If Dylan why not Lightfoot

[joveski]

> I thought it was somebody's jacket that landed in the fireplace ... not that it matters

maybe thats what made the curtain catch on fire!

[TheWatchman]

I heard that an arguement broke out between Joan Biaz and Mott The Hoople and Mott threw Joan's coat in the fireplace. Gord was known to always have blazing little hell's burning in his fireplace so that coat instantly went up in flames.

Gord's pet canary (Lyle) picked a piece of the burning coat from the fire and started to fly around the house. As the canary flew and perched itself on the curtain rod above the window on the north wall in the main dining room, the burning fabric caught the curtain on fire. At that point Gord said he was fed up with bullshit from the canary and vowed to never get another. He ended up eating this same canary on a canoe trip down the Chiniguntha during the 80's.

[Cathy]

quote:Originally posted by TheWatchman:
I heard that an arguement broke out between Joan Biaz and Mott The Hoople and Mott threw Joan's coat in the fireplace. Gord was known to always have blazing little hell's burning in his fireplace so that coat instantly went up in flames.

Gord's pet canary (Lyle) picked a piece of the burning coat from the fire and started to fly around the house. As the canary flew and perched itself on the curtain rod above the window on the north wall in the main dining room, the burning fabric caught the curtain on fire. At that point Gord said he was fed up with bullshit from the canary and vowed to never get another. He ended up eating this same canary on a canoe trip down the Chiniguntha during the 80's.

Really? I've always heard he let it cook in the curtain fire and ate it that night.
Who is Joan Biaz? A Joan Baez wannabe?

Cathy http://www.cathycowette.com

[TheWatchman]

That was just a rumor that he ate the canary that night. He wanted to kill it, but being that Meatloaf was there, and being the animal rights activist that he is, Gord had no choice but to let it live.

Gord was so upset with the canary that Dylan told him to relax and count to ten. Gord was so angry he started to shout...
"Fee fie foe fum, you damned little canary here I come! 26, 27, 28, 29 I'm gonna get your ass this time! Five, four, three, two, one, you yellow little birdy you better run! 99, 100 101, 102 tweedy won't even recognize you. 14, 15, 16, 17, 18, 19 gonna knock your beak you yellow freak.

Two months later, Dylan releases a new single titled "I Shall Be Free No. 10". I wonder where he got the idea for this lyrics?

[BILLW]

Watchman,

I wasn't aware that those files had been declassified. Are you sure you should be talking about the bird ?

Bill

[TheWatchman]

Oops I forgot about the files. I wanted to clear up any rumors about what really went on with Lyle and how the curtain caught fire. See, these little factoids can't be found on any Dylan fan site.

[Borderstone]

That's the most bizzare story I've heard in my life,yet! Cool picture too! In my book,they're equals! By the way,Joan Biaz is a mis-spelling,he was talking about Joan Baez. Later!

------------------
Borderstone,gonna post some lines tonight!:D

[Auburn Annie]

Okay, this is from the November 10 1996 Toronto Sun article on Gord (I think it's archived somewhere on this site):

When Bob Dylan's Rolling Thunder Review rolled through Toronto, the party was at Lightfoot's in Rosedale. When Bobby Neuwirth threw his jacket into the fireplace, and smoke billowed up, Lightfoot began to worry that the party was getting out of hand.

[Auburn Annie]

Okay, this is from the November 10 1996 Toronto Sun article on Gord (I think it's archived somewhere on this site):

When Bob Dylan's Rolling Thunder Review rolled through Toronto, the party was at Lightfoot's in Rosedale. When Bobby Neuwirth threw his jacket into the fireplace, and smoke billowed up, Lightfoot began to worry that the party was getting out of hand.

[johnfowles]

Hrey lighten up "B" and Annie this is a light-hearted topic No doubt Joan wore bias-cut denim the night they burned old dixie down.
Well all Right I'm surprised that nobody has yet asked what was the colo(u)r of the damned canary that Gord allegedly ate in his canoe.Could it have been
??
Actually per:- http://www.robirda.com/colour01.html
(note the correct spelling there!!)
this is an
"Intensive Lipochrome Yellow"
Oh just noticed that Al Watchnman sneaked in a reference to a "yellow freak" in his reply above but his earlier assertion about meeting Gord " when he was in his canoe checking some beaver traps along the Chiniguntha River back in '89." is patently balderdash.Since that is a tributary of the Chimichanga River well South of the border down Mexico way!!


------------------
My Gordon Lightfoot webring
starts at
http://www.johnfowles.org.uk/lightfoot

[This message has been edited by johnfowles (edited March 02, 2004).]

[johnfowles]

Hrey lighten up "B" and Annie this is a light-hearted topic No doubt Joan wore bias-cut denim the night they burned old dixie down.
Well all Right I'm surprised that nobody has yet asked what was the colo(u)r of the damned canary that Gord allegedly ate in his canoe.Could it have been
??
Actually per:- http://www.robirda.com/colour01.html
(note the correct spelling there!!)
this is an
"Intensive Lipochrome Yellow"
Oh just noticed that Al Watchnman sneaked in a reference to a "yellow freak" in his reply above but his earlier assertion about meeting Gord " when he was in his canoe checking some beaver traps along the Chiniguntha River back in '89." is patently balderdash.Since that is a tributary of the Chimichanga River well South of the border down Mexico way!!


------------------
My Gordon Lightfoot webring
starts at
http://www.johnfowles.org.uk/lightfoot

[This message has been edited by johnfowles (edited March 02, 2004).]

[TheWatchman]

lol

[joveski]

> Two months later, Dylan releases a new single titled "I Shall Be Free No. 10". I wonder where he got the idea for this lyrics?


wow, i shall be free #10 in 1975. i bettre tell the dylan communcity about the new version of this song from 1975

[TheWatchman]

quote:Originally posted by joveski:
> Two months later, Dylan releases a new single titled "I Shall Be Free No. 10". I wonder where he got the idea for this lyrics?


wow, i shall be free #10 in 1975. i bettre tell the dylan communcity about the new version of this song from 1975
I love that song.

[joveski]

who doesn't?

it caught me by surprise when i forst hear it. i thought the original I shall be free was wacky enough, but this one takes the cake

[Borderstone]

Speaking of another Dylan song. We all know Gordon did "Ring Them Bells". Well,3 days ago I got,"The Best of Bob Dylan pt. 3" and it includes that song asd well! I like 'em both now! Only paid about $6! Later!

------------------
Borderstone,gonna post some lines tonight!:D

It's only taken me a year, but now I get it. You all are inmates in the same asylum aren't you?

I don't even want to know what any of you are in for.

[QUOTE]Originally posted by TheWatchman:
[B]Oops I forgot about the files.

------------------
Born once - Got it right the first time. )O(

It's only taken me a year, but now I get it. You all are inmates in the same asylum aren't you?

I don't even want to know what any of you are in for.

[QUOTE]Originally posted by TheWatchman:
[B]Oops I forgot about the files.

------------------
Born once - Got it right the first time. )O(

[TheWatchman]

No no Violet. We got out! We got out the same time Torr Eckman (Kramer's friend) got out.

[BILLW]

That's very good deducing. After our escape we secretly located to the four corners of the earth. As of late our only secure means of communication has been through corfid. Sometimes I think we may actually be the same person but then again that just may be the voices trying to confuse us, oops me ?

Good catch Violet,

Bill

[muklucannie]

www.thestar.com - go to A&E and click for article
or:

http://www.thestar.com/NASApp/cs/Con...l=969483191630
pics with link above.

text below:
Mar. 13, 2004. 01:00 AM

HECTOR MATA/AFP FILE PHOTO
Already slated to play the Ricoh Coliseum Friday, Dylan added a second gig two nights later at Kool Haus. A week later, he filled in the opening Saturday night slot by booking himself into the Phoenix Concert Theatre.

Dylan's famous, but he's no celeb


VIT WAGNER

Bob Dylan's storied musical biography is littered with signal events — from his controversial and much-debated "gone electric" appearance at the 1965 Newport Folk Festival to his provocative performance of "Masters Of War" during the height of the Gulf War at the 1991 Grammy Awards.

In a more mundane and far less mythical sense, however, few occasions better illustrate Dylan's later career than the 2001 Academy Awards.

It was not by chance the legendary singer, then on tour with his band in Australia, was not in Los Angeles to personally receive an Oscar for the song "Things Have Changed," which was featured in the movie Wonder Boys. It was by chance that the location was Australia; it could as easily have been Denmark or Argentina. But being on the road was hardly happenstance.

Unlike Woody Allen, who has made a repeated point of snubbing the Oscars, Dylan intended no disrespect. He performed "Things Have Changed" live by satellite from Sydney, then reacted graciously when his victory was announced.

"Oh, good God, this is amazing," he said, later adding, "I want to thank the members of the Academy who were bold enough to give me this award for this song." No, it wasn't that Dylan didn't like idea of getting an Oscar. Nor is it likely that Dylan, who has only won a half-dozen Grammys under his own name, had become inured to receiving awards.

It was just that he had somewhere else to be, something else to do. And, typically, that something was playing music.

A celebrity would have organized his schedule differently. But Bob Dylan may be the most famous entertainer in the world who is not a celebrity.

It's an important distinction. Celebrities trade on who they are, rather than on what they do. Their stardom might be rooted in past accomplishments, but having crossed the line into celebrity their creativity — to say nothing of their artistic credibility — often suffers.

Dylan, who plays three shows in Toronto next week, is first, foremost and forever a musician.

At 62, he is no longer the culturally iconic figure who released the era-defining The Times They Are A-Changin' four decades ago.

But no one would accuse him of coasting on his past, as endlessly fertile as that past remains.

(A new book, A Simple Twist Of Fate: Bob Dylan And The Making Of The Blood On The Tracks, documents the recording of his brilliant 1975 comeback. Meanwhile, Bob Dylan Live 1964, the sixth CD in the bootleg series, is due at the end of this month.)

Dylan's most recent studio albums, 2001's Love And Theft and 1997's Time Out Of Mind, rank alongside some of his best work. Through tireless touring, he has solidified his reputation as the most enduring artist of his generation. In doing so, he has become the rock era's best example of how to remain relevant by staying true to your craft.

As someone who emerged during the 1960s, Dylan is most often lumped in with the Beatles, the Rolling Stones and other early contemporaries revered by boomers. Forty years later, as the length and breadth of his career continue to unfold, comparisons to predecessors such as childhood hero Woody Guthrie and the recently departed Johnny Cash seem more apt. And fans at Dylan's shows are as likely to be in their 20s as they are to be in their 50s.

There is no simple calculation that explains Dylan's apparent appeal with younger fans. It lacks the obvious, generational touchstone of Cash's covers of Nine Inch Nails or Beck. Dylan, when he isn't playing his own stuff, mainly covers songs by people who are older than he is or dead.

It's possible Dylan's willingness to reinterpret his own catalogue links to the current fondness for jam bands. And then there is an entire generation of listeners who grew up sifting through their parents' record collections. Or, at the risk of using a dangerously overused word, maybe the music is timeless.

This is not to say our ongoing fascination is exclusively related to the man's musical accomplishments. Dylan has had a hand in cultivating his own mythology, whether through wilful autobiographical fabrications — such as his claim to being raised as an orphan when he actually enjoyed a conventional, middle-class upbringing in suburban Hibbing, Minn. — or the cryptic remarks made during his increasingly infrequent interviews.

In the unlikelihood that anyone still cares about the recent movie Masked And Anonymous a decade from now, it will be because Bob-ologists are still mining clues from Dylan's somewhat self-deprecating and partially self-referential performance as a washed-up folk singer.

It is anyone's guess whether Far From Heaven director Todd Haynes will be able to set the record straight with his recently announced biopic. Dylan has licensed rights to his music for the project, suggesting co-operation. Then again, he has happily led biographers astray in the past. Remember, this is someone whose first significant public act involved changing his name.

It is often assumed that Dylan's way of keeping us interested is to keep us guessing.

It's also possible that he is just trying to throw us off the scent. And doing an impressive job of it, too.

By the time the media learned a couple of years ago that Dylan had secretly wed one of his backing singers, the marriage had already been over for 11 years and the daughter produced by the union was 15 years old.

This is not conventional celebrity behaviour.

It is impossible to picture Dylan sitting courtside at a Knicks game or joining Sting at a network televised Victoria's Secret fashion show.

However, you could hardly call him reclusive. Private, yes, but not reclusive. On any given night, he's up there onstage for all to see, reinterpreting his life's work and, by extension, adding to it.

When he plays in Milwaukee tonight, in Detroit on Monday, Tuesday and Wednesday, in Toronto on Friday, next Saturday and Sunday, and in Boston, Philadelphia and Washington the week after that, it is not because he has a current album to promote or because he has emerged from a lengthy dormancy — a la the Rolling Stones — to ring up a fresh batch of receipts.

Unlike the Who, he has never said "never again" and then changed his mind. Dylan's idea of a farewell trek is the Never-ending Tour, which began in 1988 and has continued, more or less uninterrupted, to this day — including three visits to Toronto since 2000.

Already slated to play the Ricoh Coliseum Friday, Dylan recently added a second gig two nights later at Kool Haus. A week later, he filled in the open Saturday night slot by booking himself into the Phoenix Concert Theatre.

According to the promoter, he's interested in playing in different sized venues. It's also possible he looked at his schedule and said, "What am I doing on the road with four nights off?"

During his initial heyday back in the 1960s, Dylan liked to tell reporters he was "just a song and dance man," which his audience dismissed as another of Dylan's typically enigmatic utterances.

Turns out, he meant it — although "just" is probably a tad too modest.

[Char1]

www.thestar.com - go to A&E and click for article
or:

http://www.thestar.com/NASApp/cs/Con...l=969483191630
pics with link above.

text below:
Mar. 13, 2004. 01:00 AM

HECTOR MATA/AFP FILE PHOTO
Already slated to play the Ricoh Coliseum Friday, Dylan added a second gig two nights later at Kool Haus. A week later, he filled in the opening Saturday night slot by booking himself into the Phoenix Concert Theatre.

Dylan's famous, but he's no celeb


VIT WAGNER

Bob Dylan's storied musical biography is littered with signal events — from his controversial and much-debated "gone electric" appearance at the 1965 Newport Folk Festival to his provocative performance of "Masters Of War" during the height of the Gulf War at the 1991 Grammy Awards.

In a more mundane and far less mythical sense, however, few occasions better illustrate Dylan's later career than the 2001 Academy Awards.

It was not by chance the legendary singer, then on tour with his band in Australia, was not in Los Angeles to personally receive an Oscar for the song "Things Have Changed," which was featured in the movie Wonder Boys. It was by chance that the location was Australia; it could as easily have been Denmark or Argentina. But being on the road was hardly happenstance.

Unlike Woody Allen, who has made a repeated point of snubbing the Oscars, Dylan intended no disrespect. He performed "Things Have Changed" live by satellite from Sydney, then reacted graciously when his victory was announced.

"Oh, good God, this is amazing," he said, later adding, "I want to thank the members of the Academy who were bold enough to give me this award for this song." No, it wasn't that Dylan didn't like idea of getting an Oscar. Nor is it likely that Dylan, who has only won a half-dozen Grammys under his own name, had become inured to receiving awards.

It was just that he had somewhere else to be, something else to do. And, typically, that something was playing music.

A celebrity would have organized his schedule differently. But Bob Dylan may be the most famous entertainer in the world who is not a celebrity.

It's an important distinction. Celebrities trade on who they are, rather than on what they do. Their stardom might be rooted in past accomplishments, but having crossed the line into celebrity their creativity — to say nothing of their artistic credibility — often suffers.

Dylan, who plays three shows in Toronto next week, is first, foremost and forever a musician.

At 62, he is no longer the culturally iconic figure who released the era-defining The Times They Are A-Changin' four decades ago.

But no one would accuse him of coasting on his past, as endlessly fertile as that past remains.

(A new book, A Simple Twist Of Fate: Bob Dylan And The Making Of The Blood On The Tracks, documents the recording of his brilliant 1975 comeback. Meanwhile, Bob Dylan Live 1964, the sixth CD in the bootleg series, is due at the end of this month.)

Dylan's most recent studio albums, 2001's Love And Theft and 1997's Time Out Of Mind, rank alongside some of his best work. Through tireless touring, he has solidified his reputation as the most enduring artist of his generation. In doing so, he has become the rock era's best example of how to remain relevant by staying true to your craft.

As someone who emerged during the 1960s, Dylan is most often lumped in with the Beatles, the Rolling Stones and other early contemporaries revered by boomers. Forty years later, as the length and breadth of his career continue to unfold, comparisons to predecessors such as childhood hero Woody Guthrie and the recently departed Johnny Cash seem more apt. And fans at Dylan's shows are as likely to be in their 20s as they are to be in their 50s.

There is no simple calculation that explains Dylan's apparent appeal with younger fans. It lacks the obvious, generational touchstone of Cash's covers of Nine Inch Nails or Beck. Dylan, when he isn't playing his own stuff, mainly covers songs by people who are older than he is or dead.

It's possible Dylan's willingness to reinterpret his own catalogue links to the current fondness for jam bands. And then there is an entire generation of listeners who grew up sifting through their parents' record collections. Or, at the risk of using a dangerously overused word, maybe the music is timeless.

This is not to say our ongoing fascination is exclusively related to the man's musical accomplishments. Dylan has had a hand in cultivating his own mythology, whether through wilful autobiographical fabrications — such as his claim to being raised as an orphan when he actually enjoyed a conventional, middle-class upbringing in suburban Hibbing, Minn. — or the cryptic remarks made during his increasingly infrequent interviews.

In the unlikelihood that anyone still cares about the recent movie Masked And Anonymous a decade from now, it will be because Bob-ologists are still mining clues from Dylan's somewhat self-deprecating and partially self-referential performance as a washed-up folk singer.

It is anyone's guess whether Far From Heaven director Todd Haynes will be able to set the record straight with his recently announced biopic. Dylan has licensed rights to his music for the project, suggesting co-operation. Then again, he has happily led biographers astray in the past. Remember, this is someone whose first significant public act involved changing his name.

It is often assumed that Dylan's way of keeping us interested is to keep us guessing.

It's also possible that he is just trying to throw us off the scent. And doing an impressive job of it, too.

By the time the media learned a couple of years ago that Dylan had secretly wed one of his backing singers, the marriage had already been over for 11 years and the daughter produced by the union was 15 years old.

This is not conventional celebrity behaviour.

It is impossible to picture Dylan sitting courtside at a Knicks game or joining Sting at a network televised Victoria's Secret fashion show.

However, you could hardly call him reclusive. Private, yes, but not reclusive. On any given night, he's up there onstage for all to see, reinterpreting his life's work and, by extension, adding to it.

When he plays in Milwaukee tonight, in Detroit on Monday, Tuesday and Wednesday, in Toronto on Friday, next Saturday and Sunday, and in Boston, Philadelphia and Washington the week after that, it is not because he has a current album to promote or because he has emerged from a lengthy dormancy — a la the Rolling Stones — to ring up a fresh batch of receipts.

Unlike the Who, he has never said "never again" and then changed his mind. Dylan's idea of a farewell trek is the Never-ending Tour, which began in 1988 and has continued, more or less uninterrupted, to this day — including three visits to Toronto since 2000.

Already slated to play the Ricoh Coliseum Friday, Dylan recently added a second gig two nights later at Kool Haus. A week later, he filled in the open Saturday night slot by booking himself into the Phoenix Concert Theatre.

According to the promoter, he's interested in playing in different sized venues. It's also possible he looked at his schedule and said, "What am I doing on the road with four nights off?"

During his initial heyday back in the 1960s, Dylan liked to tell reporters he was "just a song and dance man," which his audience dismissed as another of Dylan's typically enigmatic utterances.

Turns out, he meant it — although "just" is probably a tad too modest.

[joveski]

> provocative performance of "Masters Of War" during the height of the Gulf War at the 1991 Grammy Awards.

provocative?? ... more like blind drunken. it was one of the biggest jokes of his whole career

Blind drunk? With Dylan how can you tell? He looks that way all the time to me.


quote:Originally posted by joveski:
> provocative performance of "Masters Of War" during the height of the Gulf War at the 1991 Grammy Awards.

provocative?? ... more like blind drunken. it was one of the biggest jokes of his whole career



------------------
Born once - Got it right the first time. )O(

Blind drunk? With Dylan how can you tell? He looks that way all the time to me.


quote:Originally posted by joveski:
> provocative performance of "Masters Of War" during the height of the Gulf War at the 1991 Grammy Awards.

provocative?? ... more like blind drunken. it was one of the biggest jokes of his whole career



------------------
Born once - Got it right the first time. )O(