the end of the year.
"When did (The Beatles album) Rubber Soul come out?" Bachom asked, trying to figure out when she was in Boston. When I told her it was early December, 1965, she said, "I associate my time there with Rubber Soul . . . It was new at the time. I know I was there for the great blackout of (November) 1965."
So the Riverside College date could not have happened in late 1965. "How old were we in 1965?" Sandi asked herself out loud. Then she laughed, "In '65 . . .he was 17", quoting the famous Jackson Browne line.
"I’m pretty sure our friend Jackson was with us but I'm not sure.....Hey, it was the 60s after all! ..Jackson and I were friends in California, so we probably went to the show. He was so influenced by Dylan. He idolized him. I have a picture he signed some place, he wrote on the back, 'Sandi babe . . . motor highways . .something . . ' . . .very Dylanesque . . He signed it 'Jack.' We called him 'Jackie' in those days."
I pointed out to Sandi that, according to Clinton Heylin in A Life In Stolen Moments, Dylan was on the West Coast in March and April of 1966, although no California shows were listed during this time.
Information about the show was still a puzzle. Sandi asked various friends to help her figure out when she saw this "mystery" concert. She finally heard, via email, from her friend Richard Alderson, who professionally taped Dylan's shows around this time:
"This was a warm up for the '66 world tour. Why it doesn't exist on any site is weird, except that I think it was not really a booked concert, just sort of a rehearsal with an audience. I missed it because I was in NYC building the sound system for the tour - The next stop was Honolulu, Hawaii. The Hawaiian and the Australian parts of this tour are sketchily documented and I did not tape them as I did the European ones."
Dylan and the Hawks played the Honolulu International Center Arena on April 9, 1966. It has been documented that Dylan rehearsed with the Hawks and new drummer Mickey Jones, in Los Angeles, on March 30. So the concert probably took place the first week of April.
As for the show itself, Bachom recalled, "We were total Dylan freaks. We were folkies, and just starting to get into the protest thing. I just remember it was a huge theater. It was fancy.
"So we went to this concert and the first half was "Mr. Tambourine Man" and all that...and then he came out with THE BAND...It was like the scene from (the Mel Brooks movie) The Producers, the audience's jaws dropped. i remember that pretty well. They played 'Like A Rolling Stone'. . ."
I pressed her to see if she could remember what other songs he did. She thought Dylan sang an acoustic "Masters Of War", but he had dropped this from his set list during this period, although that doesn't mean he didn't dust if off for this performance. I mentioned "Gates Of Eden", and she remembered that, then I said "She Belongs To Me," and she started singing, "She's an artist, she don't look back," then said, "Yeah, he did that too."
"You're scraping the plaque off my memory," she laughed at one point. "I was an eyewitness to history!"
There was a party after the concert which Bachom attended. "It was a big deal. Donovan was there, and Dylan. They spent a lot of time in another room, probably getting high and playing guitars."
Looking back, Sandi is amazed by the attention Dylan still receives from his fans.
"When I told Paul Colby (owner and manager of legendary Greenwich Village club, the Bitter End) that I was being interviewed about Dylan, we both talked about how dumbfounded we were. Paul asked, 'What is it about Dylan'?
"To me, it appears to have the sort of reverence usually reserved for dead people, like Elvis or John Lennon."
In closing, Sandi said she'd "love to urge people to join and share their memories of seeing Dylan or other artists in the village. I started this thing on Facebook, and the 65 comments so far are amazing!"
Отправлено:19.01.11 11:10.Заголовок:Интересная статья на..
Интересная статья на сайте Гибсон о тётях вдохновлявших Боба.
5 Rainy Day Women: Bob Dylan’s Muses
Bob Dylan has always known how to write about women. Sure, he’s also written beautifully about war and art and public figures, but the opposite sex remains his favorite subject to puzzle over. Within songs like “Big Girl Now” and “She Belongs to Me,” he’s created complex and haunting portraits of the women in his life. During the ’60s and ’70s especially, the folk singer wore his heart on his sleeve, writing brooding songs about his crushes on “It” girls like Edie Sedgwick, Karen Dalton, Mavis Staples, Dana Gillespie and Joan Baez. Just as many songs, however, were dedicated to his love affairs with less famous women, among them first wife Sara Lownds and early girlfriend Suze Rotolo (pictured walking arm in arm with Dylan on the cover of The Freewheelin’ Bob Dylan in 1963). His most thoughtful and enduring gifts to his wives and girlfriends, it seems, were his songs. Here are five of Dylan’s best-known muses.
Now a cult favorite among blues aficionados, Karen Dalton caught Bob Dylan’s eye right away upon his arrival at Café Wha in 1961 in Greenwich Village. The young singer of Cherokee descent was master of a 12-string Gibson, and she had a weary howl that Dylan would never forget. In his 2004 autobiography, Dylan wrote, “My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday and played guitar like Jimmy Reed ... I sang with her a couple of times.” It’s unknown whether the two ever carried on a romance. With two front teeth missing (the result of a fight between two of her lovers), she didn’t fit the glamorous bill like Dylan’s other dalliances. In 1975, Dylan and The Band included a song about Dalton, “Katie’s Been Gone,” on their Basement Tapes, singing, “Katie laughed when I said I was lonely. / She said, There’s no need t’feel that way. / Katie said that I was her only one, / But then I wonder why she didn’t wanna stay.” Dalton released only two albums, It’s So Hard to Tell Who’s Going to Love You the Best and In My Own Time, before dying of AIDS in 1993.
Dylan’s earliest boldfaced crush was on gospel singer Mavis Staples, a member of her family’s band The Staple Singers, who aligned themselves with Martin Luther King, Jr. and the civil rights movement. According to a 2008 NPR interview with Staples, Dylan asked her father, Roebuck “Pops” Staples, for her hand in marriage after the two met in 1962. Not too pleased with the idea, Pops reportedly said, “Don’t ask me, ask Mavis.” Mavis did not accept Dylan’s proposal, but the two remained friends. The Staple Singers covered Dylan’s “A Hard Rain’s a-Gonna Fall” on their 1973 album Use What You Got.
Though Joan Baez is only six months his senior, she preceded Bob Dylan in celebrity as a folk singer, and is credited with popularizing his songs in America with her covers of them. The two sparked their romantic connection in late 1962 and stayed together until early 1965. Dylan was initially more taken with Baez’s sister than with the barefoot singer herself, but in the next two years he came around to the idea of a romance with Baez. In May 1963, Dylan and Baez appeared on stage together at the Newport Folk Festival to perform “With God on Our Side.” After the festival, they drove to Baez’s house outside of Carmel, California, and began one of the most famous unions of the ’60s. Baez’s sister told Dylan biographer Howard Sounes, “Joan was wild about him, and in her usual fashion, [she] gave a hundred percent attention to the thing that charmed her the most.” Dylan became disinterested in Baez during his 1965 U.K. tour, a time documented in the 1967 documentary Don’t Look Back. Nevertheless, the singer remained a champion of Dylan, even releasing an entire album of Dylan covers – 1968’s Any Day Now. Her song “Diamonds and Rust,” which appeared in 1972 as the title track of her 19th album, is a compelling diary of the dissolution of the relationship.
During the same 1965 U.K. tour in which he snubbed Joan Baez, Dylan took up with a busty 16-year-old English pop singer named Dana Gillespie and holed up with her in his hotel room during subsequent visits to England. “I guess he was juggling women, like most musicians,” said Gillespie in Down the Highway: The Life of Bob Dylan. Gillespie relates a story about Dylan borrowing her orange and pink flowered pants and leaving her in his hotel room, saying he’d be back with them in a few hours. “I was stuck in my underwear because he had taken my trousers. He could fit into mine, but I couldn’t fit into his. I had to sit in the hotel waiting for him to come back. He said, ‘I’ll only be a few hours.’ It was about 15 hours before he came back.” Of Dylan, Gillespie reflects, “He’s amusing, he’s spiritual. Women prefer to be seduced by a brain than bullock. Brains go a helluva long way.” Gillespie would go on to also charm Donovan, Mick Jagger, Jimmy Page (who produced her 1966 single “Thank You Boy”), and David Bowie (who taught her to play guitar). In 1997, Gillespie was invited by Dylan to open up his U.K. tour. Here’s the title track from Gillespie’s 1973 album, Weren’t Born a Man, which was produced by Mick Ronson and David Bowie:
It is rumored that Dylan owes not only “Just Like a Woman” but also “Leopard-Skin Pill-Box Hat” and “Like a Rolling Stone” to peroxide blonde socialite Edie Sedgwick. Though it was Dylan’s best friend Bob Neuwirth with whom Sedgwick had the longest affair, Dylan observed the fragile actress (who’d acquired her fame as the subject of several of Andy Warhol’s short films) during his foray into New York society in 1965. At the time, Sedgwick was living at the Chelsea Hotel, having disassociated from Warhol and his circle; there she developed a crush on Dylan. Sedgwick’s romantic interest in Dylan endured until Warhol informed her in February 1966 that Dylan had married Sara Lownds several months earlier. Only five years later, she was dead at age 28 of a barbiturate overdose, but she’s remained a source of interest and inspiration for many modern day artists, musicians and filmmakers. Dylan has spoken publicly of Sedgwick only once, telling Rolling Stone in 1985, “She was a great girl … I did know her, but I don’t recall any type of relationship. If I did have one, I think I’d remember.”
Bob Dylan's 'Renaldo & Clara' to be released on DVD
Levi Asher is reporting that Bob Dylan's four hour 1978 film, Renaldo & Clara, is being readied for release on DVD, and, presumably, Blu-Ray.
According to Asher, he has "heard from a semi-reliable source that Renaldo and Clara, a much-discussed and little-seen 1978 epic film by Bob Dylan, will soon be finally released on DVD. . . I'm really glad that Bob Dylan's creative team has decided to give this undeniably important movie its proper official release, though I haven't yet heard word when it will happen."
He also has commented that "It happens that I have a good connection very close to Dylan's management, and this information did NOT come from that source (since this person is a friend, I try not to bug him for inside scoops). The information came to me in a relatively random way from a person who is working on the audio/video conversion. There has definitely not been an announcement, but I'm pretty sure the technical work for the DVD is being done right now."
Although the film was initially misunderstood, it has gained a significant cult following over the last few decades. In 1993, Asher wrote a detailed synopsis of the film for rec.music.dylan.
While the official commercial release of Renaldo & Clara would be amazing news, I'm wondering if the "technical work" might be for some other project, like the rumored sequel to the 2005 Martin Scorsese documentary, No Direction Home.
Renaldo & Clara was a critical and commercial disaster. Although Dylan insisted that the movie be four hours long, a shorter version, heavy on the concert footage, was eventually released. It has never been commercially available, although his performance of "Tangled Up In Blue" has been used as a promotional video, and the initial copies of Live 1975 - The Bootleg Series Volume 5, included a two-song bonus DVD. A handful of songs have been officially released, including a rare, promotional, 4-song 12" EP. It was shown on TV once, and that copy has been traded among collectors.
The footage was filmed during the first leg of the Rolling Thunder Revue tour in 1975, and was edited in 1977. Dylan paid for the movie himself to have control over his artistic vision. During this period, his wife, Sara, divorced Dylan, making this a very expensive time for the budding film-maker.
Отправлено:27.01.11 11:22.Заголовок:В Америке появление ..
В Америке появление 50 лет назад Боба Дилана в Нью- Йорке отмечается как второе пришествие.
Bob Dylan's New York City: Why It Never Got Better Than 1961
To celebrate the 50th anniversary of Bob Dylan's arrival in New York City, we're rolling out a host of essays, videos, old Voice clips, and assorted fanfare. Here, professor, author, and critic David Yaffe explains why 1961 was the year Dylan could never forget, and never duplicate.
On January 24, 1961, Bob Dylan shook the Midwestern dust off his boots and arrived in New York town. If Woody Guthrie was bound for glory, Dylan was bound for something borrowed, something weird, something genius. When he dropped out of the University of Minnesota, he was just like any other kid with a guitar who ditched classes to try to sing the blues like Blind Willie McTell. He wanted to be Joan Baez' singing partner. He wanted to have fun and get high and get laid, but also be taken seriously. When he had all that and more, he still wanted other things, and he got those, too. (He still wasn't happy, but then Pete Seeger recalled him saying, "Happy? What's that? Anyone can be happy.")
By the end of his first year here, he would be discovered by John Hammond and Columbia Records, and record his first, self-titled album at the age of 20; a few months after that, he would write "Blowin' in the Wind" and make a second album, The Freewheelin' Bob Dylan, with its cover image of Bobby and his girlfriend, Suze Rotolo, walking down Jones Street looking like boho icons living for the moment. Yet that record's most powerful songs were, like the jumble of nerves that created them, like New York City itself, seductive and terrifying, making you feel like the world was about to end, but first you had to see this young scruff at the Gaslight. Apocalypse went down pretty sweet, and it wouldn't be long until he was predicting hard rain all the way up to Carnegie Hall. "It's hard times in the city/Livin' down in New York town," Dylan sang in a tongue-in-cheek talking blues, but he soaked up all those hard times, and turned them into beauty and truth, not to mention more cash and clout than any Bleecker Street busker could have possibly imagined.
Dylan was on his way to New York the same week that JFK gave his "Ask Not" speech, and whether he knew it or not, he was one of the young people the new president was directing to national service, of a kind. Dylan's first year in New York would be the last time he would be working cheap and living from couch to couch. He encountered many weirdos and geniuses in 1961, from Tiny Tim to Richard Pryor to Gorgeous George, an NYC hazing recounted with eloquence and humor in the memoir Chronicles: Volume 1, where he even describes sitting in on a rehearsal with Cecil Taylor (they found mutual ground on a spiritual). After Dylan became Dylan, he could never stumble upon spontaneous music unnoticed again.
He still tried, though, and his annus mirabilus of 1961 would be a Proustian Madeleine he would conjure again and again. It didn't work when he moved his young and vulnerable family to the Village in 1969, thinking it was safer from freaks digging through his trash than Woodstock. But at MacDougal Street, AJ Weberman led a pack of so-called Dylanologists who tormented our Bob and bullied him for leaving the New Left behind. Soon, he tried to relive his folkie past when he caught the second, non-idiotic wind of Blood on the Tracks, Desire, and the drugged-out carnival of the Rolling Thunder Revue, in which he populated his cast (overlapping with the bound-for-DVD Renaldo and Clara) with Ramblin Jack Eliot (who palled with Bob in the '61 folk scene), Joni Mitchell (who sang but refused to be filmed), Joan Baez (who never met a camera she didn't seem to love), and Sam Shepard, who co-wrote Renaldo and Clara, a film that caused a debate among critics in these very pages, all arguing whether it was incoherent, brilliant, or a little of both.
Later, a hipster Dylan made a 1975 Voice cover with another girl on his arm: Patti Smith, who refused to join the revue, a wise move at the time. He did manage to pick up a violinist named Scarlet Rivera, who he collected in the East Village when he saw a beguiling chick with a violin case and she suddenly had to practice. He took this group with him and played unannounced gigs in small clubs. He was trying to get 1961 back. What he got instead was more wheezy, more weary, deeper, but also desperate, great rock 'n' roll, but too drugged out to sustain. He couldn't get Sara back, so he went to California and found Jesus instead.
The bible-thumping was only a phase, but Gotham kept pulling him back in. Over the past several decades, he has played thrilling gigs at the Beacon, Irving Plaza, the Supper Club, and more. Since the Neverending Tour began in 1988, he has spent around 100 days a year traipsing the globe; even in 2010, the 69-year-old played 102 gigs. The road is Dylan's home now, but just as he will get a cheer when he refers to Texas medicine at a Dallas gig, fans in all boroughs get a certain comfort when he sings, from "Just Like Tom Thumb's Blues," "I'm goin' back to New York City, I do believe I've had enough." In 1965, he sang it with a guttural vengeance. Now, even among the triumphant cheers, it sounds battered. He takes his nostalgia for Bleecker Street everywhere he goes. It's a New York City of the mind he conjures when he's had enough, even if the only true urban paradise he will know is the one he has lost. The big city broke his heart. It is the wound that never heals.
Ну Боб дает...На этот год расписание гастролей только увеличивается и так же выйдет концертник 1963 года.
Tour update - Dylan in the Far East, U.K., Europe, plus 'Brandeis' CD release
Bob Dylan is expected to play the following concerts in the Far East, according to the Desolation Row Information Service :
April 3rd 2011 Nang Gang Exhibition Hall (Venue MIGHT change), Taipei, Taiwan
April 6th 2011 Workers Gymnasium, Beijing, China
April 8th 2011 Grand Stage, Shanghai, China
April 10th, 2011 Loretta Grounds, RMIT University, Ho Chi Min City, Vietnam
April 12th 2011 Star Hall, Kowloon Bay, Hong Kong
April 13th 2011 Star Hall, Kowloon Bay, Hong Kong
Thanks to John Baldwin for the head's up.
Other known dates:
April 15th 2011, Rock & Roots Festival, Marina Promenade, Singapore April 17th 2011, West Coast Blues 'N Roots Festival, Fremantle Park, Perth, Western Australia, Australia. April 19th 2011, Adelaide Entertainment Centre, Adelaide, Australia April 20th 2011, Rod Laver Arena, Melbourne, Australia April 23rd 2011, WIN Entertainment Centre, Wollongong, Australia April 25th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 26th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. To be confirmed. April 27th 2011, Sydney Entertainment Centre, Sydney, Australia. April 30th 2011, Vector Arena, Auckland, New Zealand.
Isis Magazine has the following tour report:
Bob Dylan will be coming to Europe and the UK for an extensive tour in 2011. Initially, talks indicated that this tour might take place in the Autumn. However, we are now hearing that Dylan's visit may be as early as this Summer.
Isis also reports that the CD Bob Dylan in Concert - Brandeis University 1963, will be released in the USA on April 12 through Sony. It was previously available only as a "bonus" CD with the release of Dylan's Witmark Demos or Original Mono Recordings last fall. An article in a Brandeis publication last year hinted that a separate CD would be released in 2011.
One can only hope that the April release will have more accurate artwork.
Отправлено:02.02.11 12:29.Заголовок:Best biography of Dy..
Best biography of Dylan to be improved and released in May
New York Times music critic Robert Shelton met Bob Dylan when the young singer first arrived in New York in 1961. His review of the 20-year-old Dylan’s appearance at Gerde’s Folk City that September launched his career. Shelton became Dylan’s friend and champion and, later, his biographer with the release of No Direction Home, hailed as the definitive unauthorized biography of Dylan. Most of what I know about Dylan today I learned from No Direction Home. My copy (above) is dog-eared and falling apart.
Unbeknown to me, the book was also heavily edited prior to publication.
Out of print for more than 10 years, the new edition of No Direction Home, edited by Elizabeth Thomson and Patrick Humphries and to be published in May by Backbeat Books to coincide with Dylan’s 70th birthday, will restore some 20,000 words of Shelton’s original manuscript.
Shelton was on the staff of the New York Times from 1951-63 and wrote regularly for the paper until 1969, when he moved to Europe. Best known as the man who “discovered” Bob Dylan, he was the principal chronicler of the 1960s U.S. folk revival. He died in 1995.
I am eagerly anticipating this new edition. And may it become dog-eared, too.
Отправлено:10.02.11 11:12.Заголовок:Напомню,что прошлом ..
Напомню,что прошлом году Бобу не разрешили выступать в Китае,CNN опять сомневается...
A Bob Dylan Shanghai concert -- too good to be true?
After being blocked from performing in China last year, Bob Dylan has put Shanghai and China back on his tour roster
Will we be seeing Bob Dylan in China in April? Right now it's anyone's guess.
We’ve seen the scene before: Bob Dylan announces concerts in China. Fans get excited. The Ministry of Culture then crushes hopes and dreams and sends Bob packing to the next tour stop.
This last played out in April 2010 when Dylan announced shows in Beijing and Shanghai only to be rebuffed by local authorities.
Maybe 2011 will bring new musical tidings for this legend in China.
According Bob Dylan’s official site, Dylan will be playing at the Shanghai Grand Stage on April 8 (and Beijing on April 6).
The shows are set after a long set of stops in Japan and one in Taiwan.
Permits for international music acts to play in mainland have been limited since Bjork took it upon herself to challenge the powers that be while she was in Shanghai three years ago by shouting "Tibet! Tibet!" at the end of her song: "Declare Independence."
Since it doesn’t look like Bob Dylan China concert tickets are on sale yet, we won’t hold our breath for this to go through, but on the heels of confirmed Usher and Eagles shows, who knows, this might be Bob Dylan's China year.
Отправлено:14.02.11 11:03.Заголовок:Bob Dylan at the Gra..
Bob Dylan at the Grammys - First thoughts
Dylan was great, of course.
The performance was posted on Facebook by 11 p.m.
When it was originally reported that Bob Dylan was bringing his acoustic guitar, that was probably written by someone that didn't have a clue what Dylan was/is up to. He may have brought it, but he didn't play it.
Dylan appeared about 90 minutes into the program, introduced by David Letterman after a pre-taped "Top 10" segment. "Special guest, Bob Dylan".
Promotional clip of Dylan was from his performance at the White House last year.
An off-stage female announcer introduced Dylan. Bob appeared after the other acts of the "Salute to Acoustic Music" - Mumford & Sons and the Avett Brothers - did their songs. Curtain opened, Dylan walked through, numerous microphones set up, Stu Kimball, Donnie Herron, and Tony Garnier can be seen. Bluegrass / Rockabilly/ Elvis beat plays as Dylan takes center stage.
No guitar, bullet mic in hand, but sings into regular microphone on the stand.
"Maggie's Farm" via "That's All Right, Mama". Dylan's voice is ragged but right. Smiles early on, having a grand ol' time. Close-ups, but not too close. This is rockin' !
Members of Mumford and the Avetts almost giddy with excitement, singing backup.
Love Bob without guitar or keyboards- just singing, with one hand waving free, as it were.
Gets more animated, with hand gestures. Now he's surfing ! He cannot hide his joy . .
Dylan's voice full of power, nuance. Mesmerizing. This performance puts some of the other acts in their place. (Imagining them at the Grammys, pushing 70.)
Dylan starts on harmonica as a cue to Garnier, than bring the song to a halt. Over much too soon. Rewind.
Nice to see Neil and Pegi Young, and Jeff Beck, applauding immediately after the performance.
Some postings on Facebook and Twitter:
Rolling Stone "I see banjos. That means Bob Dylan can't be far off!" "Maggie's Farm, no guitar, no keyboard, Bob's just standing there croaking it out. HELL YEAH" "Bob is out-Gagaing Gaga with this one. Total freakness."
Right Wing Bob And Bob Dylan appears from another universe. One that bears some relation to reality. Finally I can turn this horror show off!
John Fugelsang The straights didn't get it when Dylan did Maggie's Farm electric in '65 & they don't get it acoustic tonight.
Sandi Bachom : the BEST!!!! BobFest rocking the house!
Jay Levesque : It sounds even better the second time
Paul Robert Thomas : Great stuff & loved Bob's choreography as well as his Liverpool 96 & Hall of Fame gold shirt (can't place those spats though) & looked as though Bob was enjoying himself too:)!
P.S. Nice of Train to thank Greg Linn over at Sony. His name appears on releases by Dylan, Bruce Springsteen, and others.
Отправлено:15.02.11 11:39.Заголовок:Отличная статья о вы..
Отличная статья о выступлении Боба на Гремми и его голосе.
A matter of perspective - Why Bob Dylan was great last night at the Grammys
Bob Dylan went "acoustic" last night at the Grammys, and still rocked the house.
As expected, the reaction so far has been mixed - polarized, even - with comments ranging from "Awesome" to "Awful".
It's a matter of perspective.
Dylan will be turning 70 in a few months. His voice has deteriorated, especially in the last few years. Anyone who has heard or seen him recently knows that. This is not news.
People say that his voice is "shot", that he's not "singing" - he's "croaking". More than one comment from my previous review suggested that Dylan should get his vocal chords fixed. I know, I get it.
However, that's beside the point.
There's a famous saying about criticism - "Talking about music is like dancing about architecture." Music, like all art forms, hits you in many ways, from various angles. While it can be interesting to dissect and analyze a piece of work, that's not its purpose. At its best, it should affect you, hit you from behind, catch you off guard. Comfort you, challenge you, teach you, open your mind, expand your boundaries. You should feel it.
Dylan's voice is rough, no surprises there. It's clear that Bob Dylan is not Barbra Streisand. When I listen to Dylan, I have faith that he knows what he is doing.
Getting old is a fact of life, and it is a privilege to make that journey. Dylan's voice is not pretty, and if that's what you want from him, you can get off the train now.
I must admit that after seeing the rehearsal clip, I thought the performance might be a train wreck. The sound was poor, the visuals distant. It looked like a mess, but was hopeful that when it came to show time, Dylan would come through. I was not disappointed.
Last night I was not home, so I was unable to watch the Grammys live. I set my DVR, but was concerned that it would not record, as happens on occasion. There was no need to worry, because Dylan's segment was already available on Facebook. Soon, the entire segment was posted. The Grammys are taking down clips from You Tube as soon as they are uploaded, but it can still be found on other similar sites.
When I watched the clip and saw Dylan walk to center stage, I held my breath. It was a typically Dylanesque entrance, with his mock bumbling around, eyes darting around the stage, then he grabbed the mic like Elvis and out came "I ain't gonna work on Maggie's farm no more . . ."
Oh yeah. The voice.
"Dylan can't sing", I heard you say. We've all heard that, for almost half a century now. Now, I'm not hard of hearing, nor am I in denial. His voice has deteriorated. Shockingly so.
I accept that, it's part of the deal. One of the appeals of Dylan and his art is his honesty. This is reality. Face it. Deal with it.
Old age is nothing to be ashamed of.
Now, once we get past the "croak", how was Dylan's performance? Excellent, I say.
Dylan has rarely shown this much joy or exuberance on television. If he had been talked into doing this a couple of decades ago, he might have subverted the entire performance, but not last night. Dylan just got better and better as the song went on. He got lost in the moment, and let the music play him. That's what it's all about.
The entire segment was exciting, considering the somewhat uninspired choice of "Maggie's Farm", although there was this interesting posting on Facebook by Marianna Lemos:
"Was Bob's choice of "Maggie's Farm" a tribute to the Egyptian Revolution? "- a friend asks . It makes sense to me...
The Avett Brothers and Mumford & Sons, along with members of Dylan's own band (and one mystery person), played with so much spirit and gusto, that the enthusiasm permeated the atmosphere, and in turn inspired Dylan.
As for Bob, it must have seemed like a childhood dream come true, playing the kind of music he heard when he was a kid in Minnesota. How could one's heart not be touched by any of Dylan's numerous smiles? Bob also stuck with the basic melody (such as it was), but added flourishes and nuances as the spirit took him. Dylan's been known to sleepwalk through this song, but he certainly connected with the lyrics last night.
If you didn't like it the first time, watch it again with an open mind. How many times has Dylan's work grown after repeated viewings or listenings? However, if you are expecting Newport '65, don't bother. Dylan does not live in the past, he lives in the present moment.
Despite his voice, Dylan is still trying to be "forever young'' in spirit, but not embarrassingly so. He certainly appeared healthier and happier that he did a couple of decades ago. The years are not slowing Dylan down.
During the last verse, Dylan summed it up best:
Well, I TRY my best To BE just LIKE I AM But everybody WANT YA To be JUST like them They say SING while you SLAVE and I get BORED
Отправлено:17.02.11 11:13.Заголовок:Подробности о выходя..
Подробности о выходящем на CD 12 апреля концерте Боба.
"Bob Dylan In Concert - Brandeis University 1963" to be Released April 12
Columbia Records and Legacy Recordings announce the first stand-alone release of Bob Dylan In Concert - Brandeis University 1963, available on digital, CD and vinyl formats everywhere on Tuesday, April 12, 2011.
A previously unknown live recording of a 21-year-old Bob Dylan taped at the Brandeis First Annual Folk Festival in Waltham, Massachusetts, on May 10, 1963, Bob Dylan In Concert - Brandeis University 1963 captures the rollicking wit, deadpan delivery and driving intensity of the young artist's on-stage persona in an assortment of end-of-the-world songs -- none of them commercially available at the time -- performed in front of an appreciative audience two weeks prior to the release of The Freewheelin' Bob Dylan (May 27, 1963).
The Bob Dylan In Concert - Brandeis University 1963 concert tape was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. "It had been forgotten, until it was found last year in the clearing of the house after my mother died," said Toby Gleason, Ralph's son. "It's a seven inch reel-to-reel that sounds like it was taped from the mixing desk."
Drawn from two sets that Spring night at the Brandeis Folk Festival, tracks on Bob Dylan In Concert - Brandeis University 1963 include "Honey, Just Allow Me On More Chance" (incomplete), "Talkin' John Birch Paranoid Blues," "Ballad Of Hollis Brown," "Masters of War," "Talkin' World War III Blues," "Bob Dylan's Dream," and "Talkin' Bear Mountain Picnic Massacre Blues."
Previously available as a limited time offer, Bob Dylan In Concert - Brandeis University 1963 is being reissued in response to overwhelming popular demand for a wide release. The new Columbia/Legacy edition features liner notes penned exclusively for this release by noted Bob Dylan scholar Michael Gray, author of The Bob Dylan Encyclopedia and the three-volume Song & Dance Man: The Art of Bob Dylan, who provided an explication of the album's seven songs and historical/cultural context for the performances.
"It's a small miracle this recording exists," Gray writes in his essay. "Clearly a professional recording.... (t)he Bob Dylan performance it captured, from way back when Kennedy was President and the Beatles hadn't yet reached America, wasn't even on fans' radar.... It reveals him not at any Big Moment but giving a performance like his folk club sets of the period: repertoire from an ordinary working day....Dylan has leapt a creative canyon with this material....This is the last live performance we have of Bob Dylan before he becomes a star...."
Отправлено:18.02.11 10:41.Заголовок:Ещё одно супер издан..
Ещё одно супер издание.
Bob Dylan 'Box Of Vision' archive book
Jonathan Polk's much anticipated new Box Of Vision book, BOB DYLAN Archive, will be released shortly.
Polk sent me an advanced copy, and I must say, it's quite impressive. It's the perfect gift for any Bob Dylan fan, or anyone who admires album graphics in general. However, in order to truly appreciate this Bob Dylan vinyl album art storage book, it needs to be experienced in person.
Well, if you look at the embedded clip at the left, you can view the next best thing.
"The video does a real good job of showing off the product," Polk told me. "There is nothing like picking up the real thing, feeling it, and leafing through the pages, but this comes close to showing how nice a product it is."
Polk also let me know that pre-sales will start by March 10, and the first product will ship in April.
Next Friday, Box of Vision is expecting to launch "a contest to win one of the very first copies shipped. There will be a little Bob Dylan quiz. The contest will be time sensitive. The first people to get it correct, win. The contest should go live at noon, Friday, on the Box of Vision Facebook page."
For more information, and photos, check out the Box Of Vision Facebook page and click "like", or go to Box Of Vision and sign up for the latest information.
The Box Of Vision website is solely responsible for all aspects of the quiz.