#Tangled up series
The first version I ever heard was the Bootleg Series Vol 1-3 early outtake, and so in a way I've never really been stuck on the official album version being the definitive one. This was an obvious pick for me given the well-known and radical changes from the early years (i.e., 19), but also because of its continued lyrical reinvention in recent decades. I also am including written variations in the project, although not all the manuscripts have been published, so that will also be a challenge. I certainly would welcome any help filling these holes. It was missing throughout 2019, and I await its possible return on the Rough and Rowdy Ways tour.įrom a completeness perspective, I have already encountered some gaps where no recordings are available, at least not on the internet. My music app tells me the first 40 years of recordings are more than 175 hours long! Incidentally, since the Never Ending Tour began in 1988, there has been just one year when Dylan did not sing “Tangled Up In Blue” at all. How big exactly? There have been around 1,700 performances from 1974 through to the present. But “Tangled Up In Blue” would be a massive undertaking. I already had done something similar, but on a much smaller scale, when I logged the 30 different one-time lyric changes to “Long and Wasted Years” on the 2015 tour. It was then that I thought: how great would it be to map out not just random lyric changes but the complete historic evolution of a single song's lyric over its entire life to date? When did each change originate? Would this provide any insight into the creative process? How long does a certain new lyric hold up before being abandoned? Will I uncover little noticed lyric changes, perhaps even one-time improvisations? So I backtracked through the versions and figured it out. Last year, after hearing the 2016 “Tangled” line, "He helped her out of a jam, I guess / Then he let the law take its course" it occurred to me out of the blue to figure out when he first sang it. It's these lyric changes that have fascinated and excited me for almost 30 years. You hear variations in creativity in vocals and instrumentation as the song evolves each night and, if you're especially lucky, you'll hear a new lyric. I had a taste of this while following some concerts in a row on tour, the longest run for me being 13 shows in 1999. Many of us love to put our favorite Dylan song on repeat, but just imagine if Bob created a fresh performance for you every time you hit "play." This is what it feels like to be working my way through listening to every single “Tangled Up In Blue” performance. While that may be true, the ideal police department will endeavor to train its officers to consciously explore their own biases, since many of them - both Black and White - implicitly consider color to be a proxy for criminality.Even though he’s got a long ways to go (and if Bob brings “Tangled” back next month, the finish line will move out even further), I shot him a few questions to find out what you learn where you listen to 700 “Tangled Up in Blue”s in chronological order. “can even make the most well-intentioned officers cynical.” She reasons that racism is “baked so deeply into the system that it’s invisible” to the actors within that system. To be sure, Brooks recognizes the “otherization” at play when officers peremptorily reject claims that racial bias insinuates itself into policing decisions by reducing 7-D residents to “animals.” Brooks acknowledges that we tend to “explain and justify our own biases,” and she allows for the claim that crime-fighting in D.C. Various officers nonchalantly use the descriptor “animals” in reference to 7-D. She points out that both Black and White officers refer to Black citizens as “f-ing animals” and interact with them with a taught suspicion that the officer is almost always in mortal danger. While “Tangled Up in Blue” does not, by any means, operate as an apologia for police, it at times elides the responsibility of officers in creating a “Dickensian” narrative that Brooks abhors.
0 kommentar(er)
