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David Porter » Articles at Suite 101

Signs, Omens, Superstitions and Old Wives’ Tales

One Mapgpie Is Bad Luck, Think Some - Aviceda
They’re part of the cultural fabric of folk memory, but do good luck charms and a myriad of superstitions actually make any difference to what happens?

Most people know about touching wood (UK) or knocking on wood (US), not walking under ladders, not letting two people pour from the same teapot at the same meal for fear of the second one ’having ginger twins’ . Many heed the old adage, ‘be careful what you wish for…’ In other words, what people want could be disastrous.

The Romans invented ‘superstition’ as credulous belief, not based on reason. Early Christians dismissed anything outside their views as the tales of silly old pagan women. In violent times of uncertain acts of nature, disease and the constant proximity of sudden death, superstition easily took hold: signs & omens became immensely influential on daily life.

In a world of self-believing sophistication and less dependence on ritualistic aspects of traditional religion and almost none on primitive reading of the entrails of a sacrificed animal, people still read horoscopes, get their palms read and employ fortune-telling paraphernalia. Greetings cards contain emblems of alleged good fortune. ‘Fortune cookies’, made from flour, sugar, vanilla and oil wrapped around a paper fragment containing false wisdom or vaguely prophetic thoughts, are often served as desserts to Chinese meals in the west. Unknown in China, they may have come from immigrants into California a century ago.

Omens of Good Luck

So, even today, people do superstitious things to bring luck. A horseshoe hung above a doorway will bless a home, although some believe it must hang facing upwards, others down. Carrying an acorn is supposed to be ensure long life, though most citizens would be hard put to get an acorn these days.

Spitting on a new cricket bat in Britain, baseball bat in the US is an act of luck-bringing. An elephant picture in a room invites fortune, but only if it’s facing a door. A black cat walking towards one is a harbinger of luck; but if it walks away, it takes the luck. Left-hand itching presages paying out; right hand indicates receiving money. This may be the hangover from widespread prejudice against left-handed people.

Unlucky Fridays have become folklore (possibly because of Jesus’ Crucixion on Good Friday) especially the 13th, so good luck may be hoped for if the following are avoided on Fridays: setting sail in a ship or starting any journey, changing a bed or it will bring bad dreams, or eating meat if people are Catholics.

Harbingers of Bad Luck

The list of ill omens is longer than beneficial ones. People shouldn’t put a hat on a bed; place a bed facing north-south; get out of bed the opposite side to the one they got into it or leave a house by a different one from their entry door; or drop a comb or they risk disappointment.

When people regularly carried pocket knives, it was bad luck for a different person to close it from the one who opened it. Seeing a magpie in the past, an ambulance today, is regarded bad luck, unless the person pinches his/her nose or holds the breath till a black or brown dog comes into view. To see one crow was bad luck, two was good luck, three a wedding and four meant certain death. If a bee enters a house, a visitor is coming, but if the bee is killed, the house is doomed; if a swarm lands on a dead tree, there’ll be death in the family.

Sailors of old thought a woman on a ship was ominous and some think the same if ‘pig’ is said while fishing at sea. To kill or injure an albatross was a certain invitation to doom, and Coleridge wrote a poem, The Rime of the Ancient Mariner, (1798), about a man forever condemned to tell of albatross murder as a warning about evil spirits who wreaked revenge on ship and hapless crew.

Milk must not be allowed to boil over, shoes may not be placed on a table and an umbrella must not be opened in a house. Many of these sayings are specific to local areas, but the breaking of a mirror leading to seven years bad luck is far more widespread.

Nothing Rational or Logical Gets in the Way of a Good Ritual

Tribal memory, of things handed down in families or localities often over many generations can lead to superstitions surviving, even when the origins are long lost to the mists of time. Throwing a pinch of salt over the left shoulder with the right hand was meant to throw it into the Devil’s eye should he be standing right behind someone. This may have come from days of salt as a purifier in communities who credited plague and other afflictions to the Devil.

Black Shuck, the black, hairy dog that has many incarnations in UK’s East Anglia grew out of a primitive fear of wild animals, shadows and devilish workings in the minds of the susceptible. From the same region, there is a refusal to burn elder wood, as it was thought to be the wood of the Cross.

Today, athletes are often regarded as superstitious, wearing certain socks or dressing in the ‘right’ order. A soccer player coming on during a game is often seen crossing himself or kissing a talisman, but there are academic studies examining the differences between pre-performance routines and superstitious behaviour in sport. Many of the lessons are applicable to other fields like public performance, endurance or almost anything challenging. People evidently need something to get them through difficulties, from crossing fingers to full, obsessive-compulsive routines.

First published on Suite 101, 22 July 2010.

Photo: One Mapgpie Is Bad Luck, Think Some – Aviceda

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A List of List-Makers & the Columns to Which They Are Addicted

Schindler's Factory Made Famous By His List - Jf1288
Lists of things, people, places, memories, preferences come in all shapes and sizes. That’s why list-formators may be emotionally balanced. Or not.

In Hamlet, Shakespeare mentioned: ‘a list of landlesse resolutes’. In the Coots/Gillespie song, ‘Santa Claus is making a list/and checking it twice/gonna find out who’s naughty and nice’. Some psychiatrists believe the making of lists relieves stress and gives some sense of purpose. The media is obsessed with A-list and B-list celebrities. Lists on social networking sites have become commonplace. The list is here to stay.

Linton Weeks, writing on NPR sets out a list of 10 reasons why people love writing lists. They range from bringing order to chaos, aid to memory, they are finite and making them can help make people famous, or add to their fame. Both Thomas Jefferson and Benjamin Franklin were inveterate list makers.

Mainstay of the Publishing Industry

Books of lists make up much of the catalogues of publishing houses. They are relatively easy and cheap to compile and find a willing market. Ten things to do before death, marriage or after divorce; 101 uses for dead animals, old furniture; twenty top places to visit, grumpy old men… the list of possibilities is endless.

Michael Korda, Editor in Chief at Simon & Schuster wrote Making the List: A Cultural History of the American Bestseller, 1900-1999 (2001). Cahners Business Information, Inc. produced a review of the book in Publishers Weekly, acknowledging the debt of bestseller lists to the publishing, movie and recording industries. It is thought the first bestseller list of fiction was in The Bookman in 1895, and grew from then on. Korda’s approach was analytical, critical and academic, noting how popular lists reflect society and its tastes and obsessions, citing sex over the decades and its permutations to justify the claim.

According to Hunter Davies’ Lists, published in the UK in 2004, a sign of human behaviour is to make lists, and he reckons them to come in three categories. There are mental props, things to be done/bought; there are factual information lists that store data people find useful or interesting; and there are opinion lists, like favourite foods, sports results, music tracks. However, he subdivides into male and female lists, crediting women with the gift of enjoying crossing off listed jobs done, and also writing down and crossing off a job done that was not previously written. There is no research to back up his assertion, as yet.

Dale Carnegie, author of 1937‘s How to Win Friends and Influence People, compiled a list of ways to make people like somebody: become genuinely interested in other people, smile, remember a man’s name is the sweetest thing to him, be a good listener. He also made rules for making homelife happier: don’t nag, don’t criticise, give honest appreciation, pay little attentions and read a good book on the sexual side of marriage.

List-Making Can Become List-Marketing

Nowadays people cannot just make scribbled lists on pieces of paper, but some entrepreneurs are selling them a tool to do it. Mashable recognise just two list-making categories; wishlists (things people want) and checklists (things to do). They sell 40 mobile and web-based tools to help people organise their lists. There are many other companies doing similar sales pitches.

The successful movie directed by Stephen Spielberg, Schindler’s List (1993) from the 1982 novel by Thomas Keneally (Schindler’s Ark) tells the true tale of Czech Nazi business man Oskar Schindler who used Jewish labour to start a factory in Poland. Once the deportations to death camps began, his motive switched from profit to altruism and he was able to make a list from memory of workers he said were essential to Nazi war efforts, and saved over a thousand lives.

It was a box office hit, receiving seven Academy Awards (American Academy of Motion Picture Arts & Sciences) including Best Picture, Best Director, Best Original Score, along with seven BAFTAs, 3 Golden Globes and in 2007 the American Film Institute ranked it 8th on its annual list of 100 best American movies. Commercial success from a life-saving list.

The Ten Rules for Being Human by Cherie Carter-Scott from her book If Life Is a Game, These Are the Rules (1999) has divided opinion between those who regard it as a modern practical guide to self-motivated living, and those who dismiss it as psychobabble. She says the rules are not commandments, but universal truths.

* ‘Rule 1: You will receive a body

* Rule 2: You will be presented with lessons (in life)

* Rule 3: There are no mistakes, only lessons

* Rule 4: The lesson is repeated until learned

* Rule 5: Learning does not end

* Rule 6: ‘There’ is no better than ‘here’.

* Rule 7: Others are only mirrors of you

* Rule 8: What you make of your life is up to you

* Rule 9: Your answers lie inside you

* Rule 10: You will forget all this at birth’

There is also a website for obsessive listers, the Secret Society of List Addicts, and here is a list of their categories: age, alerts, animals, books, childhood, dreams, entertainment, family, fashion, favourites, food, friends, fun times, hair, hate, inspiration, joy, learning, life, lists, love, men, money, movies, music, parties, people, plans, relationships, secrets, style, technology, travel, want, words and work. As yet, there is no list of categories they don’t allow.

First published on Suite 101, 21 July 2010.

Photo: Schindler’s Factory Made Famous By His List – Jf1288

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Bob Dylan and The Movies: His Songs and His Acting

Joan Baez: in Documentaries & Films with Dylan - US Info Agency, Press & Publicity
Poet, singer, songwriter, musician, painter, actor: there is no limit to what Bob Dylan brings to the world through his creativity and originality.

Bob Dylan is no stranger to screen, whether concert recordings or documentaries. He has helped make and participated in movies, using his music and his many-times reinvented persona.

Documentaries About the Man

According to Internet Movie Database (IMDb), D A Pennebaker’s Don’t Look Back (1967), famous for opening with Subterranean Homesick Blues word cards, was a portrait of the artist as a young man, following Dylan round a three week British tour two years earlier. Among others, Joan Baez and British troubadour Donovan are featured.

IMDb also rate Martin Scorsese’s No Direction Home: Bob Dylan (2005) as a portrait of an artist as a young man. Using interviews cut with archival material, it traced musical development, absorptions of others’ styles and how he periodically reinvents himself.

There’s an unauthorised Dylan Documentaries box set directed by Joel Gilbert, comprising Rolling Thunder and The Gospel Years CD soundtracks; films of Bob Dylan 1975-1981 Rolling Thunder and The Gospel Years (2006), Bob Dylan World Tours 1966-1974 Through the Camera of Barry Feinstein (2005), and Bob Dylan 1966 World Tour, The Home Movies Through the Camera of Mickey Jones (2003).

There are at least two documentaries on his Jesus years. One, Inside Bob Dylan’s Jesus Years: Busy Being Born… Again!, logs when Jesus was prominent in his songs. As Gerardo Marti, sociologist and author wrote on Praxis Habitus on race, religion and culture in Jan 2009, “the film is a biography playing on the shock Dylan’s conversion and apocalyptic preaching caused amongst his fans”. There is Bob Dylan: 1978-1989 – Both Ends of the Rainbow, also covering his overtly Christian time.

Festival follows 1960s’ Newport Festivals with Dylan performance footage, including the first electric with Paul Butterfield Blues Band. Eat the Document is one hour of England’s 1966 electric tour. 1971’s Concert for Bangladesh was George Harrison’s fundraiser in Madison Square Gardens, featuring Dylan on stage. The Last Waltz was 1976’s farewell concert by The Band, again featuring Dylan in action.

Perhaps the most intriguing docudrama film, is I’m Not There (2007), narrated by Kris Kristofferson, which interprets his life from Woody Guthrie disciple to crusty old man, using six actors in the Brechtian distancing-of-character method. Dylan himself didn’t act in it.

Dylan the Child aged 11 was played by black Marcus Carl Franklin, while film.com wondered why Dylan’s own son Jakob didn’t play his father as boy. Ben Wishaw created Dylan the Young Poet; Heath Ledger Dylan the Young Actor. Christian Bale portrayed Dylan the Gospel Singer; Richard Gere showed Dylan the Kid, “an aged Billy the Kid who also happens to represent Dylan”. Cate Blanchett played Dylan the Wisecracker when he embraced electric guitar and drums, while Russell Crowe got Dylan the Bruiser.

Dylan the Actor

An early appearance was in Madhouse on Castle Street, a BBC TV play broadcast in Britain, January 1963, set in a boarding house where a resident locked himself in his room until the world changed. Dylan played a folk singer. Unfortunately no full recording survives, only partial audios of Dylan’s four songs. As for acting: he had neither experience nor training and found it hard to learn lines or concentrate.

However, he improved, as Top Ten Reviews rate him 14,974th of 196,269 actors. Bob Dylan FAQ by Adam K Powers and John Howells lists acting/directing achievements as at Feb 2009. Pat Garrett and Billy the Kid was Sam Peckinpah’s 1973 take on the western outlaw tale. Dylan took a small, amusing role, “Alias”. He wrote the soundtrack, including Knocking on Heaven’s Door which became a huge commercial success.

Five years later, he wrote most of, directed and starred in the surrealist 4-hour movie later cut to two (some critics claim Cubist & French cinema influences) Renaldo and Clara. Panned on release, it contained interesting features: live footage from Rolling Thunder Revue tour (1975); his then-wife, Sara, one-time lover Joan Baez and future companion, Ruth Tyrangiel; footage of boxer Rubin Carter, subject of Hurricane, and the last known clip of folk-rock singer-songwriter Phil Ochs before his suicide.

In 1985, he appeared in Hearts of Fire, playing an aging rock star, and briefly in Dennis Hopper’s Backtrack, also known as Catchfire (1989). Masked and Anonymous (2003) was criticised, though his soundtrack was praised. Dylan played himself doing a benefit concert in some unspecified country experiencing a revolution.

Dylan Songs In Movies

Dylan is prolific. So many songs have been used in movies, it’s hard to be definitive. Searching For a Gem focusses on songs he recorded himself ignoring covers, and include Coming Home (1978) and More America Graffiti (1979) which have Just Like a Woman and the latter also has Like a Rolling Stone, which is aired in New York Stories (1989) and In the Name of the Father (1994). 1979’s The Wanderers uses The Times They Are a-Changin’ which is also in Five Corners (1987).

When the Ship Comes In is in The War at Home (1979); Highway 61 Revisited is used in Where the Buffalo Roam (1980); Rude Awakening (1989) has Rainy Day Women, as does Sneakers (1992), Forest Gump (1994) and Honest (2000) which also has 4th Time Around and One of Us Must Know.

Over a hundred movies feature one or more Dylan-sung songs within, on opening or over closing credits, without counting covers. Blowin’ in the Wind is in Der Baader Meinhof Komplex (2008), and also in a commercial in Britain by the Co-operative, to promote food sales. There’s no limit to this man’s influence on the world’s cultural life.

First published on Suite 101, 20 July 2010.

Photo: Joan Baez: in Documentaries & Films with Dylan – US Info Agency, Press & Publicity

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Post-Democracy and Post-Modernism: What Comes Next?

Despite Democratic Protest, War Goes Ahead - CharlieTPhotographic
With widespread disillusion in the west about politics & politicians, local & national democracy, tax & spend, is the end in sight for the current system?

‘Post-democracy’ has come in the past decade to describe governance which subscribes to democratic rule, but where power and application have become progressively limited, concentrated in the hands of elite government officials, police, civil servants, bankers or media-brokers, most of whom are indifferent to public opinion, determine their own salaries and pensions and are separated from those they ‘serve’.

Different Commentators, Varied Views

British commentator, Peter Oborne, believes current political disenchantment is a postmodern design of agendas and programmes that deny ‘independent reality, where truth gives way to mere credibility, a narrative is created for events and claims of acting in good faith within rules that allow multi interpretations’. In a lecture at the Centre for Policy Studies in March 2009, he blamed the then Labour government for driving this.

Oborne is a right-of-centre conservative commentator, and his book The Rise of Political Lying (2005) is comprehensively analysed by the left-leaning Guardian newspaper’s Michael White as ‘a rebuttal of John Lloyd’s What the Media Are Doing to Our Politics (2004) which blamed a cynical and over-mighty estate for corrupting politics and its relationship with an increasingly disaffected electorate.’ Frank Kane in the Observer, summarised Lloyd’s point as ‘unsatisfying’ as it argued journalists and broadcasters in Britain, Europe and the US have become self-serving, power-crazed hypocrites who exaggerate, sensationalise and distort the news.

In Post-Democracy: Themes for the 21st Century (2004), Colin Crouch suggests the decline of social classes involved in mass politics combined with global capitalism has produced a self-referential political class, which is what post-democracy is, but he offers hope of revival of more democratic politics.

At the opposite end of the political spectrum, Post-democrcy.org is mobilising thinking against perceived right-wing monopoly of democracy’s language to justify war and aggression. It says all parties urge more democracy, through invasion/war or economics, but a new radical movement is needed that supports local self-determination, not the devalued term ‘democracy’. It wants ‘post-democratic’ to identify this theory.

Postmodern Theory and Practice

Postmodernism in the arts has been around and understood since the 1960s; it rejects previously accepted objective truths, stressing language, redefining absolute definitions and boundaries. It merges black/white, present/past, and opposites/differences. It absorbs diverse times and cultures in a cross-genre world, mixing and sampling everything. It followed modernism in the arts and culture.

Is that the new politics? Jeremy Gilbert, Reader in Cultural Studies at Britain’s University of East London, writing for Open Democracy used the 2009 expenses abuse scandals by Members of Parliament and the House of Lords to highlight the depth of crisis in parliamentary democracy, which electoral reform alone will not solve. He said it should have been the major news story at least five years earlier, but democratic dimensions were overlooked and ignored, as they were, despite moral-outrage demonstrations against the 2003 Iraq and later Afghanistan wars.

Gilbert argued the same principle applied against Britain’s 1980s’ privatisations and the Vietnam War in the 1960s and 70s. Whatever a large minority thought, the elite stuck to their guns, quite literally. Spurious, drummed-up or real claims of weapons of mass destruction, war on terror or global warming, allow democratic-legitimacy to be suppressed/manipulated in the name of the governing few, he said, with media complicity.

He further argued most institutions are not fit for today’s complex society, and the gulf between public expectation and Parliamentary reality is symptomatic of the mismatch in the roles of elected representatives and their function within the circuits of power. They are junior partners of ‘a technocratic, managerial elite whose most exalted members were, until recently, the merchant princes of finance capital’, proved he said, when both US and UK governments almost bankrupted taxpayers to rescue them from the fate they brought upon themselves.

The burden of this argument, drawing on the work of what Jean-Francois Lyotard called ‘the postmodern condition’ in 1979, is that following the post-war political settlements, this century has dawned in the face of ever-deepening global capitalism, where individual governments deal with their impotence by taking action on micro-manageable policies with increasing vehemence. He cites the one-time dream of the European Union as a supranational body fostering universal well-being reflecting democratic will converging in ever-closer consensus.

He says the economic crisis of 2008-present, has shattered that illusion. Society now harbours diversity of personal lives, public views unthinkable a generation ago. Modern governmental institutions ‘seem incapable of exercising control over the material, social and cultural changes which capitalism continues to unleash upon us’. Is the future: party political system replaced by ‘enlightened technocrats using focus groups and market research to find out what would make people happy’? Isn’t that Brave New World and Nineteen Eighty-Four, foreshadowed in 1931 and 1948 respectively?

New Opportunities?

Writers and political thinkers, such as Ernesto Laclau & Chantal Mouffe (conflict- proliferation will radicalise democracy), and Antonio Negri & Michael Hardt (power of collective multitudes), see these postmodern times as an opportunity when democracy might finally break free. Election of individuals rather than parties, coalitions, voting system changes, recalling poor MPs, electing local officials: all may be the start of this process, democracy’s long revolution.

In the meantime, untraceably funded, closed cabals, unaccountable agencies, organisations, security services, financial empires, law, order, education and health deliveries still work to unknown agendas. Perhaps the real question is: what comes after post-democracy and postmodernism, if such movements are commonly described as ‘the end of history’?

First published on Suite 101, 20 July 2010.

Photo: Despite Democratic Protest, War Goes Ahead – CharlieTPhotographic

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Humour In the Most Unlikely Places Can Be the Funniest of All

Humor Can Be Found Even At Executions - George Eastman House
Intentional or not, there is comedy where people least expect it, and that can be lucrative in the arts, business or just keeping everybody’s spirits up.

Man is inventive, creative and enjoys humour. Even the Bible is full of humorous devices like irony, puns, wordplays and sarcasm. From the office joker, to the stand up comedian, the circus clown to government directive that’s laughably unbelievable, people find something to laugh about in almost every circumstance.

Humour in Enterprise

Finding and creating a comical business enterprise can sell. Special occasion cards, wind-up and prank calls and messages, role-playing at parties – these have all been successful business ventures. Geoff Williams from Loveland, Ohio is one of a number of writers pointing out the financial benefits for companies great and small of marketing through humour.

He cites Shaun Clancy, owner of Foley’s NY Pub & Restaurant who banned the singing of Danny Boy in March 2008, especially on St. Patrick’s Day. The resultant publicity, including a roasting by satirist Stephen Colbert on late night TV, was worth big money to his small, but growing, business.

Williams also refers to Burger King’s short-lived, controversial campaign to give free Whoppers to customers who eliminated 10 friends from their Facebook page. The publicity was worth millions. In other words, humour handled properly is a key to successful advertising.

Williams advises comical entrepreneurs not to set out to be humorous, or it will fail; humour should fit the product or service without overpowering it; and unexpected humour is good, such as financial institutions laughing at themselves or the economy.

Spass, German Humour

One unlikely place for humour is often thought to be Germans and their language. This stereotypical view arrives in part through folk-memories of two world wars, and partly because German grammar is less flexible than English, as explained by the UK’s Guardian writer Stewart Lee in 2006. German prevents the delay of a punch-line in long, convoluted, compound words. Fewer German words have multiple meanings, so wordplays and puns are less achievable.

However, German comic tradition evolved with serious/mock serious, satirical content, no different from other cultures that enjoy both live performances, computer graphics and the internet to send-up and poke fun at politicians, laws, habits and behaviours.

Germans themselves have stereotypical jokes about other nationalities, as do British about French, Americans about Canadians or Mexicans.

German playwright Bertolt Brecht is associated with spass, humour, as one of his trademark techniques to make audiences/actors aware of demonstrating rather than emotional acting. It also means, according to Delamare Arts fun, satire and grotesque stereotypes. The audience is invited to laugh at characters and ultimately condemn what they stand for. The technique for actors/demonstrators is to find a stereotype and explore the character from outside-in; a grotesque outside contrasting with a kind, sympathetic inside.

Gallows Humour

The Free Dictionary defines “gallows humour” as the act of making unpleasant things, such as death, seem funny. It’s laughing in the face of adversity, making the best of a dire situation, finding the funny side of what outwardly cannot be amusing. It’s similar to black or sick comedy (like Michael Jackson jokes that circulated minutes after his death), but gallows humour comes from the person affected.

The 1927, Sigmund Freud’s essay Humour argued that, “The ego refuses to be distressed by provocations of reality … it insists it cannot be affected by traumas of the external world … such traumas are occasions for it to gain pleasure.” He said, in effect, that humour has a liberating effect on those under stress.

In Shakespeare’s Romeo and Juliet, Act 3, Sc 1, when Romeo tells the stabbed Mercutio that the hurt cannot be much. Mercutio replies: “No, ‘tis not so deep as a well, nor so wide as a church-door, but ‘tis enough, ‘twill serve: ask for me tomorrow, and you shall find me a grave man.”

Often, people whom are facing imminent execution will say something witty or comical. James French, American murderer, is credited with making up a headline before he went to the electric chair in 1966: ‘French Fries!’ The criminals being crucified at the end of Monty Python’s Life of Brian 1979 movie ironically sing Always Look on the Bright Side of Life.

Other famous last words from those on the point of execution, which count as gallows humour, include: George Appel’s ‘Well gentlemen, you are about to see a baked appel’ from the electric chair in 1928; ‘Take a step forward, lads. It will be easier that way’ from Erskine Childers about to be executed by firing squad 1922; ‘Hurrah for anarchy! This is the happiest moment of my life,’ from George Engel, about to be hanged in 1886, and Johnny Frank Garrett, executed by injection in 1992: ‘I’d like to thank my family for loving me and taking care of me. And the rest of the world can kiss my ass.’

Ned Kelly, Australian murderer of three police officers, was hanged in 1880. Just before the execution, he said, “Such is Life.” John Thanos, executed by injection in Maryland 1994, said “Adios.”

First published on Suite 101, 20 July 2010.

Photo: Humour Can Be Found Even At Executions – George Eastman House

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The Bible as an Unexpected Source of Humour

Street Preachers Don't Always Use Bible Humor - Michael Tracey
Comedy, parody, sarcasm, wordplays, puns, irony are not the first Bible elements that spring to mind as literary devices, but they’re all there, and more.

According to Practical Dreamers Drop-In Centre‘s Evan R Lewis ‘checks scriptures for jocular materials’ making connections, noting what was funny 3000 years ago, may not seem such today. He argues comic texts must be fictitious, not sober historical reporting, containing surprise or shock that make a point beyond expected ridiculous, irrational or exaggerated behaviour, which is the essence of basic comedy. Jonah is a prime candidate, he argues: it’s parody, funny because here is a prophet behaving in an un-prophet like way telling God what God should have done.

Old Testament Sarcasm, Derisive Amusement

Friedman’s and Stern’s 2000 paper, Humor in the Hebrew Bible, published in Humor: International Journal of Humor Research categorises humour permeating the Hebrew Bible, albeit much of it subtle. The notion that even God laughs occurs in several Psalms. In 37:13, ‘My Lord laughs at him, for he sees that his day is coming’. In 59:9, ‘But as for You, God, You laugh at them, You mock all nations’. This is sarcastic, derisive amusement. Friedman and Stern agree with other observers, Biblical humour shows how evil is ludicrous/wrong, and punishment leads to mockery.

Two sarcastic complainers to Moses about 40 years in the wilderness: ‘ Is it but a small thing that you have brought us out of a land flowing with milk and honey to kill us in the wilderness, but you also have to lord over us?’ (Numbers 16:13).The point is that land flowing with milk and honey was Israel, the Promised Land, not Egypt, from which they had escaped. It continues: ‘Was there a lack of graves in Egypt, that you took us away to die in the wilderness?’ (Exodus 14:11).

David fled from Israel after hearing Saul wanted him dead. He went to Gath, where afraid King Achish would kill him, he pretended to be insane. He scribbled on doors, saliva dribbling into his beard. Achish cried out: ‘Do I lack lunatics that you have brought this one to carry on insanely in my presence?’ (Sam 21:15-16).

When the Israelites were engaging in idol worship, they cried to God about Philistines oppressing them. God replied (Judges 10:14), ‘Go and cry to the gods you have chosen, let them rescue you in the time of your torment’. When Elijah competed with the followers of Baal who didn’t respond, he said sarcastically: ‘Call with a loud voice, for he is a god. Perhaps he is talking, or he is pursuing enemies, or he is relieving himself…’ (1 Kings 18:27).

Irony is Another Way of Showing Humour

Irony is a comic device employed when Jacob and Laban tried to outwit each other; Elijah and Isaiah used it to mock idolatry. Joseph sold into slavery by his own brothers, found himself 22 years later in a position to save them from famine. The Egyptians drowned children in the river; God drowned Egyptians in the sea.

The Israelites moaned that manna from heaven was not enough, they longed for the meat they had in captivity. God gave them meat till ‘it is coming out of your nose and makes you nauseous’. (Numbers 11). The Book of Esther has Haman hanged on the very gallows he prepared for Mordecai.

Much humour is wordplay, which rarely translates into English humour. In Genesis (6:11-14) the word shachath means mankind’s decadence before the Flood; in verse 17 the word describes the destruction brought by the flood, thus linking decadence with destruction.

Plays on people’s names are commonplace. God ordered Abraham to name his son Yitzchak (Genesis 17:19) because he and Sarah laughed when told that she, an old woman, would have a son. The Hebrew word tzachak means ‘laughed’. The word dildul means weaken or deplete; it sounds very close to Delilah (Judges 16).

Exaggeration and Lampooning

Exaggeration is rife. The Israelites in the desert wailed that in Egypt they had pots of meat and free fish, melons, cucumbers, leeks, onions and garlic (Numbers 11:5). As slaves, it’s unlikely, so their exaggerated claims are comical. ‘Your nose (appech) is like the tower of Lebanon, which overlooks Damascus’ (Song of Songs 7:5). A prominent nose was even then, not a sign of beauty.

According to Friedman and Stern, Proverbs ‘lampoons fools, lazy people and quarrelsome women by using comical caricatures’. ‘A constant dripping on a rain-stormy day and a quarrelsome woman are alike’. (Pro 27:15). ‘Like a thorn that goes into the hand of a drunkard, so is a parable in the mouth of fools’. (Pro 26:9). ‘Like a dog that returns to its vomit, so does a fool repeat his folly’. (Pro 26:11).

The imagery of a land plagued with jumping frogs is ludicrous, hence comic. Abraham’s attempt to buy fairly a field and cave to bury his wife is comical, revealing how people do things for show. God made an ass out of Balaam who attempted to profit from his gift of prophecy, by revealing to his donkey things the man couldn’t see.

That the Old Testament is full of humour based on wit, sarcasm, irony, wordplays, comic imagery, names and situations may surprise some people, but linguistic devices allow God and the Bible to speak to humankind’s love of humour.

First published at Suite 101, 19 July 2010.

Photo: Street Preachers Don’t Always Use Bible Humour – Michael Tracey

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Interactive Theatre Is As Entertaining As It Ever Was

Do Audiences Prefer to Watch or Participate? - Cwphdafong
Audience-participation performance is a modern term for an old idea reborn and recycled to keep theatre fresh: people just love to join in the action!

Immersive performance does not respect a separation, or 4th wall, between those presenting and those watching. It used to be called Forum Theatre, after the Roman Forum where the voice of the people was heard in debate. It means participation from audience either collectively or individually making suggestions or joining in by directing performers, which in turn influences the narrative of the performance, or may be a simple supportive role, like carrying props, making noises or holding information. It is more than a pantomime audience shouting out “he’s behind you”.

Location Often Determines Performance Style

Performance can take place in conventional theatre, concert or circus spaces. Often the audiences are passive in the sense they enjoy a show/spectacle, but do not contribute anything to its progress. They applaud or laugh and feed the performers in that way, but do not affect direction of the piece.

An exception to this was the 1934 play Night of January 16th in which audience members were picked to be a jury, with the ending of the show dependent on whether they found guilty or not guilty. In 1985’s Broadway production of Drood, based on Charles Dickens’ unfinished 1870 novel, The Mystery of Edwin Drood, Rupert Holmes created seven possible endings, decided by audience vote.

Bertolt Brecht demanded that his audiences think and be separated from the emotional attachment of ‘culinary theatre’ which merely refreshes like a meal. He didn’t have alternative endings, but stripped away the traditional trappings of darkened theatre auditoriums and illusion to make actors and audience aware, thinking and responsive to the message.

Augusto Boal developed a range of theatrical experiments designed to spread a political message through games, improvisational exercises and public interaction. One such, with performers having a meal in a restaurant and using the presentation of the bill to set off discussion/argument about low wages paid to kitchen workers, was performance without the audience even aware they were witnessing theatre with a message, till invited to join the staged, heated discussion.

There are equally more unusual, even bizarre performance spaces such as streets, derelict/disused factories, warehouses, hospitals, schools, markets, railways/bus stations. These typically require interplay with audiences of some kind. These are often referred to as site-specific performances, especially when a performance is tailored to a particular, unique setting. These were popular in the 1950s and 60s and went under the name of Happenings, or Events.

In Chicago and Toronto and touring, the well established company The Second City is but one troupe who specialise in sketch comedy and improvisation drawing on audience input, rapid thinking and a sense of life’s absurdities. Also in Chicago, Supernatural Chicago blend true stories of local paranormal strangeness with improvised comedy, magic and psychic shows. Interactive Theatre Australia are another company mixing the scripted with improvised, bouncing ideas off/from audiences

Touching Is the Latest Must-Have Development

After watching, came joining in verbally if not physically. Now comes actual physical touching, hugging, kissing, stroking. In 2007 the UK’s Guardian reported on the way participatory theatre shows and the companies developing interactive performance have changed people’s relationships not only with theatre spaces, but with actors themselves.

In Six Women Standing in Front of a White Wall at the Edinburgh Fringe Festival, the audience were invited to touch or hug six red dressed women writhing, scratching themselves like affection-starved children. When touched/hugged, they blossomed. When physical touch stopped, they visibly wilted, mouths silently screaming. The audience was given power and responsibility: to extend suffering or mercy. In this way, the audience became a part of the performance, intriguing to watch.

Mark Ball, Director of the “London International Festival of Theatre”, believes technology is driving the current increase in audience interplay. It’s ubiquitous nowadays, integrated into creativity that means spectacle and entertainment now demand additional physicality.

Punchdrunk has become of the UK’s leading exponents of this kind of theatre. Their Masque of the Red Death allowed audiences to wander round an atmospheric house opening drawers, looking in cupboards. Founder Felix Barrett reckons that his love of unexpected spaces began in his childhood. Tunnels, disused underground trains, barges, dark corners of urban decay: all forgotten areas are grist to the creative mills of spatial-awareness performers, who absolutely demand participation.

Working exclusively with very young children and young people with profound and multiple learning disabilities, UK’s Oily Cart, founded in 1981, create innovative, multi-sensory and interactive productions, developing work as it goes along in each performance. Dreamthinkspeak was founded in Britain in 1999, based in Brighton, and they “explore space, light, image, film, sound and text to create performance that explores how different environments can radically alter the relationship of the audience to the work being performed”. They stress they are creating accessible theatre as well, so this may be a slight variation on a theme of interplay.

Just as all performance is: a variation, a mix, a fusion, a new realisation of the old.

First published on Suite 101, 14 July 2010.

Photo: Do Audiences Prefer to Watch or Participate? – Cwphdafong

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Schools of the Future May Not Be Actual Buildings at All

Do Future Schools Need Actual Buildings? - Bidgee
As the UK schools’ rebuilding programme is slashed, now could be the right time to wonder about tomorrow’s education in custom-made structures.

Britain’s schools and colleges are currently wrestling with public spending restrictions. Rapid rethinking is being done on what to spend on updating worn-out, often crumbling infrastructure. The tension between perceived quality teaching and learning in state-of-the-art schools, and what taxpayers and government are prepared to pay, is tangible.

Webster’s Dictionary defines education as “the process of educating or teaching….” Anybody digging deeper into this finds it necessary to define knowledge, skills, understanding, character, development. There is, in short, no universally agreed definition of education nor how it should be accessed. Teachers’ Mind Resources opened a debate on educational definitions in the early part of this century. The definitive meaning is still awaited.

Don Berg of Attitutor Services argues that education is a process of “cognitive cartography” and believes that education as delivery of knowledge, skills and information is misguided. He claims “the proper definition of education is the process of becoming an educated person, with access to optimal states of mind, able to perceive accurately, think clearly and act effectively to achieve self-selected goals and aspirations.” If that is so, does it all need to be in buildings?

Organisational Preoccupations in Educational Settings

In the absence of an absolute benchmark, the school system is tinkered with, assessed and monitored, producing people in various degrees of fitness for their futures. Changes to lengths/timings of the school day; more homework/less homework; more regular national testing/less frequent localised testing; schools with differing specialisms; earlier starts/later finishes; mid-days as social/eating/health opportunities; personalised versions of the school/national curriculum: all these and more are adjusted endlessly in parts of Britain.

Some children have extra tutoring after school for grade-improvement or to learn a skill not available in schools. Others receive home tuition, because they cannot cope or are bullied, or there are other issues that prevent them from being part of a daily school community.

Increasingly, parents are attracted to teaching their own children at home. While the lack of social intercourse is a down-side, the advent of advanced technology has made it more feasible. In many Australian outback communities, there are too few children to justify conventional buildings. They learn at home by School of the Air, originally radio, now satellite communication.

In other areas of the world, from Africa to Canada, distance learning is long established. Universities offer courses to students who stay at home and learn on-line, having work marked, taking part in seminars and discussions. People in huge areas of the globe learn by oral tradition, which often surprises people of conventional mind-sets.

Revolutions are Already Turning Schools Upside Down

Therefore, school as a single-purpose establishment is not universal. Even where “school” is a deeply embedded part of the cultural fabric, as in the UK, some experiments in the previously unthinkable have produced startling results, suggesting applications in the world of work.

“Spaced Learning” is a concept of short, sharp, intense periods of learning (say 8 minutes) interspersed with short periods of totally different activity: physical or relaxing. The information is repeated, and then again after a further break. It seems to produce better results through improved concentration, long-term memory development and more positive teenage motivation.

Partnered with Microsoft Education, UK’s Monkseaton High School in Tyne and Wear has pioneered Spaced Learning. The idea has also drawn on research from USA’s Eunice Kennedy Shriver National Institute for Child Health and Development, which confirmed a link between effective brain cell development and regular constructive breaks.

The exact opposite of this concept has won as many enthusiasts. In Leasowes Community College in Dudley near Birmingham, UK, lessons can run over several days, allowing students to absorb theory and practice, gain deeper understanding and minimise disruptive, time-wasting movement. In 2008 they won the 21st Century Learning Alliance Award for innovative curriculum approaches. Monday-Thursday they follow a traditional pattern, but Flexible Fridays permit timing experiments to reinforce new learning and applications.

“One Size Fits All” in Education Has had its Day

The notion that every person learns, retains, applies in the same way at the same rate, no longer holds water. Extending the use of costly school buildings for the community into evenings, weekends and holidays barely scratches the surface. The fundamental question is: does the next decade need automatic new schools? Of course, areas like drama teaching do need not only real space, but students to be physically present together.

According to Shift Happens (both US and UK versions), ‘today’s learners will have 10-14 jobs by age 38; the top 10 in-demand jobs in 2010 did not exist in 2004; we are currently preparing students for jobs that don’t exist yet, using technologies that haven’t been invented in order to solve problems we don’t know are problems yet’.

Change, development, advances in knowledge/information are exponential. The number of daily text messages sent exceeds the population of Earth; there are about 540,000 words in the English language, five times the number in Shakespeare’s time; and a week of the New York Times contains more information than anybody alive 200 years ago learned in a lifetime.

While educators, parents, taxpayers, legislators, employers and young people absorb that, architects go on designing newer glass/steel, energy-efficient, environmentally supportive temples of learning, harnessing technology which ages as it’s installed. What else can they do till the future arrives?

First published on Suite 101, 12 July 2010.

Photo: Do Future Schools Need Actual Buildings? – Bidgee

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Sometimes Sickeningly Sentimental Songs the Key to Chart Success

Any Disaster Can Be Made Into Hit Song - FEMA News Photo
The craze for songs about death, crashes, murders, accidents and disasters was not confined to the 50s and 60s. Such music has always been lucrative.

According to folk history, “folk music entertains, tells or supports a story transmitted from generation to generation… music of the common person as well as the wealthy”. Much American folk originated in Europe, often in oral tradition.

It’s a long-lasting genre, that has influenced other arts. It has embraced life’s themes: death, love’s shades, religion, accidents, tragedies, murders, relationships, breakdowns, transport, suicide and war. Train crashes have been a staple. Deaths of train-riding hobos, brave engineers saving others, trains knocking people down. Yet all deaths in infinite variety have inspired further tragic songs in western culture.

Early Examples of Tragedy Set to Music

1954 saw The Drunken Driver released, which told of two children killed while walking. The Fatal Wreck of the Bus is from murder ballads and disaster songs in the 1913-1938 period. Drownings feature in songs such as Kiss Me Mamma, For I Am Going to Sleep; Asleep in the Briny Deep and The Flood Disaster of 1937. The 1912 loss of the Titanic inspired songs such as The Sinking of the Titanic and Just As the Ship Went Down.

Dream of the Miner’s Child, Bonnie James Campbell and Baltimore Fire covered demises in mines, horseback riding and inferno, respectively. Crushed in a construction accident is the lot of the lad in The Dying Boy’s Prayer. It’s commonly assumed that 1992’s Tears in Heaven, by Eric Clapton in memory of his son who fell to his death through a window six floors up (“would you know my name/if I saw you in Heaven”) is in the tragic-ballad genre.

Death Turns Pop

As 1950s pop music began, along came Teen Angel (1959), about a young couple’s car stalling on a railroad track. He pulls her to safety, but she goes back for the ring he gave her and is killed by the train. It was banned in Britain by the BBC and many US radio stations as too morbid, yet reached Number 1.

The following year saw Tell Laura I Love Her, a tale of teenage love, where Tommy’s car overturns and ignites during a stock car race to win $1000 to buy a ring for Laura. He spends his last breaths urging somebody to tell Laura he loves her. John D Loudermilk’s 1961 teen ballad, Ebony Eyes recorded by the Everly Brothers, tells of a young man’s loss of his fiancee in an airplane crash.

Crashes seem endlessly appealing to songwriters, singers and the record-buying public. Right up to date, there is mileage in last words and aftermaths. The Normal in the 1980s in Warm Leatherette, urged, “Quick, let’s make love before you die”. Motorcrash (1988) by The Sugarcubes, recorded: “I rushed to the center/saw the injured parents/cuts on the children”.

That arts feed off each other is borne out by Billy Gentry’s Ode to Billy Joe (1967), Porter Wagoner’s The Carroll County Accident (1969) and The Night the Lights Went Out in Georgia (1973). These songs may or may not be variations on the same theme, place and tragedy. It’s debatable.

What’s not in dispute is the sheer number of mishap songs. Jan & Dean’s 1964 surfing Dead Man’s Curve about a teenage drag race that goes wrong, foreshadowed a near-fatal accident that Jan Berry would have two years later. Graham Parker wrote Crawling from the Wreckage (1979), also recorded by Status Quo and Dave Edmunds; Steal Your Keys and Crash Your Car came from punk band Flesh Vehicle in 2000. Tricky came out with Car Crash; Let This Be a Lesson to You (Drunk Driver) was 2004‘s message from Tommy Ellison and the Singing Stars. The Blood Brothers made Love Rhymes With Hideous Car Wreck in 2004.

In 1980, Bruce Springsteen wrote Wreck on the Highway about a man traumatised witnessing a hit-and-run on an isolated highway. He took it from the 1940s’ song of the same name, which was a cover version of the Dixon Brothers’, I Didn’t Hear Nobody Pray (1938). Covers or originals, disaster is commercially evergreen.

Way Out Front, the Leader

For some, girl group Shangri-Las 1964 hit, The Leader of the Pack, is the ultimate morbid ballad. Betty confirms she is dating leader of the motorcycle pack, Jimmy, despite her parents’ disapproval. They ask her to find someone new; he’s from the wrong side of town; she tells Jimmy goodbye. He roars off, skids, dies.

Again, it was both banned by some broadcasters as tasteless, and a hit. So was 16 year-old English Twinkle’s (Lynn Ripley) song about a fictional boyfriend, Terry, who perished in a motorcycle accident.

Perhaps 1968‘s Honey, or Honey (I Miss You), charted by Bobby Goldsboro, is the most maudlin song in the style. The male narrator bemoans how angels came for his beloved Honey, remembering her by a tree that was just a twig when they planted it in the garden. Strings and high sentimentality paid off: it topped both singles and country charts in the US, and reached Number 2 in Britain.

1961’s Big Bad John performed by Jimmy Dean added heroism to tragedy. A quiet, mysterious giant of a miner who killed a man over a Cajun woman in New Orleans is working when the mine roof gives way. Single-handedly, he props it allowing twenty miners to escape, before he is lost in the collapse.

They’re all heartwarming, sentimental stories of tragedies set to catchy tunes. That’s why they were popular.

First published on Suite 101, 4th July 2010.

Photo: Any Disaster Can Be Made Into Hit Song – FEMA News Photo

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Bob Dylan, His Lyrics, The Bible, Scripture and Religion

Dylan Draws on Bible in Songs & Concerts - Piedmontstyle
The Bible sits in the centre of much of the world’s cultural heritage. So does Dylan, echoing or thundering its imagery, often in ways people don’t realise.

Folk purists who booed him when he went electric in 1965/66, serious students of the man and his canon (Dylanologists) or friends/fans who feel they know him personally (Bobheads), have to agree to disagree about the importance of the Bible/Christianity in Dylan’s writing.

Others might argue that music is the medium and words don’t work on the page anyway. Are the lyrics actually poetry? Aren’t they meant to be oral performance, not literary study?

Dylan, the Well-Read Jewish Writer

So how does a Jewish-American boy born of a father named Abram Zimmerman in Duluth, Minnesota, raised in Hibbing, Minnesota, come to be nominated for the Nobel Prize for Literature in 1996? Because he has created a catalogue of writing that is not just a backdrop to the past fifty years, but because lyrically and musically, many of his songs have been made into classics by others and his awards are legion.

Bert Cartwright, in his 1985 book about Dylan and the Bible said: “The genius… lies in his remarkable ability to meld into artistic expression the music of America’s poor whites and African-Americans with the sophistication of an informed and enquiring mind”. He argued that the Bible was “the common denominator” of both worlds. Those who sang the blues, went to church.

At the very least, young Robert Zimmerman gained a rudimentary knowledge of Jewish Torah; it’s clear he absorbed almost the entire Bible, too. Dylan described himself as a messenger; others styled him an artist-prophet. He wore that mantle somewhat reluctantly, just as he rejected the label “protest singer” about his more overtly political songs.

In his book, Tangled Up in the Bible, Michael J Gilmour, said that biblical prophets described and evaluated their contemporary worlds and their critique was often rejected. Thus Gilmour, likened Dylan to prophets of old. Stephen Webb in Dylan Redeemed said: He rose to fame so quickly because he imbued rock with something otherworldly – a supersonic rendition of the supernatural – which gave popular music enough weight to convey something of the mystery of religious faith”.

Dylan, the Born-Again Christian

Whatever he believed previously, he became an openly born-again Christian in 1978. The conversion came after the collapse of his marriage and a period of low public and critical esteem, more in the US than UK. Many turned off his music and disliked his involvement in movies. In November, at a concert in San Diego, California, somebody threw a silver cross onto the stage which he picked up and put in his pocket.

The next gig was at Tucson, Arizona. In his hotel room, feeling alone and in need of something more than he had, he picked up the cross, and felt he had a profound, life-changing vision of Christ revealed. Some of his band members and Mary Alice Artes with whom he was romantically linked, were Christians. Among other things in his life, from then, he began writing lyrics and album notes reflecting his new spirituality.

He felt compelled to attend a lengthy Bible study course at Vineyard Fellowship, where music was a fundamental part of worship. The Bible moved from being a literary source to a drive in songwriting and remarks on concert stages. His album Slow Train Coming (1979) was a direct result of his beliefs.

The songs Precious Angel, Gonna Change My Way of Thinking, When You Gonna Wake Up? and When He Returns drew on the Book of Revelation, about the end-times, but include references to numerous other Bible passages. Gotta Serve Somebody is influenced by Matthew 6.24 and Luke 16.13.

His Saved album followed a year later, and is about personal faith. The title song, What Can I Do For You?, Solid Rock, Pressing On, In the Garden, Saving Grace, Are You Ready?, draw on both Testaments, from Genesis, through prophets and Psalms, to the disciples.

Dylan, the Everyman Poet for All Seasons

Connections and links to the Bible are legion in his songs. Often there are multiple references in a single song. Masters of War has: ‘lying and deceiving like Judas’ (Matt 10:4; 26:14-16; John 6:70-71 and 12:4-6). The line ‘Jesus would never/forgive what you do’, from Matt 9:2-8; Mark 2:5-12; Luke 5:20-26 and 7:48-49.

Gates of Eden from 1965’s Bringing It All Back Home has traceable references to Genesis, Exodus and Revelation. Bob Dylan’s 115th Dream has the Book of John. Tombstone Blues from 1965’s Highway 61 Revisited, has images from, Kings, Judges and John again. Knocking on Heaven’s Door from Pat Garrett & Billy the Kid (1973) links to Matthew, Luke, John and Revelation.

Gilmour’s scholarly book has an appendix of every Dylan song with each Biblical line identified, yet many Dylan studies ignore or downplay his Biblical impact. His evangelical tone alienated some fans, yet brought new ones from the Christian area.

Slow Train Coming made number 2 on the UK album charts, number 3 in the US and number 16 in CCM (Contemporary Christian Music) Magazine’s 2001: 100 Greatest Albums in Christian Music. The song Gotta Serve Somebody won Dylan the Grammy for best male rock vocal performance of 1980.

Like all great writers, Dylan’s works will be debated and pored over for years to come.

First published at Suite 101, 3 July 2010.

Photo: Dylan Draws on Bible in Songs & Concerts – Piedmontstyle

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