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I wanna hold your hand - Dylan in full Carnaby street mod attire.

Photo by Jerry Saltzberg

The magical world of Bob Dylan
In the mid-Sixties,
photographer Jerry Schatzberg worked closely with Bob Dylan,
helping to craft the iconic image we've come to know so well.

The Independent on Sunday Online edition 2.11.2008
http://www.independent.co.uk/arts-entertainment/music/features/
the-magical-world-of-bob-dylan-979858.html?action=Popup&ino=7

1966 revisited - Bob Dylan strikes a pose.

Photo by Jerry Saltzberg

The magical world of Bob Dylan
In the mid-Sixties,
photographer Jerry Schatzberg worked closely with Bob Dylan,
helping to craft the iconic image we've come to know so well.

The Independent on Sunday Online edition 2.11.2008
http://www.independent.co.uk/arts-entertainment/music/features/
the-magical-world-of-bob-dylan-979858.html?action=Popup

Bob Dylan

http://www.guardian.co.uk/music/bobdylan
http://topics.nytimes.com/top/reference/timestopics/people/d/bob_dylan/index.html

The Guardian > Special report > Bob Dylan

http://arts.guardian.co.uk/dylan/0,,1578743,00.html

BBC > Bob Dylan

http://www.bbc.co.uk/music/bobdylan/

Bob Dylan > D.A. Pennebaker > Don't Look Back

http://www.bbc.co.uk/bbcfour/documentaries/storyville/dont-look-back-pennebaker.shtml

English: Civil Rights March on Washington, D.C.

[Entertainment: closeup view of vocalists Joan Baez and Bob Dylan.]

08/28/1963

Date 28 August 1963( 1963-08-28)

Source: NARA - ARC Identifier: 542021
http://arcweb.archives.gov/arc/action/BasicSearchForm

Author: U.S. Information Agency. Press and Publications Service. (ca. 1953 - ca. 1978)
http://upload.wikimedia.org/wikipedia/commons/3/33/Joan_Baez_Bob_Dylan.jpg
http://en.wikipedia.org/wiki/File:Joan_Baez_Bob_Dylan.jpg
http://en.wikipedia.org/wiki/Bob_Dylan

BBC to screen Dylan's electric shock

The BBC has unearthed the holy grail of Bob Dylan fanatics
— footage of the moment the revered singer songwriter is branded "Judas"
by a hostile 60s audience for plugging in his electric guitar for the first time —
as part of a new three-hour documentary directed by Martin Scorsese.

The Guardian p. 7 22.7.2005
http://www.guardian.co.uk/arts/news/story/0,11711,1533787,00.html

Another side of Bob Dylan

The Guardian p. 9 14.9.2005
http://arts.guardian.co.uk/news/story/0,,1569452,00.html

Bob Dylan
http://www.metroactive.com/papers/cruz/
10.24.01/gifs/music-bob-dylan-0143.jpg

May 17 1966

The minstrel who's just a big mystery

From The Guardian archive > The Manchester Evening News

Spotlight on Dylan

The minstrel who's just a big mystery

This article was first published in the Guardian's sister paper

the Manchester Evening News on May 17 1966,

the day that a heckler shouted 'Judas!' at Bob Dylan

during his concert at the city's Free Trade Hall

James Fox
Friday September 30, 2005
Guardian Unlimited

The Manchester Evening News
May 17 1966

Bob Dylan, the original magician of folk-poetry, blew into town today on another wave of sell-out concerts to sing at the Free Trade Hall.

And this "modern minstrel genius," as American poet Allen Ginsberg called him, this self-elected reject from the middle-class backwoods of Minnesota, becomes more of an enigma every day.

After six LPs and as much, if not more, exposure than the Beatles, Dylan has successfully sheltered his own poetic soul from the limelight in a one-sided game of chess with newspapermen and questioners.

Only a few phrases have been uttered from Dylan's lips outside his songs. And what he has said has been a mixture of send-up, humorous mockery and evasiveness, resulting, recently, in the same treatment from the Press.

During Dylan's concerts, too, there are no explanations, no introductions, and none of the usual political diatribes between the songs that are most common to protest singers. Despite this, or perhaps as a result of it, since it heightens the mystery, he is hypnotic on stage.

The atmosphere at his concerts is one of tense and silent rapture, with the crowd leaning forward to catch every cryptic syllable of the songs they quote daily, like a religious manifesto, on street corners.

Now there is something disturbing about Dylan: he is said to have disowned all the songs he ever wrote before he turned to "folk-rock". He is said to have become an introvert.

He was nearly booed off stage in Dublin recently when he came on with three tons of sound equipment and his new backing group - simply called the Group.

There were pleading shouts of "We want the real Dylan. Leave it to Mick Jagger" as he belted out the endless choruses of his hip-orientated rhythm and blues songs.

There is a growing uneasiness with Dylan among his fans. It is that he is changing without telling them why. They are in the dark, and they feel perplexed.

When the Dylan cult originally took hold, it grew directly out of the Dylan songs. They were poetic and expressive against the comparative banality of pop music. They incorporated everything from folk songs to protest to hip to abstract existentialist poetry and to Dylan's special brand of "the aesthetic of the ugly", gathered, it seemed, from the hard travelling along dusty roads, suffering hardships and heartaches.

He had opened the floodgates of a sudden new medium which was peculiar to young people, in which they could express themselves. They latched on, copying him and quoting him.

But Dylan never stopped to explain to his fascinated fans what he was doing or the changes he was going through. Unlike the Beatles, the only thing that was common property was his songs.

He expected them to be sufficient, and his complaint with newspapermen who asked him questions like "What exactly are you protesting about?" was that they never listened to his songs before asking him about them, and they were trying to find, in the present trendy fashion, a label for him.

And on his trip to Britain last year, in the face of some of the most controversial songs he had ever written, he said wearily: "I do not write about anything."

But as one of his friends said to me recently: "Dylan is just a poet, he lives like a poet with few friends around him. He finds the normal questions journalists ask him pretty irrelevant."

Dylan wants to please his audiences, or not to disappoint them, and obligingly says: "I just get the word from other people to turn up somewhere, and I am there."

If there is a change, it has come about between these two British tours. The old Dylan, at the Albert Hall in London last year, was the poetic Dylan with one guitar, a handful of harmonicas, and a few wry jokes.

This time the magic's still there, but he might throw a few fans off the track.

For one thing, the existentialist Dylan has married. For another, the man who took contemporary folk music out of its hermetic shell and has shaken it and enriched it has seemingly turned his back on it.

From The Guardian archive > The Manchester Evening News > May 17 1966 > The minstrel who's just a big mystery, G,
Republished 30.9. 2005, http://arts.guardian.co.uk/dylan/story/0,,1582282,00.html

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