Bob-Dylan
Larry Charles is by every standard a seminal figure in contemporary humor, on the tube and in movie theaters. Why doesn’t everyone know his name
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By Scott McLennan The Outlaw Music Festival’s overall pacing of performers from newest to most veteran offered an interesting overview of how country, folk, and rock have blended over the decades. Over the course of its 10-year existence, the Outlaw Music Festival has supplied one of the few satisfactory working definitions for the musical label…
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Focusing on the years between 1961 and 1964, director James Mangold turns Bob Dylan’s creative journey into a better-than-average cinematic biography in which the singer ends up riding off on his motorcycle and into history.
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Bob Dylan had been soundly booed for playing a set plugged. What ninnies dictate the rules in the backwater world of American folk music!
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Bob Dylan’s music has rarely been more heartbreaking, his poetic storytelling rarely more beguiling, and the singing never less nasal.
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Because they were masters of performance, metamorphosis, and movement — of “containing multitudes” — Allen Ginsberg and Bob Dylan are the closest peers to Whitman America has yet produced.
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Songs were wholesale rearranged, and, most strikingly, Bob Dylan was a commanding presence at the baby grand piano for an 18-song, nearly two-hour set.
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“Blood In the Tracks” delivers a minor miracle: a host of fresh looks at the most (over)written about musician of our age.
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I’ve always admired Bob Dylan’s resolute reluctance to repeat himself, artistically or otherwise. The Bootleg Series Vol. 17: Fragments reminds us how obsessive that aesthetic restlessness really is.
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Book Review: “Folk Music — A Bob Dylan Biography in Seven Songs”
At points Greil Marcus’ digressive style can seem like nervy brilliance, at others, idle whimsy. What ennobles the book is the critic’s love for his underlying subject: the soulful search for a truer America.
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