Last Thoughts on Woody Guthrie

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Bob Dylan in 1963, who wrote Last Thoughts on Woody Guthrie .

Last Thoughts on Woody Guthrie is a long poem by Bob Dylan from 1963. It describes the protagonist's successful search for a way out of dissatisfaction and loneliness. The key is hope. This can be found in God as well as in Woody Guthrie , and both can be encountered at sunset in the Grand Canyon . With this, Dylan gives his idol Guthrie a high priority as a source of hope despite his serious illness. Compared to Song To Woody(1961) he shows here a greater artistic independence, so that the text can be read as a farewell to Guthrie. Other topics are the nature and society of the USA .

Dylan performed the text during his first major concert on April 12, 1963 in New York's Town Hall . Thereafter, the recording was published in various pirated copies for years until it finally appeared officially in 1991 in the first edition of The Bootleg Series Vol. 1-3 , Rare & Unreleased, 1961-1991 . Last Thoughts on Woody Guthrie was first printed in 1973 in Writings and Drawings . Eric Clapton described the poem as the summary of Bob Dylan's life's work. Music journalist Jim Beviglia included it in his book On Dylan's One Hundred Best Songs.

construction

initial situation

In verses 1 to 26 the initial situation is described for which the speaker was not prepared (verses 25 and 26 "I never knew it was gonna be this way / Why didn't they tell me the day I was born.", Translation : "I never knew it would be like this / Why wasn't I told that when I was born?"). It is characterized by dissatisfaction and loneliness.

Look for alternatives

In verse 28 the motif of search appears for the first time (“And your're lookin 'for somethin' you ain't quite found yet”). Verses 27 and 84 show the so far unsuccessful attempts to overcome the initial situation. Verses 56 and 57 express self-doubt ("And you say to yourself just what am I doin '/ On this road I'm walkin', on this trail I'm turnin", translation: "And you say to yourself: ' What am I doing / on this street I am going, this is the way I turn around '”), but the protagonist does not give up.

Way to the goal

This is followed in verses 85 with 113 the description of what the protagonist needs for improvement. Three times in quick succession it is emphasized that something special is necessary for this (verses 82, 85 and 86 "something special", translation: "something special"). With a minimal change in verses 98 and 99, Dylan breaks the well-worn formulation something you seen before (translation: “something that you have seen before”): By But overlooked a hundred times or more (translation: “But already a hundred times or more often overlooked ”) it becomes clear that the actual way of seeing the way out lies in the future. Central verse 109 then mentions the goal of the search: a source of hope.

In a long passage (verses 114 with 173) it is then shown where hope is not to be found: not in the material, neither in money (verse 116 "on a dollar bill", translation: "on a one-dollar bill") ) still in glamorous luxury (verse 118 "no rich kid's road map", translation: "not in the life plan (literally: on the road map) of a rich child"; verse 125 "No you can't find it in no night club or no yacht club ”, translation:“ No, you can't find it in any night club or yacht club ”) and also not with people with a pretty facade but a bad character (verse 150“ Who'd turn yuh in for a tenth of a penny ”, Translation: "Who hand you over for a tenth of a penny"). It is self-ironically mentioned that the current Bob Dylan concert is not a source of hope either (verses 128 and 129 "That no matter how hard you rub / You just ain't a-gonna find it on yer ticket stub", translation: "That you just won't find it on your torn-off ticket, no matter how hard you rub it"). All of this is spurious (verse 171, the only one written in capital letters, "THAT STUFF AIN'T REAL").

In verses 174 to 180 hope is captured in several metaphors (verse 176: burning lamp, verse 177: bubbling oil well, verse 178: shining candle). The handling of clichés corresponds to what Christopher Ricks described as typical for Dylan: The use throws new light on an old cliché, on "a formulation that has seen better days". The burning (oil) lamp, traditionally a symbol of hope, is placed here next to an oversized, bubbling (earth) oil well. Verses 181 and 185 make it clear that the seeker has only two paths to his goal. In the closing verses 186 through 194 two sources of hope are of equal value: it lies in God, who is to be found in every church, and in Woody Guthrie in Brooklyn State Hospital. The second possibility is specifically limited to a named person, the first is dependent on the searcher in its design, since neither a religion nor a precise location is named. In the opinion of the lyric self, both hope donors are present in the Grand Canyon at sunset . Since the geological history can be traced back over millions of years there, the thought of God is obvious; Dylan breaks this cliché by making Woody Guthrie equal to God.

shape

The text can be defined as a long poem , but Bob Dylan explicitly rejected the term poem (translation: "poem") for Last Thoughts on Woody Guthrie . In the unabridged introduction to his lecture from 1963 it says "I have a po-- I have - it's not a poem here, but uh ... it's something, uh ..." - that's not a poem here, but ah ... it's something, ah ...) So Dylan explicitly did not see the text as a poem, but neither did he classify it in any other literary form. On the back of the cover of Another Side of Bob Dylan from August 1964, Dylan referred to his lyrics not to be set as Some other kinds of songs and lists Last Thoughts on Woody Guthrie on his website under the songs. The well-known American rock journalist Paul Williams is of the opinion that Dylan should not be seen as a poet, but as a "musician and singer who occasionally sings without a melody."

Paul Williams notes that the poem is largely composed of pairs of rhymes, with occasional variations of the rhyme scheme and non-rhyming verses deliberately incorporated to get the best effect. Up to about verse 55 Dylan used mostly paired rhymes , once also an embracing rhyme (verses 23-26). Some of these are impure rhymes (e.g. assonance in verses 23/26 storm / born ). The open line case , in which each verse appears on one line, runs through the entire text. In the lecture you cannot tell where verses begin and end. The numerous anaphors are striking (e.g. verses 47 begin with 56 each with And ), often coupled with parallelisms that make listening easier.

Paul Williams shows how the syntax and forms of the repetition create a kind of " monotonous chant ": The structure of the unfinished when- clause in verse 1 is repeated in the following two verses, followed by three verses that begin with if , and a whole Page of and clauses follows. Only in the middle of the poem is the when- sentence from verse 1 continued, but not ended ( When yer head gets twisted and yes mind grows numb ... you need something , translation: "When your head is messed up and your mind is numb" ... "do you need something"). The next long sentence follows, which deals with the search for something . It names numerous places where one cannot find anything and leads to a suggestion where one can find hope. Williams describes this chant as musical rhythm , in the language itself is music.

In most of the verses Dylan addresses the listener / reader (for example verse 2: "When you think ...", in verse 154 he calls him "my friend"), in literal speech the pronoun I is used instead of you (e.g. Verse 166/167: "And you yell to yourself and you throw down yer hat / Sayin ',' Christ do I gotta be like that '", translation: "And you yell at yourself and throw your hat away / and say: 'Jesus, do I have to be like this?' ”) Through the constant alternation between the second and first person singular ( you - I ) the audience is drawn into the disillusionment and fears of the poet (e.g. verse 24/25“ And to yourself you sometimes say / I never knew it was gonna be this way ", translation:" And to yourself you sometimes say: / 'I didn't know it would be like this.' "). Dylan uses a stream of consciousness technique here , which he also used in his Nobel Prize speech.

There are also stylistic references to Woody Guthrie's work:

Audio sample: "This Land Is Your Land", written by Woody Guthrie (recorded in 2007)

Tara Zuk points to a recording of Guthrie's album Bound for Glory (1958) in which the singer This Land Is Your Land used similar words (“because you're either too old, too young, too fat or too slim or too ugly ", Translation:" because you are either too old, too young, too fat or too thin or too ugly ") begins. In Dylan's introductory words to the poem lecture from 1963 there are the words "So if you can roll along with this thing here this is [...]" (free translation: "So if you can resonate there"). Guthrie used a similar phrase, “But me an 'th' River's gonna roll roll along somehow.” Guthrie used the last line of Ramblin 'Blues , a song about the Columbia River .

Verse 2 “When you think you're too old, too young, too smart or too dumb” (translation: “When you think you're too old, too young, too smart or too stupid”) has similarities with Woody Guthrie's Talking About Songs (1944). Both Guthrie's text and Dylan's poem can be read as encouragement to those who are deprived of life.

Subject

Biographical elements

Dylan's relationship with Woody Guthrie is the basis of the poem. Much of the text contains memories of Dylan's youth of his search for himself, in which Woody Guthrie accompanied him. In 1961 Dylan moved to Greenwich Village , New York, where he met Woody Guthrie and Joan Baez , had first appearances and signed a contract with Columbia Records . In the following years he gained a foothold in the folk scene and established his role as one of the most important voices in this musical genre with the Town Hall concert . At the same time, however, he was already moving towards the end of this phase, in which he had orientated himself artistically towards Woody Guthrie. Reasons for the change were Dylan's growing fame, his changed view of himself and his musical plans. After the release of his album The Freewheelin 'Bob Dylan and the end of his relationship with Suze Rotolo , Bob Dylan left New York in 1963.

Bob Dylan says goodbye to his idol in Last Thoughts on Woody Guthrie . From this perspective the title of the poem can be read, which sounds incomprehensible at first glance, since Guthrie only died in 1967. Final thoughts are not to be understood here as an epitaph , but rather point to the end of the first phase of Dylan's artistic life and a transition into a new one. Nonetheless, at the end of the poem, Woody Guthrie is given high priority by equating God as a source of hope. The optimism that speaks in the poem is related to Woody Guthrie.

Americana

Uncle Remus, His Songs and His Sayings: The Folk-Lore of the Old Plantation , 1881

There are several references in the text to society in the United States . Dylan uses elements that can be assigned to Americana : Verses 38 ff. (“And you figured you failed in yesterday's rush / When you were faked out an 'fooled while facing a four flush / And all the time you wer holdin' three queens ", translation:" And yesterday in your lucky streak you thought you had screwed it up when you were deceived into believing that your opponent had a flush while you had three queens the whole time ") refer to poker , which Dylan said he played a lot. The protagonist had comparatively good cards throughout the game with three queens , three of a kind . But he was a teammate of bluff : He had four cards of one color , so it lacked one to Flush - he could only win because the protagonist was deceived and in the midst of a hot streak ( "rush") gave up. Verse 92 ("You need a Greyhound bus that don't bar no race") connects to Hibbing , where Bob Dylan had lived since he was six and the Greyhound Society was founded in 1914. The verse makes reference to racial segregation and possibly connects with Rosa Parks . In verse 135 it says "And Uncle Remus can't tell you and neither can Santa Claus " (translation: "And Uncle Remus can't tell you and neither can Santa Claus "). Uncle Remus is a character created by the American journalist and writer Joel Chandler Harris, initially for a collection of African American folk tales from 1881, who holds the narrative role. The stories of the seven volumes reflect the world of the old plantations of the American southern states ( Deep South ): of slaves who can neither write nor read, but are excellent narrators of stories that are passed on from father to son.

In the verse, "And it ain't in no fat kid's fraternity house," David Pichaske, professor of English literature at Southwest Minnesota State University , looks at Dylan's revenge the frat Sigma Alpha Mu Fraternity . During his early days at university, Dylan had lived in a house belonging to this prestigious fraternity . His cousin, who studied law, advised him to do this, because you can find orientation and social connections there. But Dylan, according to his father, thought his roommates were spoiled show-offs. At the end of the first semester he left the house after trying to get him to work harder and adapt.

In places, Bob Dylan also interweaves two clichés and thus sheds new light on them. In verse 149 he speaks of fifty-star generals in which the goal is not to be sought. However, the highest rank in this rank group is four-star general , the fifty stars referring to the flag of the United States .

nature

The initial situation of the text describes the destruction of nature (verses 17 and 18 “And yer sun-decked desert and evergreen valleys / Turn to broken down slums and trash-can alleys”, translation: “And your sunlit desert and your evergreen valleys become too run-down slums and avenues made from garbage cans ”). Such a representation of nature can also be found in other Dylan texts from the mid-1960s, such as It's Alright Ma (I'm Only Bleeding) . Nature has always been a source of recreation for Dylan, and protests against the irresponsible use of it run through all of his work. The content of the closing verses of Last Thoughts on Woody Guthrie , that one could find both God and Woody Guthrie at sunset in the Grand Canyon (verse 192 with 194), expresses the importance of nature and the American West , which historically stands for the dream of freedom .

References to Dylan's biography

Bob Dylan and Woody Guthrie

Woody Guthrie, 1943

Dylan read Guthrie's autobiography Bound for Glory in 1960 , which shows the situation in the United States during the economic crisis of the 1930s and carries the promise of the American myth of self-determination and freedom. By the 1960s, the economic situation for many Americans had improved. In Dylan's environment, people did not live frugally out of necessity, but rather in order to be able to devote themselves entirely to a higher goal, art. Guthrie's fascination for him was based, in Dylan's own words, on the fact that folk songs pointed out of the immediate present. Court Carney argues that Woody Guthrie gave Bob Dylan an identity, "a mask he could wear, something he could cling to." Like Guthrie, Dylan was active in a very wide range of subjects. In some of Guthrie's texts, political issues such as working class values ​​are central, in others they are only touched upon; the Okies and the Dust Bowl also play a role. Dylan was initially based heavily on Guthrie; so he learned many of his songs, nasalized and appeared in a work shirt, and with him, too, the lines between reality and fiction blurred.

Woody Guthrie had Huntington's disease, an inherited brain disease from which his mother died. As a result, he spent many years in psychiatric hospitals: from 1956 to 1961 at Greystone Park Psychiatric Hospital , from 1961 to 1966 at Brooklyn State Hospital (today's Kingsboro Psychiatric Center) and from 1966 until his death in 1967 in the Creedmoor Psychiatric Center in New York City Queens .

Dylan met Guthrie personally in 1961 when he visited him at Greystone Hospital in New Jersey and played him his composition Song for Woody . Over time, Dylan felt restricted by the orientation to his role model and broke from the mid-1960s with the traditions and rules that the revivors of the folk movement had established. At some point he stopped visiting Guthrie; he writes that the visits were "sobering and draining". He realized that Guthrie couldn't help him; Woody Guthrie was his last idol.

References to other musicians

Especially in the street legal period, but also at other times, Dylan's texts contain references to blues texts . The verses “And though it's only my opinion, / I may be right or wrong” (translation: “However, this is only my opinion and I can be right or wrong”) at the end of the poem leave with “Baby it's your opinion, oh I may be right or wrong ”and“ It's your opinion, fried-girl, I may be right or wrong ”from When You Got A Good Friend by the blues musician Robert Johnson , from whom Dylan was inspired.

Position of the poem in the work

Paul Williams connects the style of Last Thoughts on Woody Guthrie with later texts. He sees the writing style continued in Advice for Geraldine on Her Miscellaneous Birthday (1964) and makes a connection to Subterranean Homesick Blues (1965), which he describes as a "brilliant early example of rap music": The writer does not take a line for himself Line forward, but the flow of language is moving towards the end of the section, the basic thought and feeling. In 1963, Dylan experimented heavily with non-song lyrics (including My Life in A Stolen Moment , For Dave Glover ) that said a lot about who he was and how he saw himself. The cycle of poems 11 Outlined Epitaphs was also created in 1963.

In 1961 Dylan wrote Song To Woody , the first of his lyrics to feature Guthrie's name. While this song from 1961 is written entirely in the Guthrie tradition, Dylan chose a free lyrical form for Last Thoughts on Woody Guthrie , a stream of consciousness that is reminiscent of Walt Whitman . The movement towards artistic independence is also manifested in the form. Also of note is that Song To Woody disappeared from Dylan's live set when the artist signed with Columbia Records . By then, his point of view had changed as he formulated it in Last Thoughts On Woody Guthrie and Letter to Woody . The latter is the sixth text of the 11 Outlined Epitaphs written in autumn 1963 (translation: 11 sketches for a tombstone). Dylan placed it on the sleeve of his third album. In it, the author describes in free verse how Guthrie was his first and last idol.

publication

Town Hall concert

Last Thoughts on Woody Guthrie was the only poem from Bob Dylan ever to read. He performed it during his first major concert in New York's Town Hall on April 12, 1963.

At the Town Hall appearance, Dylan introduced several new compositions, including Tomorrow Is a Long Time , Dusty Old Fairgrounds , Ramblin 'Down Thru the World and Bob Dylans' New Orleans Rag . At the end of the concert, Bob Dylan returned to the stage to present his poem Last Thoughts on Woody Guthrie for the first and last time . He read the text with clear accentuation of the verses, but at high speed and in a restrained, monotonous voice; it still took over seven minutes. Dylan received a standing ovation .

The text was planned as a contribution to a collection in honor of the seriously ill Woody Guthrie. He wrote it when, in the run-up to the publication of a Guthrie biography, he was asked to write down in 25 words what Woody Guthrie meant to him. This was not possible for him, he wrote five pages and happened to have them with him.

In the original, unedited introduction from 1963, which can be heard on the robbery, Dylan Woody emphasizes Guthrie's importance to him much more clearly than can be seen after the deletions in the 1991 publication (“[Guthrie's appeal] […] cannot really be told in how many records of his I buy, or this kind of thing. It's, uh ... a lot more than that, actually. " buy or something. It's, ah ... a lot more than that, in fact. "). Wilmeth sees “an unprotected moment of admission of admiration” in the original text.

O'Brian notices echoes of Guthrie in Bob Dylan's presentation during the Town Hall concert. A number of final g s have been omitted, which is a common feature of Guthrie. This phenomenon can be found in Guthrie's verses "People came runnin ', lookin', dogs a-barkin" (in Talking Fish Blues ) and "To set on your tables that light sparklin 'wine" (in Pastures of Plenty ). Added to this is the Oklahoma accent typical of Guthrie , which Dylan's colleagues from Minnesota described as superimposed . Pichaske noticed the style of Guthrie, but also highlights the places where Dylan remains at the usual in Minnesota pronunciation: For example, let the o long, hundred 'll Hunert spoken figured figgerd , window stay window and am not going to Guthrie winder . Dylan's quick presentation could serve to emphasize the tetrahedron or perhaps an expression of nervousness, at least it differs from Dylan's voice at other appearances. Beviglia describes Dylan's way of speaking as "hasty" and sees it as an expression of the fact that a lot has to be said in a short time.

Recordings and print editions

The poem was scheduled for publication in the never-produced album Bob Dylan in Concert . For this, three songs from the concert in the Town Hall ( John Brown , Dusty Old Fairgrounds and Bob Dylan's New Orleans Rag ) and five from the concert in Carnegie Hall in October 1963 ( When The Ship Comes In , Who Killed Davey Moores ? , Lay Down Your Weary Tune , Percy's Song and Seven Curses ).

From 1970 it was released in various pirated copies for years , first in the 1970 bootleg album While the Establishment Burns . Others followed, including Are You Now of Have You Ever Been? , 1985 The Box Ten Of Swords , 1988 Talking Too Much and 1997 In Concert (1997)

Officially, the text was first heard in 1991 on the first edition of The Bootleg Series Vol. 1-3 , Rare & Unreleased, 1961-1991 . In comparison to the Town Hall version, parts of the introduction are missing there. The deletions, according to Wilmeth, were likely with Dylan's approval. The text of the poem, however, is identical to that from the 1963 recording.

Last Thoughts on Woody Guthrie first appeared in print in 1973 in Writings And Drawings , a collection of Dylan's songs and various other texts from 1961 to 1971. There were not only more than sixty songs published that could not be heard on any record, but also a number of other texts such as My Life In A Stolen Moment and Advice for Geraldine on Her Miscellaneous Birthday (1965) that had been distributed on handouts at Dylan's concerts. While Dylan changed the printed lyrics extensively, he made no changes to Last Thoughts on Woody Guthrie . The poem was later printed in other text collections by Bob Dylan, including Lyrics, 1962–1985 . In any case, manuscripts or typescripts were not published until 2011. According to James O'Brien, there is evidence that Dylan's official archivists have access to typescripts, but they are inaccessible.

Appreciation and artistic adaptations

Eric Clapton said in an interview in 1987 that Last Thoughts on Woody Guthrie was in his eyes the summary of Bob Dylan's life's work. Jim Beviglia, music journalist with American Songwriter magazine , included the poem in his book On Dylan's One Hundred Best Songs and described it as Dylan's “dazzling effort” to explain Guthrie's importance to him. Martin Schäfer gives the poem a special position because it formulates one of Dylan's dreams: the “natural dream” of his childhood in the far north of the USA. Schäfer leaves it open whether it is about “ Arcadian visions or personal utopia”. Michael Gray thinks Guthrie's equation with God in Last Thoughts on Woody Guthrie is a surprising sign of how great Guthrie's influence on Dylan still was.

The text inspired other artists to make arrangements. In 2006, Joakim Trastell used two lines from the poem in his song I Ain't Gonna Pin My Hopes on That . In 2017 the dancer and choreographer Emma Portner created a dance performance based on the poem with the dancer Aidan Carberry and cameraman Elliott Sellers. In 2019 soul singer PP Arnold recorded a ten-minute setting of the poem in her album The New Adventures of ... PP Arnold .

The blogger Robert MacMillan, who is of the opinion that every Dylan work can be summarized in a haiku , chose these words in his haiku 61: “Want to fix your blues? . Woody Guthrie has the tool Inside his SongBox "(? Translation: Do you want to escape your melancholy / Woody Guthrie, the tool for / In his song-box) (Note: The word game toolbox - SongBox can not be in the German adequately reflect)

Sound recordings

  • Bob Dylan - Live In New York 1963 . Black Panther Records - BPCD 020 (unofficial release)
  • The Bootleg Series Vols 1-3: (Rare and Unreleased); 1961-1991. (first official publication) Columbia, March 26, 1991.

Text output

The poem is contained in the following text editions:

  • Bob Dylan: Writings and Drawings. Alfred A.Knopf, New York 1973 (German by Carl Weissner. Zweiausendeins, Frankfurt 1975).
  • Bob Dylan: Lyrics, 1962–1985 . Alfred A.Knopf, New York 1985. Reprint of 1973 edition and extension.
  • Bob Dylan: Chronicles: Volume One. Simon & Schuster, New York 2004.
  • Bob Dylan, Heinrich Detering (editor and translator): Planet waves. Poems and prose. Original text and German translation. Hoffmann and Campe, Hamburg 2017, ISBN 978-3-455-00118-1 , pp. 56–73

Web links

Individual references and comments

  1. ↑ a b c d June Skinner Sawyers: Bob Dylan: New York. Roaring Forties Press, p. 52.
  2. ↑ Christopher Ricks: The Force of Poetry . Clarendon Press, Oxford 1984, p. 367 .; "(...) genius with words is often a matter, as TS Eliot said, of being original with the minimum of alteration, and such is one of the evidences of Dylan's genius." Often dealing with language by being original through tiny variations, and this is where Dylan's genius shows.)
  3. ↑ a b Christopher Ricks: The Force of Poetry . Clarendon Press, Oxford 1984, p. 366.
  4. ↑ Christopher Ricks: The Force of Poetry . Clarendon Press, Oxford 1984, p. 432.
  5. ↑ a b c d e f g Tom Wilmeth: The Wilmeth Way: Essay: "Futher Thoughts on Bob Dylan's 'Last Thoughts'". In: The Wilmeth Way. January 24, 2011, accessed April 13, 2020 .
  6. ↑ a b Jim Beviglia: Counting Down Bob Dylan. His 100 Finest Songs. Lanham, Toronto, Plymouth, The Scarecrow Press, 2012, ISBN 978-0-8108-8823-4 , p. 133.
  7. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 122; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  8. ^ A b Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 119; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  9. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 120; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  10. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 121; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  11. ↑ Michael J. Gilmour: The Gospel According to Bob Dylan: The Old, Old Story for Modern Times. Westminster John Knox Press, 2011, p. 51.
  12. ↑ Christopher Hooton: Bob Dylan was asked to give 25 words on Woody Guthrie, he wrote 1,705 beautiful ones - Listen in independent.com.uk, October 13, 2016.
  13. ↑ Pod Dylan: Pod Dylan # 122 - Last Thoughts on Woody Guthrie on Apple Podcasts, from 32:00. Retrieved June 11, 2020 (American English).
  14. ↑ "Ramblin 'Blues" by Woody Guthrie. Retrieved April 12, 2020 .
  15. ↑ "... I hate a song that makes you think that you're just / born to lose - bound to lose - no good to nobody, no / good fer nuthin 'because yer either too old or too young / or too fat or too slim or too ugly or too this or too that: / songs that run you down or songs that poke fun at ya on / account of yr bad luck or yer [pause] hard travelin '… / I am out to sing songs that will prove to you that this is / your world, that if it has hit you pretty hard and / knocked you down for a dozen loops, no matter how hard it's run you / down or rolled you over, no matter what color, what size / y 'are, how y're built ... "(translation:" I hate songs that make you feel like you were born a loser, inevitable, good for no one and for nothing, because you are either too old or too young, too fat or too thin or too ugly or this or that: songs that pull you down or songs that make fun of you because of your bad luck or your efforts ... I'm bi n here to sing songs that prove to you that this is your world - even if it has already given you hard hits and knocked you down a dozen times, no matter how badly it made you feel bad or shaken you, no matter the color of your skin you have how tall you are, how you look ... ”) [Michael Gray: Woody Guthriew Anniversary. http://bobdylanencyclopedia.blogspot.com/2007/10/woody-guthrie-anniversary.html ]. http://bobdylanencyclopedia.blogspot.com, / October 2, 2007.
  16. ^ I Hate a Song That Makes You Think You Are Not Any Good. Retrieved April 11, 2020 .
  17. ↑ a b Michael Gray: The Bob Dylan Encyclopedia. Corrected and revised paperback edition. Continuum Verlag, New York / London 2008, ISBN 978-0-8264-2974-2 , p. 291.
  18. ↑ a b c d e Court Carney: “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie In: Woody Guthrie Annual, Volume 2048, Issue 4, January 2018
  19. ↑ a b Antonio Scaduto: bob dylan . Grosset & Dunlap Publishers, New York 1971, ISBN 0-448-02034-3 , p. 138.
  20. ↑ Donald Brown: Bob Dylan. American troubadour. Lanham, Boulder, New York, Toronto, Plymouth, Rowman & Littlefield, 2014, ISBN 978-0-8108-8421-2 , p. 44.
  21. ↑ Antonio Scaduto: bob dylan . Grosset & Dunlap Publishers, New York 1971, ISBN 0-448-02034-3 , p. 137.
  22. ↑ a b Jim Beviglia: Counting Down Bob Dylan. His 100 Finest Songs. Lanham, Toronto, Plymouth, The Scarecrow Press, 2012, ISBN 978-0-8108-8823-4 , p. 134.
  23. ↑ In the English original: "What struck me most," Dylan noted, "was Guthrie's optimism." Daniel Wolff: Grown-Up Anger . New York, Harper 2017, p. 15, quoted from: Court Carney: “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie In: Woody Guthrie Annual, Volume 2048, Issue 4, January 2018
  24. ↑ Izzy Young: What Was It You Wanted? Excerpt from an interview conducted by Izzy Young on October 20 and 23, 1961 with Bob Dylan. In: Izzy Young Journals, number 23, October 20, 1961, quoted in: Younger Than That Now, The Collected Interviews with Bob Dylan. New York, Thunder's Mouth Press 2004, ISBN 1-56025-590-0 , p. 12.
  25. ↑ Definition of Rush | PokerZone. Retrieved June 14, 2020 .
  26. ↑ a b c David Pichaske: Song of the North Country. A Midwest Framework to the Songs of Bob Dylan. The Continuum International Publishing Group, New York / London 2010, p. 36.
  27. ↑ so Abe Zimmerman on Robert Shelton, quoted from David Pichaske: Song of the North Country. A Midwest Framework to the Songs of Bob Dylan. The Continuum International Publishing Group, New York / London 2010, p. 36.
  28. ↑ Michael Gray : Song & Dance Man III. The Art of Bob Dylan. Cassell, London and New York 2000, note 151, p. 340.
  29. ↑ David Pichaske: Bob Dylan and the American dream: the prophet and the prisoner , 1986, quoted from Michael Gray: Song & Dance Man III. The Art of Bob Dylan. Cassell, London and New York 2000, note 151, p. 340.
  30. ↑ Michael J. Gilmour: The Gospel According to Bob Dylan: The Old, Old Story for Modern Times. Westminster John Knox Press, 2011, p. 52.
  31. ^ A b Donald Brown: Bob Dylan. American troubadour. Lanham, Boulder, New York, Toronto, Plymouth, Rowman & Littlefield, 2014, ISBN 978-0-8108-8421-2 , p. 47.
  32. ↑ Bob Dylan: Chronicles , quoted from Donald Brown: Bob Dylan. American troubadour. Lanham, Boulder, New York, Toronto, Plymouth, Rowman & Littlefield, 2014, ISBN 978-0-8108-8421-2 , p. 47.
  33. ↑ Simon Frith: The sociology of rock. Constable, London 1978, p. 185.
  34. ↑ Bob Dylan | Tom Palaima's homepage. Retrieved June 12, 2020 (American English).
  35. ↑ Anthony Scaduto, among others, reports on this visit (Anthony Scaduto: Bob Dylan. German by Carl Weissner. Zweiausendeins, Frankfurt 1973, p. 89). According to Matthias R. Schmidt ( Bob Dylan and the sixties. Aufbruch und Abkehr. Fischer Taschenbuchverlag, Frankfurt 1983, pp. 22/23), experts like the folk singer Pete Seeger and Serge Denisoff, author of the standard work Solid Gold: The Popular Record Industry, have doubts that Bob Dylan had ever been to Greystone Hospital. It can be considered certain that Dylan Guthrie at his friends, the Gleasons in East Orange, met.
  36. ↑ Bob Dylan: Chronicles, Volume One. Autobiographical work. Simon & Schuster, New York 2004, ISBN 0-7434-7864-9 (English; German by Kathrin Passig and Gerhard Henschel, Hoffmann and Campe, Hamburg 2004, ISBN 3-455-09385-X ; Kiepenheuer and Witsch, Cologne 2008, ISBN 978-3-462-04052-4 ), p. 99, quoted from: Court Carney: “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie In: Woody Guthrie Annual, Volume 2048, Issue 4, January 2018
  37. ↑ Bob Dylan in conversation with Nat Hentoff, in: Nat Henthoff: The Crackin ', Shakin', Breakin 'Sounds. In: Benjamin Hedin (Ed.): Studio A: the Bob Dylan reader. WW Norton & Company, New York / London 2004, ISBN 0-393-05844-1 , pp. 22-40.
  38. ↑ Michael Gray: Song & Dance Man III. The Art of Bob Dylan. Cassell, London and New York 2000, p. 229, note 21.
  39. ↑ Michael Gray: Song & Dance Man III. The Art of Bob Dylan. Cassell, London / New York 2000, p. 362.
  40. ^ A b Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 194; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  41. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 160; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  42. ^ A b c d Clinton Heylin: Revolution In The Air. The Songs of Bob Dylan 1957–1973. Chicago Review Press, Chicago 2009, p. 38.
  43. ↑ Bob Dylan: Planetary Waves. Poems and prose. Translated and commented by Heinrich Detering. Hoffmann and Campe, Hamburg 2017, pp. 146–149
  44. ↑ Bob Dylan: Planetary Waves. Poems and prose. Translated and commented by Heinrich Detering. Hoffmann and Campe, Hamburg 2017, p. 146
  45. ↑ Pod Dylan: Pod Dylan # 122 - Last Thoughts on Woody Guthrie on Apple Podcasts, 1:26. Retrieved June 11, 2020 (American English).
  46. ↑ Still On The Road 1963. Retrieved April 10, 2020 .
  47. ↑ "The rustling of the paper can be heard in the recording." June Skinner Sawyers: Bob Dylan: New York. Roaring Forties Press, p. 52.
  48. ↑ a b c Bob Dylan: Planetary Waves: Poems and Prose. Hoffmann and Campe , Hamburg, 2017, ISBN 978-3-455-00119-8 , pp. 56–57.
  49. ↑ Bjorner: Still on the Road 1963. 2020, accessed on June 14, 2020 (English, original English quote: "I have a poem here. It's not a poem its ahh. This is the first concert I played alone in New York, really . An a fellow in Brooklyn State Hospital, his name is Woody Guthrie. But err Woody is more than a folk singer. He's really something else more than a folk singer an err there's this book coming out that's dedicated to him. An they asked me to write something about Woody. like what does Woody mean to you in 25 words. An err I couldn't do it I wrote out 5 pages an err I have it here. I have it here by accident actually. But I'd like to say this out loud. So this is my feelings towards Woody Guthrie. Cannot really be told in err how many records of his I buy, it's a lot more than that actually. So if you can roll along with this thing here this is called Last Thoughts On Woody Guthrie. ").
  50. ↑ Tom Wilmeth: The Wilmeth Way: Essay: "Futher Thoughts on Bob Dylan's 'Last Thoughts'". In: The Wilmeth Way. January 24, 2011, accessed on April 13, 2020 : "Text by Wilmeth in the original English:" an unguarded moment acknowledging devotion ""
  51. ↑ James O'Brien: ALSCW Conference (2011): A Two-Way Street, Approximately: Modulation, Complication, and Dylan's Poem "Last Thoughts on Woody Guthrie" as Spoken Word and Printed Text. , P. 4
  52. ↑ Clinton Heylin: Bob Dylan: Behind the Shades Revisited; The biography. Harper Collins: Harper Entertainment, 2003 (Reprint of 2001 edition, revised edition of 1991 edition), p. 47, quoted from James O'Brien: ALSCW Conference (2011): A Two-Way Street, Approximately: Modulation, Complication , and Dylan's Poem "Last Thoughts on Woody Guthrie" as Spoken Word and Printed Text. , Note 14
  53. ↑ a b David Pichaske: Song of the North Country. A Midwest Framework to the Songs of Bob Dylan. The Continuum International Publishing Group, New York / London 2010, p. 94.
  54. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 152; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  55. ↑ Clinton Heylin: Bob Dylan: Behind the Shades Revisited; The biography. Harper Collins: Harper Entertainment, 2003 (Reprint of 2001 edition, revised edition of 1991 edition), p. 118, quoted from James O'Brien: ALSCW Conference (2011): A Two-Way Street, Approximately: Modulation, Complication , and Dylan's Poem "Last Thoughts on Woody Guthrie" as Spoken Word and Printed Text. , Note 6
  56. ↑ Zimmerman * - Zimmerman Ten Of Swords. Retrieved April 10, 2020 .
  57. ↑ Talking Too Much - CD - Bootleg - BobsBoots - Bootleg CD section -. Retrieved April 12, 2020 .
  58. ↑ In Concert - BobsBoots - Bootleg CD-. Retrieved April 12, 2020 .
  59. ↑ James O'Brien: ALSCW Conference (2011): A Two-Way Street, Approximately: Modulation, Complication, and Dylan's Poem "Last Thoughts on Woody Guthrie" as Spoken Word and Printed Text. , P. 2.
  60. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 396; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  61. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 397; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  62. ^ Paul Williams: Like a Rolling Stone. The music of Bob Dylan 1960–1973. Reprint of the German-language original edition from Palmyra Verlag from 1994. Palmyra Verlag, Heidelberg 2005, p. 398; English-language original edition: Paul Williams: Bob Dylan. Performing artist. The Early Years, 1960-1973. Underwood-Miller, Novato / Lancaster 1990.
  63. ↑ a b James O'Brien: ALSCW Conference (2011): A Two-Way Street, Approximately: Modulation, Complication, and Dylan's Poem "Last Thoughts on Woody Guthrie" as Spoken Word and Printed Text. Note 4 . ( academia.edu [accessed April 12, 2020]).
  64. ↑ John Bauldie: Wanted Man. In Search of Bob Dylan. Black Spring, London 1990, ISBN 0-948238-10-0 , pp. 148-158, pp. 152/153. In the original English: Eric Clapton: Have you heard the thing he wrote about Woody Guthrie? Roger Gibbons: 'Last Thoughts On Woody Guthrie'? Eric Clapton: That to me is the sum of his life's work so far, whatever happens. That is it. That sums it up.
  65. ↑ Martin Schäfer: I dreamt a monstrous dream. Utopia and anti-utopia in Bob Dylan's songs. (PDF) In: An evening about Bob Dylan by Heiner Kondschak. Premiere. City of Heidelberg, March 1, 2008, accessed on July 25, 2020 .
  66. ↑ Song “I Ain't Gonna Pin My Hopes on That” - MusicBrainz. Retrieved June 11, 2020 .
  67. ↑ [PREMIERE] Emma Portner's “Last Thoughts on Woody Guthrie”. Retrieved April 18, 2020 (American English).
  68. ^ Frank Sawatzki: PP Arnold The New Adventures Of PP Arnold. In: musikexpress, August 9, 2019, accessed June 9, 2020.
  69. ↑ Robert Macmillan: Bob Dylan: Haiku 61 Revisited: Last Thoughts on Woody Guthrie. In: Bob Dylan. June 27, 2015, accessed April 8, 2020 .
  70. ↑ Bob Dylan - Live In New York 1963. Retrieved June 9, 2020 .
This version was added to the list of articles worth reading on December 15, 2020 .