Bob Dylan In London

'A must have for Dylan enthusiasts, lovers of London, and anyone with even a passing interest in the history of music. I devoured it in two sittings - and I loved it!' Conor McPherson, playwright, Girl from the North Country This is both a guide and history on the impact of London on Dylan, and the lasting legacy of Bob Dylan on the London music scene. Bob Dylan in London celebrates this journey, and allows readers to experience his London and follow in his footsteps to places such as the King and Queen pub (the first venue that Dylan performed at in London), the Savoy hotel and Camden Town. This book explores the key London places and times that helped to create one of the greatest of all popular musicians, Bob Dylan.

Britain played a key role in Bob Dylan's career in the 1960s. He visited Britain on several occasions and performed across the country both as an acoustic folk singer and as an electric-rock musician. His tours of Britain in the mid-1960s feature heavily in documentary films such as D.A. Pennebaker's Don't Look Back and Martin Scorsese's No Direction Home and the concerts contain some of his most acclaimed ever live performances. Dylan influenced British rock musicians such as The Beatles, The Animals, and many others; they, in turn, influenced him. Yet this key period in Dylan's artistic development is still under-represented in the extensive literature on Dylan. Tudor Jones rectifies that glaring gap with this deeply researched, yet highly readable, account of Dylan and the British Sixties. He explores the profound impact of Dylan on British popular musicians as well as his intense, and at times fraught, relationship with his UK fan base. He also provides much interesting historical context – cultural, social, and political – to give the reader a far greater understanding of a defining period of Dylan's hugely varied career. This is essential reading for all Dylan fans, as well as for readers interested in the tumultuous social and cultural history of the 1960s.

A must have travel and music guide to Bob Dylan's favourite New York city haunts. Bob Dylan in the Big Apple will take you on a journey that Dylan took through the streets of New York in the early 1960s, looking at the locations, including the less trodden Dylan trails, the characters he befriended as well as revealing stories that formed the backdrop to his life and work. We follow in his early footsteps into the Cafe Wha? as well as, more recently, the Beacon Theatre. Along the way we take in fighting on Elizabeth Street, the 'crummy' hotel, the tavern 'on the corner of Armageddon Street' and the Tuscarora Indian Reservation and more. We also take the Rolling Tyre Walk as well as the Talkin' Washington Park Square picnic. With photographs and a map of the locations and wonderful stories this is a must for any Dylan enthusiast. 'K G Miles has captured the vibrant spirit of Bobby's Big Apple career as well as looking into the nooks and crannies of the people, places and scenes of NYC. As one who was privileged to be there in those halcyon days I could not be more pleased. It's a great read.' John Winn, singer, songwriter and old troubadour 'This is your travel guide through time and space to the favorite haunts of the most celebrated folkie on planet earth. There is something magical about walking in the footsteps of our musical heroes. Whether it's the Beatles in Liverpool, Leonard Cohen in Hydra or Bob Dylan in New York City, these pilgrimages can be vastly more rewarding than any planned vacation. Refreshingly non-academic, this book begins and ends at the Beacon Theatre, where Dylanophiles from around the world converge for a glimpse of the enigma that is Bob Dylan.' Kevin Odegard, musician, 'Blood on The Tracks'

“The idea is inspired and the treatment piercingly beautiful . . . Two formidable artists have shown respect for the integrity of each other’s work here and the result is magnificent.” —Independent “Bob Dylan’s back catalogue is used to glorious effect in Conor McPherson’s astonishing cross-section of hope and stoic suffering . . . It is the constant dialogue between the drama and the songs that makes this show exceptional.” —Guardian “Beguiling and soulful and quietly, exquisitely, heartbreaking. A very special piece of theatre.” —Evening Standard “A populous, otherworldly play that combines the hard grit of the Great Depression with something numinous and mysterious.” —Telegraph Duluth, Minnesota. 1934. A community living on a knife-edge. Lost and lonely people huddle together in the local guesthouse. The owner, Nick, owes more money than he can ever repay, his wife Elizabeth is losing her mind, and their daughter Marianne is carrying a child no one will account for. So when a preacher selling bibles and a boxer looking for a comeback turn up in the middle of the night, things spiral beyond the point of no return . . . In Girl from the North Country, Conor McPherson beautifully weaves the iconic songbook of Bob Dylan into a show full of hope, heartbreak and soul. It premiered at the Old Vic, London, in July 2017, in a production directed by the author. Conor McPherson is an award-winning Irish playwright. His best-known works include The Weir (Royal Court; winner of the 1999 Olivier Award for Best New Play), Dublin Carol (Atlantic Theater Company) and The Seafarer (National Theatre). Bob Dylan, born in Duluth, Minnesota, in 1941, is one of the most important songwriters of our time. Dylan was awarded the Nobel Prize for Literature in 2016. He released his thirty-ninth studio album, Triplicate, in April 2017, and continues to tour worldwide.

All Along Bob Dylan: America and the World offers an important contribution to thinking about the artist and his work. Adding European and non-English speaking contexts to the vibrant field of Dylan studies, the volume covers a wide range of topics and methodologies while dealing with the inherently complex and varied material produced or associated with the iconic artist. The chapters, organized around three broad thematic sections (Geographies, Receptions and Perspectives), address the notions of audience, performance and identity, allowing to map out the structure of feeling and authenticity, both, in the case of the artist and his audience. Taking its cue from the collapse of the so-called high-/ low culture split following from the Nobel Prize, the book explores the argument that Dylan (and all popular music) can be interpreted as literature and offers discussions in the context of literary traditions, or visual culture and music. This contributes to a nuanced and complex portrayal of the seminal cultural phenomenon called Bob Dylan.

Marty Newman's stories about his experiences with Bob Dylan in the 1970s in Malibu, Los Angeles, California, and beyond. These remembrances are rounded out with some additional background and historical information to add clarity and perspective. Stories of working together and of friendship, offering insights into the man that so many endeavor to understand more fully.

From the world's leading authority on Bob Dylan comes the definitive biography that promises to transform our understanding of the man and musician—thanks to early access to Dylan's never-before-studied archives. In 2016 Bob Dylan sold his personal archive to the George Kaiser Foundation in Tulsa, Oklahoma, reportedly for $22 million. As the boxes started to arrive, the Foundation asked Clinton Heylin—author of the acclaimed Bob Dylan: Behind the Shades and 'perhaps the world's authority on all things Dylan' (Rolling Stone)—to assess the material they had been given. What he found in Tulsa—as well as what he gleaned from other papers he had recently been given access to by Sony and the Dylan office—so changed his understanding of the artist, especially of his creative process, that he became convinced that a whole new biography was needed. It turns out that much of what previous biographers—Dylan himself included—have said is wrong. With fresh and revealing information on every page A Restless, Hungry Feeling tells the story of Dylan's meteoric rise to fame: his arrival in early 1961 in New York, where he is embraced by the folk scene; his elevation to spokesman of a generation whose protest songs provide the soundtrack for the burgeoning Civil Rights movement; his alleged betrayal when he 'goes electric' at Newport in 1965; his subsequent controversial world tour with a rock 'n' roll band; and the recording of his three undisputed electric masterpieces: Bringing it All Back Home, Highway 61 Revisited and Blonde on Blonde. At the peak of his fame in July 1966 he reportedly crashes his motorbike in Woodstock, upstate New York, and disappears from public view. When he re-emerges, he looks different, his voice sounds different, his songs are different. Clinton Heylin's meticulously researched, all-encompassing and consistently revelatory account of these fascinating early years is the closest we will ever get to a definitive life of an artist who has been the lodestar of popular culture for six decades.

This book features 27 integrated essays that offer access to the art, life, and legacy of one of the world's most influential artists.

Bob Dylan’s abrupt abandonment of overtly political songwriting in the mid-1960s caused an uproar among critics and fans. In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous. Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."