{"title":"Distillation of Sound: Dub and the Creation of Culture","authors":"Thomas M. Kitts","doi":"10.1080/03007766.2022.2115087","DOIUrl":null,"url":null,"abstract":"to Dylan’s “new sense of self” were picking up a cross a fan threw on stage in Tucson, Arizona, in November 1978 and his involvement with the Vineyard Christian Fellowship (85). Finally, the third major event McCarron notes was Dylan’s 1987 recommitment to his songwriting and touring. After turning away from the Vineyard Christian Fellowship and his gospel-inspired songs, McCarron notes that Dylan expressed the dissatisfaction and alienation he felt with his life and career in interviews for a BBC documentary called Getting to Dylan. Subsequently, Dylan underwent a life-changing experience while in rehearsals with the Grateful Dead in San Rafael, California. When Dylan left the rehearsals frustrated with their direction, he stopped in a bar where he heard live jazz playing. McCarron quotes several interviews and Dylan’s description in Chronicles of the transitional event that restores his vitality and purpose and further establishes the pattern in his destiny script. Reminding him of Billy Eckstine, a bandleader he heard in his youth, the lead singer touched Dylan in a profound, otherworldly way. McCarron explains, “Awakened by the old jazz singer’s example, he returned to the Dead’s rehearsal hall ready to put what he learned to immediate work” (116). Dylan’s renewed sense of himself and destiny allowed him to successfully continue his scheduled tour with Tom Petty. Chapters five and six contextualize McCarron’s argument, explaining how psychobiography demonstrates the fluidity of the redemptive script Dylan returned to throughout his life and career when he felt threatened by mortality, death, and destruction created by the anxieties of his Atomic Age childhood. In each of these moments, McCarron argues, Dylan follows the same script and returns to the music he listened to in his formative years as the source of his redemption and destiny scripts. Thus, though fluid, the script creates a clear pattern and allows observers to predict how Dylan will respond to these anxieties. Ultimately, Light Come Shining: The Transformations of Bob Dylan adds an interesting approach to Dylan’s life, career, and biography. It provides new insight into some of the pivotal events in his life and the continuity of his responses to them. McCarron’s text is comprehensive, well researched, yet accessible, making it a valuable addition to any Dylanologist’s library.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":1.3000,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"POPULAR MUSIC AND SOCIETY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03007766.2022.2115087","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
to Dylan’s “new sense of self” were picking up a cross a fan threw on stage in Tucson, Arizona, in November 1978 and his involvement with the Vineyard Christian Fellowship (85). Finally, the third major event McCarron notes was Dylan’s 1987 recommitment to his songwriting and touring. After turning away from the Vineyard Christian Fellowship and his gospel-inspired songs, McCarron notes that Dylan expressed the dissatisfaction and alienation he felt with his life and career in interviews for a BBC documentary called Getting to Dylan. Subsequently, Dylan underwent a life-changing experience while in rehearsals with the Grateful Dead in San Rafael, California. When Dylan left the rehearsals frustrated with their direction, he stopped in a bar where he heard live jazz playing. McCarron quotes several interviews and Dylan’s description in Chronicles of the transitional event that restores his vitality and purpose and further establishes the pattern in his destiny script. Reminding him of Billy Eckstine, a bandleader he heard in his youth, the lead singer touched Dylan in a profound, otherworldly way. McCarron explains, “Awakened by the old jazz singer’s example, he returned to the Dead’s rehearsal hall ready to put what he learned to immediate work” (116). Dylan’s renewed sense of himself and destiny allowed him to successfully continue his scheduled tour with Tom Petty. Chapters five and six contextualize McCarron’s argument, explaining how psychobiography demonstrates the fluidity of the redemptive script Dylan returned to throughout his life and career when he felt threatened by mortality, death, and destruction created by the anxieties of his Atomic Age childhood. In each of these moments, McCarron argues, Dylan follows the same script and returns to the music he listened to in his formative years as the source of his redemption and destiny scripts. Thus, though fluid, the script creates a clear pattern and allows observers to predict how Dylan will respond to these anxieties. Ultimately, Light Come Shining: The Transformations of Bob Dylan adds an interesting approach to Dylan’s life, career, and biography. It provides new insight into some of the pivotal events in his life and the continuity of his responses to them. McCarron’s text is comprehensive, well researched, yet accessible, making it a valuable addition to any Dylanologist’s library.
1978年11月,在亚利桑那州图森市,迪伦捡起了一个歌迷扔在舞台上的十字架,并加入了葡萄园基督教团契(1985年)。最后,麦卡伦提到的第三件大事是迪伦在1987年重新投入到歌曲创作和巡演中。麦卡伦指出,在离开葡萄园基督教团契和他的福音歌曲之后,迪伦在接受BBC纪录片《走近迪伦》(Getting to Dylan)采访时表达了他对生活和事业的不满和疏远。随后,迪伦在加州圣拉斐尔与感恩而死乐队排练时经历了一次改变人生的经历。当迪伦对他们的方向感到沮丧时,他在一家酒吧停了下来,在那里他听到了现场爵士乐的演奏。麦卡伦在《过渡事件编年史》中引用了几次采访和迪伦的描述,恢复了他的活力和目标,进一步确立了他命运剧本的模式。这位主唱让迪伦想起了年轻时听过的乐队指挥比利·埃克斯廷(Billy Eckstine),以一种深刻的、超凡脱俗的方式打动了迪伦。麦卡伦解释说:“被这位老爵士歌手的榜样唤醒,他回到了亡者乐队的排练厅,准备把他学到的东西立即付诸实践”(116)。迪伦对自己和命运的重新认识使他成功地继续了与汤姆佩蒂的预定巡演。第五章和第六章将麦卡伦的观点置于背景中,解释了当迪伦在他的生活和事业中感到死亡、死亡和毁灭的威胁时,心理传记如何展示了救赎剧本的流动性,这是他在原子时代童年的焦虑所造成的。麦卡伦认为,在每一个这样的时刻,迪伦都遵循着同样的剧本,回到他成长时期所听的音乐中,作为他救赎和命运剧本的来源。因此,尽管剧本是流畅的,但它创造了一个清晰的模式,让观察者能够预测迪伦将如何应对这些焦虑。最后,《光来闪耀:鲍勃·迪伦的转变》为迪伦的生活、事业和传记增添了有趣的视角。它提供了对他生活中一些关键事件的新见解,以及他对这些事件的反应的连续性。麦卡伦的文本内容全面,研究充分,但易于理解,使其成为任何迪伦学家图书馆的宝贵补充。
期刊介绍:
Popular Music and Society, founded in 1971, publishes articles, book reviews, and audio reviews on popular music of any genre, time period, or geographic location. Popular Music and Society is open to all scholarly orientations toward popular music, including (but not limited to) historical, theoretical, critical, sociological, and cultural approaches. The terms "popular" and "society" are broadly defined to accommodate a wide range of articles on the subject. Recent and forthcoming Special Issue topics include: Digital Music Delivery, Cover Songs, the Music Monopoly, Jazz, and the Kinks. Popular Music and Society is published five times per year and is a peer-reviewed academic journal supported by an international editorial board.