Bob Dylan

by Lee Marshall

  Hill, Joe, 56

  hypertext-markup language (HTML), 240–1

  ‘Idiot Wind’, 243, 244

  ‘I’m Not There (1956)’, 30

  ‘It’s Alright Ma (I’m Only Bleeding)’, 19–20

  immortality, 265–8

  individualism, 9, 41, 82

  ‘In The Garden’, 123, 148n

  Infidels, 164–7

  intentional fallacy, the, 18–19

  International Workers of the World Union, 56

  Invisible Republic, 255–6

  Isle of Wight festival 1969, 139, 141

  ‘It Ain’t Me Babe’, 123–4

  ‘John Wesley Harding’, 22

  John Wesley Harding, 270

  ‘Knockin’ On Heaven’s Door’, 269

  Kramer, Jonathon, 244–5

  Lasch, Christopher, 157

  Lennon, John, 157

  ‘Like A Rolling Stone’, 97–8, 141, 187, 269

  Little Red Songbook, The, 56

  Live Aid, 174n

  “Love And Theft”, 239, 256–60, 268, 272–5

  ‘Love Sick’, 1–2, 238

  lyrics

  compared to poetry, 223

  and song meaning, 23–8

  Lyrics 1962-1985, 178

  MacColl, Ewan, 65

  MacDonald, Dwight, 76

  Marcus, Greil, 255–6

  ‘Masters Of War’, 121

  McCarthyism, 68–70

  meritocracy, 9

  microphone, 33–4

  Modern Times, 238, 239n

  Modernist avant-gardes, 161

  moment time, 215

  Monroe, Marilyn, 142

  ‘Mr Tambourine Man’, 100, 215, 251

  MTV, 170–1

  My Life In A Stolen Moment, 79

  Nashville Skyline, 136–7, 270

  Never Ending Tour, The, 186–228, 236

  audience, 201–5, 215

  definition of, 188–9, 200

  early performances, 206

  NET consciousness, 215

  performances on, 248–50

  purpose of, 198–9, 209–11, 215, 225

  Setlists, 206–8

  statistical overview, 200–1

  ‘stopping time’, 249–50

  new criticism, 18–19

  Newport folk festival 1964, 101

  Newport folk festival 1965, 88–9, 110

  Newsweek, 94–5

  No Direction Home, 273–4

  ‘Not Dark Yet’, 45–6, 244

  Oh Mercy, 226

  originality, 103

  ‘Peggy Day’, 136–7

  performance, 24–6

  personality, 40–1

  poetry, 103–4

  pop videos, 170

  postmodernism, 162, 215, 216, 218, 224, 251

  post-survivorism, 157–9

  Presley, Elvis, 54

  privacy, 40–1

  quotations,

  Dylan’s use in songwriting, 238–40, 257–8

  ‘Rainy Day Women Nos 12 & 35’, 27

  reading, 240–1

  records, 190, 192, 195–6,

  formats, 104–5

  recording consciousness, 190–191, 213

  recording industry, changing strategies in 1980s, 168–72

  rock,

  authenticity, 91, 98, 102–6, 111–112, 196

  death of rock, 159–162, 196–7, 224

  definition of, 90–2, 129–133

  described as folk music, 108

  described as popular art, 102–6

  emergence of, 89–92

  and mass culture, 110–111, 194–6

  and politics, 108–9, 134–5

  relationship to folk revival, 106–110

  and transition, 98–99, 233–4

  and youth, 106–110, 144–5

  rock stardom, 52–3, 93–4, 113–114, 120–1, 169–70

  and youth, 53–4

  romanticism, 17–8, 63, 65

  and immortality, 265–6

  and youth, 142–4

  ‘Sad Eyed Lady Of The Lowlands’, 245, 269

  Saga, Junichi, 239

  Satie, Erik, 245

  Saved, 155, 164

  Schutz, Alfred, 244

  Scobie, Stephen, 39, 213, 256

  Seeger, Pete, 57, 69

  ‘Seeing The Real You At Last’, 124

  Self Portrait, 139–141, 270

  Shakespeare, William, 213

  Sharp, Cecil, 64

  ‘Shelter From The Storm’, 148n

  ‘Silvio’, 221–3

  Sinatra, Frank, 10, 53–4

  Sing Out!, 70, 253

  Slow Train Coming, 155

  social patriotism, 68–9

  ‘Solid Rock’, 244, 269

  Sounes, Howard, 13

  stardom, see also rock stardom democracy, 79–80

  biographical approaches to, 3–5

  and capitalism, 83, 129

  characteristics of, 8–10, 55, 79–81, 113

  and death, 142–4, 266–7

  definition of, 7–8

  difference from celebrity, 6

  and individuality, 80–1

  and private individual, 15, 34–41

  public nature of, 118

  public authorship of, 119–122

  and songs, 43–8

  star time, 264–5, 271

  ‘Stuck Inside Of Mobile With The Memphis Blues Again’, 28, 257

  ‘Summer Days’, 275

  ‘Talkin’ New York’, 62

  ‘Tangled Up In Blue’, 243

  Taylor, Elizabeth, 142

  The Basement Tapes, 255–6, 270

  The Great Gatsby, 275

  ‘The Lonesome Death Of Hattie Carroll’, 71–2

  Theme Time Radio Hour, 275

  ‘Things Have Changed’, 239, 267–8, 269n

  Thriller, 169

  time

  Dylan’s interest in, 242–3

  musical experience of, 242–5

  Time Out Of Mind, 18, 21, 232–40, 256–8

  Timrod, Henry, 239n

  True Dylan, 143, 178

  ‘Trying To Get To Heaven’, 269

  Twain, Mark, 38–9

  Under The Red Sky, 226

  ‘Visions Of Johanna’, 177

  voice, 25, 29–30, 33–35, 43, 237

  grain of 33–4

  Wallace, Henry, 57

  ‘What Can I Do For You?’,157

  ‘What Was It You Wanted?’,123

  Williams, Paul, 25n, 211

  Wimsatt, WK, 18

  ‘With God On Our Side’, 46–7

  Wobblies, see International Workers of the World Union

  World Gone Wrong, 227, 270

  writing aloud, 33–4

  ‘You’re A Big Girl Now’,21

  ‘You’re Gonna Make Me Lonesome When You Go’, 243