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PostPosted: Wed November 8th, 2017, 02:14 GMT 
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Arena Show
16 November 2017
Thursday

Boston, Massachusetts

Agganis Arena
Showtime: 7:30 PM
Capacity: 7,200


This is the 77th show of the 2017 Never Ending Tour


with special guest Mavis Staples

Previous 2017 shows:
28 Europe Spring
28 North America Summer
20 USA Fall
----
76 Total 2017


---
Time Capsule from 1915 Discovered at Agganis

Boston University

BU students find treasure from building of Commonwealth Armory

Emma Purtell, Sarah Mankey, and Adam Mumford thought their summer jobs at BU’s Facilities Management & Planning (FM&P) were going to be a bit of a slog. Along with a handful of other students, they were shown to a windowless room containing decades of files that had to be sorted, recorded in a computer database, then packed into 500-plus crisp new numbered boxes for posterity.

“We worked really, really hard every single day,” says Purtell (CGS’17, COM’19). They thought they were nearly done when word came that 93 more boxes of contracts, plans, and other material relating to University building projects had just been retrieved from a storage cage in the upper levels of Agganis Arena.

Mankey (CAS’18) and Purtell—along with their supervisor, Jeff Hoseth, FM&P associate director of construction services—found something unexpected when sorting through one of those boxes late one afternoon in early August. Nestled among the paperwork was a copper container about the size of a toaster. The top had been pierced in the middle with a sharp metal object—a claw hammer perhaps, or a pry bar—then ripped open.

“The first thing I thought was, it’s a time capsule,” says Purtell, who is studying film and journalism.

She was right. What they had come across was a time capsule buried in June 1915 when the cornerstone was laid for construction of the Commonwealth Armory, a Massachusetts Army National Guard armory. The box had apparently been unearthed in 2002, when the armory was demolished to make way for the University’s John Hancock Student Village complex, which includes Agganis Arena, FitRec, and StuVi II.

But while the armory’s original cornerstone was reset into the new arena’s southeast corner wall (look for “MCMXV”—1915), near a marker giving the armory’s history, the time capsule was placed in a box and presumably forgotten for 15 years.

“The things we found inside were really amazing and interesting,” says Purtell. There was a copy of the Manual of the Massachusetts General Court from 1914, a thick volume damaged all the way through to page 75 by whatever instrument had pierced the lid. Other items: a 1915 newspaper (Boston Daily Advertiser) with headlines about World War I, coins (including an 1894 quarter), a map of the then-new MTA subway to Harvard Square (now known as the Red Line), a document that appears to be a request for proposals for the construction of the armory, and photos of dignitaries connected to the project. There are also rosters listing men serving in the Massachusetts Volunteer Militia, Battery A, First Battalion, whose home base was the armory, and a Boston Past and Present photobook.

“I’m just blown away by how good the condition of some of this stuff is, considering it’s 100-plus years old at this point,” says Mumford (CAS’18), who had been out on an errand and returned in time to help Mankey, Purtell, and Hoseth unpack the capsule’s contents.

The armory served the militia (later called the State Defense Force, now disbanded) and the National Guard for decades.
Later it was the site of rock concerts by artists like Bob Dylan and the Who as well as the occasional anti-Vietnam War protest, before being sold to BU in 1982.

Hoseth says the University is now contacting the National Guard about the proper disposition of the time capsule and its contents.

For the students, the unexpected find has turned out to be the highlight of their summer. “It’s really rewarding, because we found this near the end of our project,” says Purtell. “And at the beginning of project, we thought, there’s no way we can get this done. There are so many boxes—how are we ever going to get through them?”

“One of the people in the office said this was like the cherry on top,” Mumford says. “The reward for all the hard work was finding this historical treasure trove.”

https://www.bu.edu/today/2017/commonwea ... e-capsule/


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PostPosted: Mon November 13th, 2017, 11:55 GMT 
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Both Thomas and Ricks will be there, no doubt.
Was in this very arena with Ricks the last time Bob played here years ago...
Ricks had his eyes closed, intently listening at points, attempting to become one with the lyrics.
Hmm, it might've been earlier than Bob's last time there...
Now that I think of it, there was a pleasant surprise guest on stage for Dogs Run Free. Lemme check boblinks.com Older Set Lists...

EDIT: Well, shit, time flies...it was 17 years ago! Matt Glaser of Berklee was the violinist who joined for Dogs and Released.
That was Nov 2000! Seems like only yesterday.


Richard F Thomas: Why Dylan Matters review - Tangled Up In Clues
Opening the door on Homer - why it's all Greek to Dylan
by Liz Thomson - 12 November 2017

Harvard classicist makes the case for Bob Dylan
A year ago, Bob Dylan was awarded the Nobel Prize for Literature, his work commended by the committee "for having created new poetic expressions within the great American song tradition". The media response was like no other and we admirers felt vindicated. Still it was often necessary to explain why he deserved it and easy to fall back on the evidence of that mighty handful of great 1960s albums, plus Blood On the Tracks, Oh Mercy and Time Out of Mind.

Professor Christopher Ricks, long-time Dylan advocate whose vast output includes a fat tome on Dylan’s Visions of Sin, was among the cheerleaders. He has long compared Dylan to Milton, Tennyson and Eliot. When the news was announced, Richard F Thomas, Professor of Classics at Harvard, just across the Charles River from Ricks in Boston, was, coincidentally, heading off to teach his regular freshman seminar on Dylan.

A teenager in New Zealand when Freewheelin’ was released, Thomas has now written a book – one that carries an endorsement from fellow-classicist Mary Beard, noting that he is the first classicist properly to turn his attention to Dylan.

For Thomas the singer-songwriter is “the supreme artist of the English language in my time” whose work “is literature, in an expansive rather than a limiting sense of the word”. But, “at the same time, Dylan’s award gives us reason to call into question the way we define ‘great literature' in modern society”. Robert Shelton, the New York Times critic whose 1961 review is credited with gaining Dylan his first record contract, long ago made the case for him as a poet, pointing out that Homer, too, was a busker.

Thomas rightly argues that the arts today are more vital than ever in what they can teach us and that “the art of Bob Dylan, no less than any other works produced by the human mind in its most creative manifestation, can be put to work serving and preserving the humanities”. His book makes a powerful case for doing so.

Why Dylan Matters
Inevitably he’s a Dylan anorak (he notes that “Blowin’ in the Wind” has been sung live by Dylan 1,400 times since the 1971 Concert for Bangladesh, “Masters of War” 884 times by the close of 2016) but he writes engagingly, eschewing straightforward biography and focusing on key albums and songs which he subjects to intertextual analysis. From the vast acreage of newsprint, he offers quotes from interviews, particularly those by Mikal Gilmore, where Dylan has, often elliptically, thrown huge light on his work, offering signposts which have gone unremarked – even by clued-up interviewers.

In 2001 he told Gilmore that he was “talking to a person that feels like he’s working around in the ruins of Pompeii all the time. It’s always been that way”. Years before, “When I Paint My Masterpiece” was replete with Roman allusion, and Rome is a city to which Dylan has often travelled.

At Hibbing High he opted for a Latin class and in his early days in Greenwich Village he lodged for a time with Ray Gooch and Chloe Kiel, whose library (according to his memoir Chronicles, on which Thomas lavishes praise) provided the young Dylan with much food for thought: Thucydides, Sophocles, Tacitus, Ovid, Machiavelli, Dante, Suetonius… In 1991, with the first Gulf War raging, he told an interviewer: “You read the history of Ancient Greece and when the Romans came in, and nothing will ever bother you about America again. You’ll see what America is.”

Thomas does a great job of assembling such fragments, his commentary providing a context for his textual analysis. In “Lonesome Day” from “Love and Theft” he hears “Virgil, greatest of the Roman poets, singing with the voice of Dylan” who, like Virgil in Book 6 of the Aeneid, wants to “spare the defeated” and “tame the proud”. He hears Virgil also in “the majestic sadness” of “Not Dark Yet” (Time Out of Mind), “among the most poetic of Dylan’s songs”.

But Thomas doesn’t just write about Dylan and the Classics. He looks also at the influence of Rimbaud (as have many other critics) and suggests that the poem that inspired “Chimes of Freedom” was “Poor People in Church", which echoes both Rimbaud’s style and sentiment. He tackles “transfiguration”, which he describes as “an intertextuality of characters in the song, as much as the straight texts themselves", writing at length about “Tryin’ to Get to Heaven” (also from Time Out of Mind) which has “at least ten intertexts which Dylan arranges and reworks to produce a song whose elements speak from their own original contexts, while at the same time becoming integral and vital parts of the new song”.

Using the famous “little blue notebook” (now in Tulsa, where Dylan’s archive will sit alongside Woody Guthrie’s), Thomas shows the meticulous work which went in to Dylan’s greatest songs, not least “Tangled Up in Blue”.

Dylan’s art, contends Thomas, “transcends time, and the power of his songs appeals to young adults whose parents were not yet born when Dylan started putting his words and music together. Dylan is here to stay. He has become a classic.”


http://www.theartsdesk.com/books/richar ... gled-clues


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PostPosted: Wed November 15th, 2017, 11:39 GMT 
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Agganis is gonna make me give myself a good talking to.

Trading a Theater for an Armory seems preposterous!


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PostPosted: Thu November 16th, 2017, 02:20 GMT 
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Full Tilt Boogie...


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PostPosted: Thu November 16th, 2017, 04:37 GMT 
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Barefoot :lol: 'round the world


Everybody'sgoingandIwanttogotoo
Don'twannatakeachancewithsomebodynew
IdidallIcouldandIdiditrightthereandthen
I'vealreadyconfessednoneedtoconfessagain


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PostPosted: Thu November 16th, 2017, 14:33 GMT 
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Thought about going today but whats the point if I saw him in Summer of 2016 and thought meh.


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PostPosted: Thu November 16th, 2017, 15:11 GMT 

Joined: Sat August 2nd, 2008, 14:26 GMT
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I saw him at the Providence Performing Arts Center earlier this year, loved it, but knowing what the setlist is ahead of time, rigid that it is, is keeping me away.......


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PostPosted: Thu November 16th, 2017, 16:10 GMT 
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It’s what works for you, of course.
Certainly have had those feelings from time to time as well and understand where you are both coming from. If your close by, then it’s your loss, IMHO.

Crazy tight performance right now makes it very difficult to stay away.
Finding a way to experience at least one more this Fall, from this crazy point of view.

Of course, if it’s only about the Set List, or to say you went, or some other surface reason, then it probably ain’t the right fit anyhow.

Being completely insane, of course, is helpful.


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PostPosted: Thu November 16th, 2017, 17:16 GMT 
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Still Go Barefoot wrote:
It’s what works for you, of course.
Certainly have had those feelings from time to time as well and understand where you are both coming from. If your close by, then it’s your loss, IMHO.

Crazy tight performance right now makes it very difficult to stay away.
Finding a way to experience at least one more this Fall, from this crazy point of view.

Of course, if it’s only about the Set List, or to say you went, or some other surface reason, then it probably ain’t the right fit anyhow.

Being completely insane, of course, is helpful.


There it is.


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PostPosted: Thu November 16th, 2017, 17:20 GMT 
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yep Kurtz you're right Barefoot nails it. go for the band stay for the singer.


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PostPosted: Thu November 16th, 2017, 19:43 GMT 
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Exactly what Barefoot said, as seconded by Bobschool and Kurtz.

It is, indeed, as someone hERe recently noted, a very, very good time to be a Bob fan.

I wish everyone attending tonight a fantastic evening! Including Bob, Mavis, bands, and crew!

Me, I'm still three feet off the ground after Philly and DC.




....and re-reading Barefoot's notion about finding a way for one more... *sigh* don't put those thoughts in my head, man! Listening to the fabulous recordings will have to do for now... I guess.............?


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PostPosted: Fri November 17th, 2017, 01:12 GMT 
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this is ABSOLUTELY mind blowing

i wasn''t looking for it
but i just had to pass it along

a light installation by the famous Danish-Icelandic artist that i swear

is using a photo of bob and the band's lineup as models to sculpt their forms IN LIGHT

https://www.instagram.com/p/BbkQzLPj84Q ... ld_unknown


here's he artist olafur eliasson's website http://www.olafureliasson.net/




-----------------------------------------------------

the_wild_unknown
“And I'll stand on the ocean until I start sinking.” ⠀
― #bobdylan
❤️ light installation via #olafureliasson

https://www.instagram.com/p/BbkQzLPj84Q ... d=bobdylan


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PostPosted: Fri November 17th, 2017, 03:30 GMT 

Joined: Sat March 31st, 2007, 09:47 GMT
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Location: Duluth, Minnesota
Boston, Massachusetts
Boston University
Agganis Arena
November 16, 2017

1. Things Have Changed
2. It Ain't Me, Babe
3. Highway 61 Revisited
4. Why Try To Change Me Now
5. Summer Days
6. Melancholy Mood
7. Honest With Me
8. Tryin' To Get To Heaven
9. Once Upon A Time
10. Pay In Blood
11. Tangled Up In Blue
12. Soon After Midnight
13. Early Roman Kings
14. Scarlet Town
15. Desolation Row
16. Thunder On The Mountain
17. Autumn Leaves
18. Love Sick

(encore)
19. Blowin' In The Wind
20. Ballad Of A Thin Man

Thanks to Susan & Al for the phone call
and Peter McLaughlin and Cameron Swirka for the email..

Set lists, reviews, and information on
upcoming concerts can be found on the Bob Links
Tour Infomation page located at:
http://www.boblinks.com

Bob Links Main Page:
http://www.boblinks.com


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PostPosted: Fri November 17th, 2017, 03:41 GMT 
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OMG can’t wait for the recording to see if I was in a trance


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PostPosted: Fri November 17th, 2017, 04:04 GMT 
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:lol: :lol: :lol: Barefoot you're amazing

you must travel as many miles as the band


https://www.instagram.com/p/BblOGYqFOSQ ... therockgod

oh mann, he has that regalia sparkle shirt like from Richmond, is that the white tux jacket too? the satin lapel touch about knocked me over

all these new outfits are to die for but you have to see them in person to understand the grace notes

real menswear for real men


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PostPosted: Fri November 17th, 2017, 04:22 GMT 
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Charlie given a lotta room tonight.
Really nice...


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PostPosted: Fri November 17th, 2017, 04:52 GMT 

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ahhhh mannn

the black sparkling universe


is marijuana legal in boston?


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PostPosted: Fri November 17th, 2017, 05:08 GMT 
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thanks barefoot!



as i was running out the door before i couldn't take time to find the reason


for the synchronicity of that perfect dylan quote paired with the Olafur Eliasson installation

by the outstanding occult store in Portland "The Wild Unknown" named after bob's lyric


this short video shows Olafur's use of mist, reminds me of Jannis Kounellis https://www.youtube.com/watch?v=x62Yqu0PTkM

Arte Povera from the '70's and Jannis Kounellis are my ground zero and consider bob's work to have helped birth the weight of their subversion


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PostPosted: Fri November 17th, 2017, 06:28 GMT 
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Listening to Washington and I have to say that replacing September Of My Years with Soon After Midnight was an inspired move. The show flows really well that way. Even within the context of new arrangements, nary a verse of anything passes by these days without some invention on Dylan's part, so I'm sure attendees tonight had a great time.


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PostPosted: Fri November 17th, 2017, 11:58 GMT 

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I'm happy for all the folks having fun this tour. Bob's the best! I find the enthusiasm for these shows bewildering though.


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PostPosted: Fri November 17th, 2017, 13:22 GMT 
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restless fever wrote:
I find the enthusiasm for these shows bewildering though.

I find that statement bewildering in itself.
Which shows were you at this Fall?


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PostPosted: Fri November 17th, 2017, 14:37 GMT 

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I've attended zero shows so can't speak from personal experience as to being there live. I do have ears though and having listened just don't get all the hoopla. I don't find this set appealing at all. Sorry but a new arrangement of Honest With Me just doesn't get my mojo workin'. If others enjoy it that's great as I stated before.


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PostPosted: Fri November 17th, 2017, 15:12 GMT 

Joined: Thu August 27th, 2009, 05:49 GMT
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Great energy last night. Bob and band were in a great mood. Front floor stood for the entire show, which was fantastic.

Abe


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PostPosted: Fri November 17th, 2017, 16:00 GMT 

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Could see zero from my front row center seat. When de stood I saw his eyes up. When he sat I saw nothing. Ppl next to me couldn’t see either on my left or right nor could the ppl in back of me


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PostPosted: Fri November 17th, 2017, 16:03 GMT 
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What? You were there?
How did we miss? Hugs.
I thought it ranked as one of the better shows of the past 8 yrs or decade.


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