Bob Dylan

Dylan's Floods

by Murray Leeder

The changes they are a-timed: metabolism, endogenous clocks, and the timing of puberty

by Kristen Tolson

Childhood obesity has increased dramatically over the last several decades, particularly in industrialized countries,... more Childhood obesity has increased dramatically over the last several decades, particularly in industrialized countries, often accompanied by acceleration of pubertal progression and associated reproductive abnormalities (Biro et al., 2006; Rosenfield et al., 2009). The timing of pubertal initiation and progression in mammals is likely influenced by nutritional and metabolic state, leading to the hypothesis that deviations from normal metabolic rate, such as those seen in obesity, may contribute to observed alterations in the rate of pubertal progression. While several recent reviews have addressed the effects of metabolic disorders on reproductive function in general, this review will explore previous and current models of pubertal timing, outlining a potential role of endogenous timing mechanisms such as cellular circadian clocks in the initiation of puberty, and how these clocks might be altered by metabolic factors. Additionally, we will examine recently elucidated neuroendocrine regulators of pubertal progression such as kisspeptin, explore models detailing how the mammalian reproductive axis is silenced during the juvenile period and reactivated at appropriate developmental times, and emphasize how metabolic dysfunction such as childhood obesity may alter timing cues that advance or delay pubertal progression, resulting in diminished reproductive capacity.

‘My Back Pages.’ Bob Dylan, la Sinistra americana e l’eredità di Thomas Paine

by Matteo Ceschi

in M. Sioli e M. Battistini, L’età di Thomas Paine. Dal senso comune alle libertà civili americane, Franco Angeli, Milano 2011

"Something like a Circus": Bob Dylan's Rolling Thunder Revue and Performing in America

by Richard Driver

Presented at the 33rd Annual Meeting of the Southwest Texas Popular Culture and American Culture Associations, Albuquerque, New Mexico, February 8, 2012.

The Rolling Thunder Revue represented another shift in Dylan's career, coming on the heels of a tour in 1974 with The... more The Rolling Thunder Revue represented another shift in Dylan's career, coming on the heels of a tour in 1974 with The Band and the release of the album Blood on the Tracks, and fueling the creation of the film Renaldo and Clara, which paired concert footage with scenes featuring performers on the tour, all written by Dylan, Sam Shepherd and others. The concert tour reflected growing possibilities of theatricality in changing entertainment venues (from small clubs to concert halls and sports complexes), and the opportunities for engagement with the musician/artist this change represented to the consumer/listener/fan. Dylan's concert tour involved a diverse group of musicians at larger venues with sizable seating capacities, and expectations were high for intense performances. Concert audiences met a unique concert show, one Dylan based on the history of various American and European art forms, and one reflective of his career to that point. Considering Sean Wilentz's examination of this tour and Dylan's myth in American popular culture in Bob Dylan in America, this paper examines the development and reception of the Rolling Thunder Revue, and the limited showings of the now out-of-print Renaldo and Clara. The paper assesses the expectations and receptions to the tour's performances in 1975-1976, discussing media approaches in this time period, from announcements for the 1974 tour with The Band through the release of Renaldo and Clara in 1978, all to discern where artistic development, music performance, and recording and filming came into contact with audience expectations.

Marksizam i popularna kultura: modernistička transformativna subjektivnost u muzici Boba Dilana

by Nikola Dedić

Living in the End Times: the Prophetic Language of Bob Dylan

by Frances Di Lauro

‘“I’m Not There”: Bob Dylan Disappears Behind His Self Portrait.’

by James Clements

The Bridge 22 (Summer 2005): 14-42.

I don’t believe you. You’re a liar.

by Tara Brabazon

Arts Hub, November 17, 2005

From Monopoly to Intellectual Property: Music Piracy and the Remaking of American Copyright, 1909-1971

by Alex Sayf Cummings

The early twenty first century has witnessed a series of highly public clashes over online file-sharing, Google's book... more The early twenty first century has witnessed a series of highly public clashes over online file-sharing, Google's book digitization project, and fair use on college campuses. Such conflicts have led to predictions of the demise of the music and publishing industries and questions about the proper regulation of “intellectual property.” These conflicts are only the latest eruption of an ongoing debate about the regulation of creative works in new media, reflected in numerous legislative efforts to expand the scope of property rights and penalize copyright infringers since the 1970s. This article explores the roots of the struggle between producers and reproducers of music, highlighting the long period when copyright law excluded sound recordings from federal protection. It charts the decline of anti-monopoly sentiment in American political culture by tracing changing attitudes toward recorded music in the courts and Congress. In the Progressive Era, lawmakers expressed considerable reluctance to bolster the rights of copyright-holders, viewing such rights as potentially detrimental to competition and the public interest. By the 1960s, however, state and federal authorities had grown more sympathetic to pleas for protection from the recording industry. Americans increasingly viewed copyright not as a limited monopoly privilege granted by the government, but as the rightful protection for an individual or corporation’s capital investment in a product. This shift resulted from a clear increase in unauthorized reproduction of sound recordings in the 1960s, the propagation of the idea of a postindustrial or information-based society, and the conscious organization of various copyright interests under the shared banner of intellectual property. The United States’ economic woes in the 1970s created an opening for copyright interests to press their case, elevating the protection of intellectual property to an unprecedented level of priority in US domestic and international policy. In the process, lawmakers replaced the cautious and limited Progressive tradition of copyright with a robust new property rights regime.

They Refused Jesus Too: A Biblical Paradigm in the Writing of Bob Dylan

by Michael Gilmour

There's No Success Like Failure: Cultural Performance, Audience Mobilization and Bob Dylan's Electric Turn

by andrea cossu

“‘Oh, Mama, Could This Really Be the End?’ The Apocalyptic Bob Dylan.”

by Dereck Daschke

Studies in Jewish Civilization, Volume 17: 350 Years of American Judaism in Popular Culture.  Leonard J. Greenspoon and Ronald A. Simkins, eds. Omaha: Creighton University Press, 2007.