Bob Dylan 's Stealing of James Damiano 's Songs

The most covered up story in the history of Rock and Roll.

Hidden from the public by the mainstream press for over fifteen years.

It is uncontested by Bob Dylan and or Bob Dylan's law firm Manatt, Phelps & Phillips, Parcher Hayes & Snyder, Gibson Dunn & Crutcher, Hecker Brown & Sherry including Mary Jo White, Steven hayes, Jonathan Liebman, and Sony House counsel that Bob Dylan and people in Bob Dylan's entourage have solicited James Damiano's songs and music for over ten years.

Few artists can lay claim to the controversy that has surrounded the career of songwriter James Damiano. Twenty-two years ago James Damiano began an odyssey that led him into a legal maelstrom with Bob Dylan that, to this day, fascinates the greatest of intellectual minds.

As the curtain rises on the stage of deceit we learn that CBS used songs and lyrics for international recording artist, Bob Dylan. Bob Dylan's name is credited to the songs. One of those songs is nominated for a Grammy as best rock song of the year. Ironically the title of that song is Dignity.

Since auditioning for the legendary CBS Record producer John Hammond, Sr., who influenced the careers of music industry icons Billy Holiday, Bob Dylan, Pete Seger, Bruce Springsteen and Stevie Ray Vaughan, James has engaged in a multimillion dollar copyright infringement law-suit with Bob Dylan.

In a last nail in the coffin scenario James Damiano's movie "Eleven Years" draws the straw that breaks the camels back, rivets Bob Dylan to his secret past of plagiarism and rewrites musical history"......Virtue Films

http://christinejustice.yolasite.com/

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I’d like to talk about a new Bob Dylan tribute album that’s out today called Bob Dylan in the ’80s: Volume One, in the hope that I can make some sense out of it. As the title plainly states, Bob Dylan in the ’80s is focused on Dylan’s least celebrated decade, a period the man himself believes just about put an unceremonious end to his storied career. It features a few artists you might have heard of (like Built to Spill and Glen Hansard) and many you haven’t covering songs that Dylan himself rarely plays anymore. Saluting this era is analogous to erecting a statue in honor of “fat” Elvis or awarding a Medal of Honor to The Hangover Part III. It’s a toast to stasis, if not flat-out decay. I’m not suggesting that Bob Dylan in the ’80s is not a good record (it is!), but it’s very weird (and yet also somehow predictable) that it exists.

thenewgreen, I think you're a Dylan fan, you might enjoy this article.

I grew up in Los Alamos. I was eight years old when the ridiculous jet-powered Honda showed up. To set the scene, the fact that it had a California plate was almost as exciting as the jet engine sticking out the back; the nuclear community is tiny and insular.

I asked my father about it at the time. He had nothing but scorn and contempt for it; he explained that it wasn't even a proper jet (his paradigm was a Williams turbofan) and that even a proper jet wouldn't make enough power to make the car worth bothering with. His observation was that the jet dragsters always make the crowd happy but the top fuelers absolutely dusted them.

I've never spoken to anyone who saw that stupid little Honda going fast. We all knew when he was running it, though. Los Alamos is built on five mesas and you could hear the thing a ten minute drive away. He was gone shortly thereafter. My father relayed something about how he was a con artist who scammed everyone out of money and quit before he could be jailed. When I found out he was Patient Zero for a lot of the Area 51 UFO nonsense I laughed and laughed and laughed. It still entertains me that the Little Ale-E-Inn has a shot of Bob Lazar next to a shot of Chuck Yeager.

A note about Edward Teller and the general chummy universe of the national physics labs: the exchanges were between Livermore, LANL and Oak Ridge. If you ended up at Hanford you had fallen from grace. If you ended up at Sandia you were never really a scientist in the first place. The dividing line between theoretical physics and applied physics was bright and clear and those over there with the applications were known to be unclean. Even amongst that tableau, Nevada was a place you never went for very long. If you had to go out to observe a test (the last of which happened my junior year in High School) you were the object of sympathy.

Within that social clique, however, things were extremely collegial. Everyone at LANL knew everyone at Livermore etc. Through a quirk of history my parents grew up friends with Carson Mark's kids so every Christmas Eve there was a party at Carson's house. By the time I was eight I'd met Edward Teller, Richard Feynman, Stephen Hawking and who knows who else... and had no idea why I should care.

Edward Teller need not have been involved in the slightest in Lazar tricking his way into Dreamland. They need merely have called Livermore to say "do you know this Bob Lazar guy?" for the gossip to have been all about "LOL the crazy jet car guy used your name to get a job in Nevada!". As far as I remember, Teller was utterly devoid of a sense of humor so I doubt the allegation would have gone unremarked. Edward Teller being pained by mention of Bob Lazar requires no actual interaction between Edward Teller and Bob Lazar.

It turns out Bob Dylan is big Frank Sinatra fan. You just probably won't hear it from him. To promote Shadows In The Night, an album of songs Sinatra made famous, Dylan gave just one print interview — to the AARP.

"Bob [Dylan] intentionally wanted to reach the AARP audience," says Bob Love, editor in chief of AARP The Magazine, "and he thought that this record would be more appreciated by people who have more wisdom and experience in life."

In 1969, an underground Bob Dylan album featuring unreleased material found its way into the world; 40 years later, the effects of this early leak are still playing out.

Masters of War

Bob Dylan, 1963

  Come, you masters of war - 
  You that build the big guns,
  You that build the death planes,
  You that build all the bombs,
  You that hide behind walls,
  You that hide behind desks - 
  I just want you to know
  I can see through your masks -

  You that never done nothin'
  But build to destroy,
  You play with my world
  Like it's your little toy - 
  You put a gun in my hand
  And you hide from my eyes,
  Then you turn and run farther
  When the fast bullets fly.

  Like a-Judas of old
  You lie and deceive - 
  A world war can be won
  You want me to believe - 
  But I see through your eyes
  And I see through your brain
  Like I see through the water
  That runs down my drain.

  You fasten all the triggers
  For the others to fire - 
  Then you sit back and watch
  While the death count gets higher - 
  You hide in your mansion
  While the young people's blood
  Flows out of their bodies
  And is buried in the mud.

  You've thrown the worst fear
  That can ever be hurled - 
  Fear to bring children
  Into the world - 
  For threatening my baby,
  Unborn and unnamed,
  You ain't worth the blood
  That runs in your veins.

  How much do I know
  To talk out of turn?
  You must say that I'm young,
  You might say I'm unlearned,
  But there's a-one thing I know
  Though I'm younger than you - 
  That even Jesus would never
  Forgive what you do.

  Let me ask you one question:
  Is your money that good?
  A-will it buy you forgiveness?
  Do you think that it could?
  I think you will find,
  When your death takes its toll,
  All the money you made
  Will never buy back your soul.

  And I hope that you die
  And your death will come soon - 
  I'll follow your casket
  On the pale afternoon,
  And I'll watch while you're lowered
  Down to your deathbed,
  And I'll stand over your grave
  'Til I'm sure that you're dead.

An unusual tune from what I know of Bob Dylan..a really cool track.

There's more than painting there.

I used to watch him and Ze Frank all the time... after seeing Ze the other day, I thought of bob.

enjoy.