A victorious Vince Lombardi is held above Lambeau Stadium
Fun Facts About NFL’s “Ice Bowl”
Where and When?
January 1, 1967 at Lambeau Field, Green Bay, Wisconsin
What was the significance of the game?
This was the 1967 National Football League Championship Game. The winner of this would go on to play the winner of the American Football League (AFL) in Super Bowl II.
What was the final score?
Packers, 21, Cowboys, 17
What 2 famous future NFL Hall of Fame coaches were pitted against each other?
Tom Landry (Cowboys) and Vince Lombardi (Packers)
The Two Star Quarterbacks: "Dandy" Don Meredith and Bart Starr
The game became known as the “Ice Bowl” because the field was a sheet of ice and the air temperature at game time was -13 Fahrenheit. What extraordinary measure had been used to try to keep the field playable?
Warming it with an underground electric heating grid. Packer coach Vince Lombardi had purchased a system of heating coils that were implanted six inches under the field. The coils were intended to keep the ground warm enough to ward off freezing. In “When Pride Still Mattered,” a biography of Lombardi, author Dave Maraniss suggested that the problem came about because of the tarpaulin covering the field. The warm air under the tarp formed condensation, which froze immediately upon exposure to the extremely cold air.
How did Cowboy receiver Bob Hayes help the Packer defense throughout the game?
He kept his hands in his pants. Varying accounts exist of whether Hayes kept his hands in his pants only when the Cowboys were running the ball, or for all plays for which he wasn’t the receiver. But whatever the account, Hayes was the Cowboys’ best receiver, he frequently kept his hands in his pants, and this would let the Packer defense know they didn’t need to worry about him for the play.
How cold were conditions that day?
All of these (CBS sportscaster Frank Gifford said, “I think I’ll take another bite of my coffee”, An official tore the skin off his lip when his metal whistle froze to it, The halftime show was cancelled when the marching band scheduled to play found that its instruments were unplayable). After several officials had problems with their whistles, the officiating crew stopped using them and relied only on voice commands. At least Gifford was in a broadcast booth, and the halftime musicians got to go home early.
Which uncharacteristic miscues by the Packers led to the first 10 points for the Cowboys?
Fumbles. The warm-weather Cowboys eventually adjusted to the cold better than the Packers did. After Green Bay had built a 14-0 lead on two Bart Starr passes to Boyd Dowler, the Cowboys’ George Andrie recovered a Starr fumble and ran it seven yards for the Cowboys’ first touchdown. Later in the second quarter, the Packers’ Willie Wood fumbled a punt and the Cowboys recovered, leading to a field goal that sent them into the warm locker room at halftime trailing only 14-10.
How did Cowboys’ halfback Dan Reeves figure in the touchdown that put his team ahead 17-14?
He threw a pass for the touchdown. Reeves, later a successful NFL coach, threw a 50-yard halfback option pass to Lance Rentzel in the end zone, giving the Cowboys a 17-14 lead on the first play of the fourth quarter.
A month after the game, Vince Lombardi announced his retirement from coaching, making this the last game he coached in Green Bay. For what Packer player was this the last game he played in Green Bay?
Fuzzy Thurston. After playing for two seasons for the Baltimore Colts, Thurston played the remainder of his NFL career from 1959-67, for Green Bay. Hornung was picked up from Green Bay by New Orleans in the 1967 expansion draft, but retired before ever playing for the Saints. Kramer and Starr retired from the Packers and the NFL in 1968 and 1971 respectively. Besides Thurston, this was also the last game in Green Bay for receiver Max McGee and kicker Don Chandler, two other players who played vital roles in the Packers’ title teams.
The Packers won the game on Bart Starr’s quarterback sneak. The play called in the huddle was “31 Wedge.” As the “31 Wedge” play was written, who was intended to carry the ball?
Chuck Mercein. The play was designed to be a handoff to Mercein. This is another moment from the Ice Bowl for which accounts differ as to what actually happened. David Maraniss writes in, “When Pride Still Mattered”, that Starr fearing Mercein slipping before he could take the ball, decided to keep the ball himself but didn’t tell anyone else. Accounts by Jerry Kramer and others described Starr announcing a quarterback sneak in the huddle. No matter what though, as written in the Packers’ playbook, the “31 Wedge” play was designed to be a handoff to the fullback, who on that play was Mercein.
In the famous photograph of Bart Starr’s winning touchdown, Chuck Mercein can be seen with both hands in the air. He later said that he was not signaling a touchdown. Why did he say his hands were in the air?
To show that he did not push Starr. It would have been illegal to assist Starr by pushing him, so Mercein threw his hands in the air as if to say “look ref, no hands!”
What was later shown to have happened on Starr’s touchdown that could have changed the game’s outcome?
Jerry Kramer was offside. In a frame by frame analysis of that play, Kramer can be seen lifting his hand while the ball remains on the ground awaiting the snap. Even Kramer wrote “I wouldn’t swear that I wasn’t actually offside on the play.” Many Packer fans argue though that Donnie Anderson made it into the end zone on the previous play (the officials spotted the ball about two feet outside the end zone though). In fact, Jethro Pugh, the Cowboy blocked to make room for Starr’s score, supported this theory, saying that most of the Cowboys thought Anderson had scored.
The dramatic ending of the game helped provide the name of the book that Jerry Kramer and Dick Schaap wrote, based on Kramer’s diary of the season. What was the book’s title?
Instant Replay. The replays of Starr’s touchdown, and of Kramer’s block on the play, helped make Kramer much more of a celebrity than linemen usually get to be. “Instant Replay” was released the following year and became one of the best-selling sports books in history. In the locker room after the game, Kramer dissuaded center Ken Bowman, also instrumental in the block, from joining him on camera for a television interview. Kramer argued that he was old and that Bowman’s day of glory would come. Little did Bowman realize how rare such recognition is for a center, or that after that season’s Super Bowl, he would play in exactly one more playoff game in his career.
Most reference books list Robert Allen Zimmerman’s birth date as May 24, 1941. But a passport issued to Robert Dylan in 1974 says his birth date is May 11, 1941.
Robert Allen Zimmerman received a D-plus in a music-appreciation class at the University of Minnesota.
Bob didn’t care to speak to other musicians, other than talking about stuff related to music and what they were recording or playing at the time. He would speak to people he knew, but wasn’t really interested in becoming “friends” with the musicians he met…apart from a few guys that became close to him like George Harrison.
In 1970 Dylan received an honorary doctorate of music from Princeton University.
Dylan’s reputation has long been larger than his record sales. His best-selling album is “Greatest Hits” (1967), which has been certified double-platinum, meaning it has sold between 2 million and 3 million copies. Runner-up is “Greatest Hits – Vol. II” (1971), a million-seller; Columbia Records doesn’t release sales figures, but a representative said “Vol. II” is nearing double-platinum. The next bestsellers are “Desire” (’76) and “Blood on the Tracks” (’75), both of which have achieved platinum status.
Bob had a rule that he only ever recorded music at night, he would show up to the studio around 9pm and work until the early hours of morning…always. Occasionally his band would record music pieces during the day and try to get Bob to listen to it, Bob would say “I don’t even wanna hear it if it was recorded during the day”
None of Dylan’s singles has ever reached No. 1 on Billboard’s pop chart. “Like a Rolling Stone” (1965) peaked at No. 2, as did “Rainy Day Women #12 & 35” (’66).
The Byrds flew to No. 1 in ’65 with a version of Dylan’s “Mr. Tambourine Man.”
“Blowin’ in the Wind” is the only Dylan tune to hit the Top 10 twice – in 1963 by Peter, Paul & Mary, when it carried to No. 2, and in ’66, when Stevie Wonder took it to No. 9.
Under his senior photo in the Hibbing High School yearbook, Zimmerman said he wanted “to join Little Richard.”
In the summer of 1959 Zimmerman played piano in Bobby Vee’s band – for two gigs.
Dylan’s harmonica is heard on records by Harry Belafonte, George Harrison, Steve Goodman, Roger McGuinn, Booker T. and Priscilla Jones, Doug Sahm, Carolyn Hester, Ramblin’ Jack Elliott and Sly & Robbie.
Among the pseudonyms Dylan has used when appearing on others’ records have been Blind Boy Grunt, Tedham Porterhouse, Robert Milkwood Thomas, Roosevelt Gook and Bob Landy.
The Minnesota Historical Society lists 97 Dylan items in its reference library. Included are a 1987 Ph.D. thesis by a Purdue University student, five fanzines, 17 books and articles published in Germany, one children’s book, and Dylan’s original, hand-written lyric sheet for “Temporary Like Achilles,” a 1966 song on “Blonde on Blonde.” The Historical Society bought it from a collector in 1988. The most interesting title in the society’s collection is “Mysteriously Saved: An Astrological Investigation into Bob Dylan’s Conversion to American Fundamentalism” by John Ledbury. Bob Spitz’s 1989 tome, “Dylan,” is the biggest item, at 639 pages.
Little Sandy Review, a mimeographed Twin Cities rag about folk music published in the late ’50s and early ’60s, was the first source to reveal that Zimmerman had invented Dylan. Little Sandy editor Paul Nelson later became a key editor at Rolling Stone.
Dylan adapted “Blowin’ in the Wind” from a spiritual, “No More Auction Block,” which is also known as “Many Thousands Gone.”
Dylan was scheduled to appear on “The Ed Sullivan Show” on May 12, 1963, with Irving Berlin, Al Hirt, Rip Taylor, Teresa Brewer, Myron Cohen and Topo Gigio, the Italian mouse. Dylan was going to sing “Blowin’ in the Wind” and “Talkin’ John Birch Paranoid Blues.” During the dress rehearsal, he was told that “John Birch” was deemed too controversial by network censors, and program producer Bob Precht, whose idea it was to invite Dylan on the show, asked him to sing another song. Dylan declined and did not appear.
“Talkin’ John Birch Paranoid Blues” was scheduled to be included on Dylan ‘s second album, “The Freewheelin’ Bob Dylan.” Columbia Records got paranoid, recalled the album and removed the song.
On June 7, 1969, Dylan sang “I Threw It All Away” and “Living the Blues” on Johnny Cash’s TV program. They sang a duet on “Girl from the North Country.”
Bob asked his music engineer to get him a 1966 Harley Davidson Shovelhead. Bobs engineer Mark Howard got him the bike and watched Bob ride away on it, but heard him stall the bike just around the corner and went to see if he needed any help. He found Dylan sitting on the bike staring straight ahead with 3 people hanging around the front of the bike asking for his autograph…Dylan just sat there like he did not even see them, he then proceeded to start the bike again and ride off without acknowledging the 3 fans. Bob liked to ride his bike with no helmet and told Howard that “The police are really friendly around here…they are all waving at me” Howard told him that they were waving at him because he had no helmet on and wanted him to stop!!
Dylan’s first major U.S. TV appearance was on “The Steve Allen Show” in early ’64.
In August 1969 Dylan made his first paid public performance since July 26, 1966, when he broke his neck in the crash of his Triumph 500 motorcycle. Backed by the Band, he performed in front of 200,000 people at England’s Isle of Wight festival. He was paid $75,000 for a 70-minute performance.
Dylan flew his parents, Abe and Beatty Zimmerman, to New York to see him perform at Carnegie Hall on Oct. 12, 1963.
Dylan married Sara Lownds in an impromptu private ceremony Nov. 22, 1965, in a judge’s chamber in Mineola, N.Y. Two days later the singer told an interviewer from the Chicago Daily News, “I don’t hope to be like anybody. Getting married, having a bunch of kids, I have no hopes for it.” Dylan’s marriage was not announced until February 1966.
Sara Dylan received custody of the couple’s four children in their 1977 divorce. A fifth child, Sara’s daughter Maria Dylan, is married to singer-songwriter Peter Himmelman, formerly of St. Louis Park.
When Dylan accepted his Grammy for “Lifetime Achievement” in February, he said, “Well, my daddy didn’t leave me too much . . . he was a very simple man.” He shifted anxiously. “But he did say, `Son . . . it’s possible to be so defiled in this world that your own mother and father will abandon you. And if this happens, God will always believe in your own ability to mend your ways.'”
Since around 1975 Bob has only ever included 10 or less songs on his albums (not including “best of” or “compilation” albums) regardless of whether or not he had more than 10 songs in the pipeline at the time. On his album “Oh Mercy” the producers tried to get Dylan to include an eleventh song “Series Of Dreams” Bob replied with “Y’know what..I only put 10 songs on my albums” the producers tried again, saying that the song was so great it simply had to go onto the album…Bob replied again “nah nah, I’m only puttin 10 songs on there”…end of story!!
Dylan won his first Grammy in 1980 for best rock vocal performance for the religious-oriented “Gotta Serve Somebody.” “Slow Train Coming,” the album on which the song appeared, was named best inspirational album at the Dove Awards, which recognize gospel recordings.
While attending the University of Minnesota in 1959 and ’60 Zimmerman lived at the Sigma Alpha Mu fraternity house on University Av. and later above Gray’s Campus Drug in Dinkytown. He performed at the Ten O’Clock Scholar coffeehouse, where the Dinkytown Burger King now stands.
Whenever Bob was out and about he almost always wore a hoody, whether for anonymity or not, who knows. One day a drummer that was brought in to play with Bob’s band asked one of the engineers “Where the F**k is Bob Dylan” the engineer proceeded to say “he’s sitting right next to you” Bob just looked up in his hoodie, raised his eyebrows and continued writing lyrics!!
Dylan’s quasi-autobiographical 1977 movie, “Renaldo & Clara,” was three hours and 57 minutes long. He portrayed Renaldo, while musician Ronnie Hawkins played a character named Bob Dylan. The film included 47 songs.
After taking a shellacking from critics, the movie was edited to about 90 minutes.
Dylan’s first two movies were documentaries – “Don’t Look Back,” a look at his 1965 British tour, was released in ’67, but did not receive widespread distribution until ’75; “Eat This Document,” which was shot in ’66 for an ABC-TV special, was screened as a movie in ’71.
Dylan is the author of two books. “Tarantula,” which was rejected by Macmillan and Co. in 1965, was bootlegged in ’70 and officially published in ’71. “Writing and Drawings by Bob Dylan” was published in ’73; it features 187 song lyrics, 17 drawings, 26 poems and five pages of manuscript.
Dylan phoned critic Robert Shelton of the New York Times to invite Shelton to review his performance Sept. 26, 1961, at Gerde’s Folk City, opening for the Greenbriar Boys. It was considered audacious for an artist to ask a critic for a review – especially one from the Times. Dylan hoodwinked Shelton during an interview; among other things, Dylan said that when he was 13, he ran away and joined the circus and that he had recorded with Gene Vincent in Nashville, Tenn. Shelton’s rave review launched Dylan’s career.
In 1961, after rave reviews on the New York coffeehouse circuit, Dylan signed a three-year deal with Witmark & Sons to publish his songs. In three years Dylan wrote 237 songs for Witmark, including “Blowin’ in the Wind,” “A Hard Rain’s Gonna Fall,” “Masters of War,” “With God on Our Side,” “It Ain’t Me Babe,” “Don’t Think Twice, It’s All Right,” “Only a Pawn in Their Game” and “Mr. Tambourine Man.”
Dylan was a contributing editor to “Broadside,” the folk-music magazine.
Judson Manning, the Time magazine correspondent belittled in “Ballad of a Thin Man” (“Because something is happening here/But you don’t know what it is/ Do you, Mr. Jones?”), interviewed not only Dylan, but also Adolf Hitler.
Three Dylan songs begin with nearly the same line, “Early in the mornin’. . . .” The songs are “Obviously Five Believers,” “Pledging My Time” and “Tangled Up in Blue” (which actually starts “Early one mornin’ . . . “).
Although they never received credit on the liner notes (which had already been printed), a handful of Minnesota musicians appeared on a few tunes on “Blood on the Tracks” that were rerecorded at Sound 80 in Minneapolis in December 1974. The players included drummer Bill Berg, bassist Billy Peterson, fiddler-mandolinist Peter Ostroushko, keyboardist Gregg Inhofer and guitarists Kevin Odegard and Chris Weber.
Dylan introduced the Beatles to marijuana in August 1964 at the Delmonico Hotel in New York.
Columbia Records hired Bob Johnston to produce Dylan’s “Highway 61 Revisited” sessions in Nashville as a reward for having returned Patti Page, a Columbia stalwart, to the charts with “Hush Hush, Sweet Charlotte.”
Louis Kemp, Dylan’s childhood friend, was hired as a staff member on Dylan’s Rolling Thunder Revue in 1975. He now runs Louis Kemp Seafood Co.
In 1967, while recuperating from his motorcycle accident in Woodstock, N.Y., Dylan signed with MGM Records, home of the Righteous Brothers, the Lovin’ Spoonful, Connie Francis and the late Hank Williams. MGM withdrew the contract on a technicality, and Dylan signed with Columbia.
When Dylan was wooed to Asylum Records in 1973, Columbia put out “Dylan ” to spite him. The album of outtakes includes versions of Joni Mitchell’s “Big Yellow Taxi” and Jerry Jeff Walker’s “Mr. Bojangles.”
After seeing Tiny Tim perform Dylan’s “Positively Fourth Street” in California, Dylan summoned the fey singer to Woodstock in 1967. For Dylan, Tiny Tim did an impression of Rudy Vallee singing “Like a Rolling Stone” and an impression of Dylan singing Vallee’s “There’s No Time Like Your Time.”
Bob always carried around a rolled-up bundle of paper with lyrics that he was working on, it was always written in pencil, and he was totally fanatical about his words. Bob would even be writing down new lyrics during recording sessions…adding, deleting and taking out words. He would have a piece of paper with thousands of lyrics written down, most of which was mainly illegible to other readers, words going upside down, sideways and all over the page. His crew hardly ever seen him eat, but he was always drinking coffee, smoking cigarettes and hacking away at his lyrics. Dylan told his pianist he had been working on some of his songs for five or six years, trying to get them the way he wanted them…perfect!!
Among the duets Dylan has recorded for other artists’ albums are “Buckets of Rain” with Bette Midler, “Sign Language” with Eric Clapton and “Don’t Go Home with Your Hard-on” with Leonard Cohen.
The first time Dylan plugged in and played electric guitar at the Newport Folk Festival in 1965, he was accompanied by members of the Paul Butterfield Blues Band. Later that summer, at Forest Hills Stadium, Dylan rocked with, among others, two members of the Band, Robbie Robertson and Levon Helm.
The Zimmerman family home at 2524 7th Av. E. in Hibbing was sold in August 1990 for $50,000. It had been on the market for about nine months. Its previous owner, who reportedly bought it from the Zimmerman family, sold many items to a Dylan collector.
Imprisoned boxer Ruben (Hurricane) Carter wasn’t the only prizefighter about whom Dylan sang. In 1963 Davey Moore was knocked out by Sugar Ramos and died two days later; 18 days later Dylan began singing “Who Killed Davey Moore?” The tune never appeared on record until this year’s “Bootleg Series.” Meanwhile, “Hurricane,” about the boxer who was jailed on murder charges and later exonerated, was a modest hit in ’76.
Hundreds of singers have recorded Dylan tunes. Otis Redding recorded “Just Like a Woman,” but decided not to release his version because he couldn’t get past the line, “with her fog, her amphetamine and her pearls.”
Dylan and John Lennon once wrote and recorded a song together while Dylan was on tour in England. “I don’t remember what it was, though,” Dylan said. “We played some stuff into a tape recorder, but I don’t know what happened to it. I don’t remember anything about the song.”
Bob never ever played the same song exactly the same. Whether he was just jamming, or recording, he would play the song in a different key, using different phrasing, or a different tempo…..this would often totally confuse other musicians in his band. Bob Dylan hated to repeat himself…ever!!
Since moving from Minneapolis to New York in 1960, Dylan has performed only five times in the Twin Cities – 1965 (at the Minneapolis Auditorium), ’78 (St. Paul Civic Center), ’86 (Metrodome), ’89 (RiverFest at Harriet Island) and ’90 (Minnesota State Fair).
“Bob Dylan,” his first album, was recorded in a few hours at a cost of $402. Initially it sold 5,000 copies. Since then more than 35 million Dylan records have been sold.
Dylan was the first big-name rock figure from the ’60s to turn 50 as of May, 1991.
There has never been an official video made by Bob Dylan for “Like a Rolling Stone”, although there is currently a contest on YouTube for fans to make one.
Highest chart position: 17 (UK: December 27, 1962), 1 (1 week) (US: May 30, 1964)
Live versions: February 20, 1963, for BBC radio’s Parade Of The Pops.
BBC versions: Eight (for the BBC radio programs Here We Go, Talent Spot, Saturday Club, Side By Side, Pop Go The Beatles, and Easy Beat.
An attempt at a straight blues that dates all the way back to the Quarrymen days of 1958.
Originally, the song was sung as a Everly Brothers-style duet, with John taking the solo “Love Me Do” at the end of each verse. However, John decided to add harmonica to the song at some point, having been directly inspired by Bruce Channel’s recent hit “Hey Baby.” Since he couldn’t play the harmonica riff and sing the last line of verse at the time, producer George Martin ordered Paul to do it instead, on the spot. You can hear the nervousness in his shaky spotlight.
There are two versions of this song. Version 1 features Ringo on drums and was recorded first. When the Beatles reconvened to cut the song again on September 11, 1962, however, producer George Martin, still unsure of the new kid Ringo’s ability, substituted session drummer Alan White. This “version 2,” on which Ringo merely plays a tambourine, remains the best-known (and, frankly, better quality) version: it was released as a single in the US, as opposed to the original single in the UK, which was taken from version 1 (although subsequent UK pressings used version 2). Version 2 was also kept off the Please Please Me album in favor of 1, although Martin claims this was probably not done on purpose.
Although this was never a favorite among most Beatles fans, John and Paul have both stood by the song in interviews.
This song was actually recorded first on June 6, 1962 during the group’s first audition with EMI. At that time, Pete Best was still the drummer. This version, thought lost for years, turned up in George Martin’s home and can no be found on the CDAnthology 1 (Apple 34445).
George Martin originally wanted the band’s first single to be an outside composition called “How Do You Do It,” but although the band recorded it, they eventually won the right to release this instead. Gerry and the Pacemakers later had a hit with a cover of “How Do You Do It” modeled very closely after the Beatles’ version.
Rumor has been spread for years that this, the Beatles’ first UK single, only made it onto the charts because manager Brian Epstein personally purchased 10,000 copies of it. No evidence of this has ever been found, however, and John Lennon, for one, has publicly branded the rumor as false.
This song was reissued as a single in the UK in 1984, and this time climbed to #4.
I am a recovering engineer and rocket scientist turned project manager turned management consultant turned publisher. I have always been a purveyor and proponent of education, expertise, erudition and enlightenment, and someday I will figure out what I want to be when I grow up.