Book Read Free

Bob Dylan

Page 27

by Lee Marshall


  1 Street, 1986:5.

  2 P. D. Marshall, 1997:195.

  3 Rojek, 2004:2.

  4 Cohn, 1996:16.

  5 P. D. Marshall, 1997:196.

  6 Hampton, 1986:164.

  7 Hampton, 1986:150.

  8 Hampton, 1986:158.

  9 Cantwell, 1996:324.

  10 Cantwell, 1996:337.

  11 Goldmann, 1973:131.

  12 In R. Williams, 1971:12,

  13 Goldmann, 1966:250.

  14 Hampton, 1986:214–15.

  15 Cantwell, 1996:26–7

  16 Harker, 1980:147–9

  17 Lhamon, 1990:112.

  18 Boyes, 1993:98.

  19 Marcus, 1997:28.

  20 Marcus, 1997:21.

  21 Marcus, 1997:21.

  22 Cantwell, 1996:319.

  23 Street, 1986:154.

  24 Street, 1986:155.

  25 Cantwell, 1996:21.

  26 In Cantwell, 1996:280.

  27 In Cantwell, 1996:22.

  28 In Heylin, 1991:74.

  29 Cantwell, 1996:281.

  30 Ricks, 2003:233.

  31 P. Williams, 1990:93–4.

  32 Hampton, 1986:55.

  33 Ricks, 2003:324.

  34 Ricks, 2003:263–4.

  35 Hampton, 1986:55.

  36 Hampton, 1986:198.

  37 Carl Oglesby, one-time president of SDS (Students for a Democratic Society), in Scaduto, 1996:137–8.

  38 Marqusee, 2003:3.

  39 MacDonald, 1957:60.

  40 Denisoff, 1971:185.

  41 Cantwell, 1996:282.

  42 Denselow, 1989:39.

  43 Hampton, 1986:5.

  44 Gibbens, 2001:4.

  45 Rojek, 2001:28.

  46 Dyer, 1998:42.

  47 Cantwell, 1996:337.

  48 Dyer, 1998:78.

  49 Cantwell, 1996:346.

  50 Street, 1986:162.

  51 Rojek, 2001:9.

  Chapter 4 Rock Stardom: Reconciling Culture and Commerce

  1 Marcus, 1997:13.

  2 Wicke, 1990:102.

  3 Marqusee, 2003:132.

  4 Frith et al., 2001:79–80.

  5 Grossberg, 1992:131.

  6 Keightley, 2001.

  7 Keightley, 2001:126–7.

  8 Frith, 1983:49-57.

  9 Gendron, 2002:162–3.

  10 Gendron, 2002:162.

  11 Marcus, 1997:ix.

  12 Schickel, 2000:83–4.

  13 Svedburg, 1963.

  14 Svedburg, 1963.

  15 Scobie, 2003:55.

  16 Scobie, 2003:56.

  17 Scobie, 2003:55.

  18 Ricks, 2003:183–4.

  19 Grossberg, 1992:150-1.

  20 Grossberg, 1992:155–6.

  21 Grossberg, 1992:156.

  22 Grossberg, 1992:208–9.

  23 Heylin, 2000:154.

  24 In Heylin, 2000:151.

  25 Pattison, 1987:111–25.

  26 In Frith, 1983:52–3.

  27 In McGregor, 1972:74.

  28 Keightley, 2001:136.

  29 Frith, 1983:53.

  30 Scobie, 2003:93.

  31 Keightley, 2004:378.

  32 Keightley, 2004:380.

  33 Keightley, 2004:384.

  34 Keightley, 2004:388.

  35 In McGregor, 1972:55.

  36 Street, 1986:143.

  37 Keightley, 2001:122.

  38 Grossberg, 1992:204.

  39 Street, 1986:159.

  40 Marqusee, 2003:124.

  41 Marqusee, 2003:106.

  42 Street, 1986:157.

  43 Wicke, 1990:103.

  44 Shelton, 1986: 303.

  45 Frith et al., 2001:81.

  46 Keightley, 2001:127.

  47 Keightley, 2001:129.

  48 Frith, 1983:50.

  49 Wicke, 1990:106.

  50 Wicke, 1990:15.

  51 L. Marshall, 2005.

  52 Wicke, 1990:107.

  53 Frith, 1983:55.

  54 P. D. Marshall, 1997:247.

  55 Dyer, 1998:34.

  56 Steen, 1966.

  Chapter 5 Beyond Stardom: Rock History and Canonisation

  1 Rojek, 2001:19–20

  2 Turner, 2004:91.

  3 P. Williams, 2005:241–2.

  4 Dyer, 1998:5.

  5 Gendron, 2002:190.

  6 Gray, 2000:111.

  7 See Negus, 1996:136–63, and Keightley (2004) for examples of critical accounts.

  8 Marqusee, 2003:201–2.

  9 Marqusee, 2003:122–3.

  10 Marqusee, 2003:241–2.

  11 Unknown, 1981 interview, in Heylin, 2000:313.

  12 Scobie, 2003:124.

  13 Eisenberg, 1987:61.

  Chapter 6 Declining Stardom: Nostalgia and the ‘Death of Rock’

  1 Mäkela, 2004:242.

  2 Schickel, 2000:85.

  3 Heylin, 2000:506; 526.

  4 Heylin, 2000:563.

  5 Marcus, 1994:57–8.

  6 Curtis,2002.

  7 Mäkela, 2004:185–6.

  8 Mäkela, 2004:184–96.

  9 P. Williams, 1996:63–133.

  10 Frith, 1988:1.

  11 Negus, 1996:151.

  12 Jameson, 1991:xv.

  13 Lyotard, 1984: xxiv.

  14 Keightley, 2001:140.

  15 Bauldie, 1987:199.

  16 Bauldie, 1987:202.

  17 Heylin, 2000:524.

  18 Burnett, 1996:23–4.

  19 Frith, 1988:208.

  20 Friedlander, 1996:264.

  21 Frith, 1988:210.

  22 In Burnett, 1996:96–7.

  23 Frith, 1988:215–16.

  24 http://www.riaa.com/gp/bestsellers/topartists.asp (last visited 10 Dec 2006).

  25 Kelly, 1987:244.

  26 Heylin, 2000:564.

  27 Heylin, 2000:577.

  28 Benjamin, 1992.

  29 Heylin, 1987.

  30 Paul Williams, in Scobie, 2003:114.

  31 Day, 1989:73–4.

  32 Gray, 2000:582.

  33 Lindley, 1987:205.

  Chapter 7 Redefining Stardom: The Never Ending Tour

  1 P. Williams, 2005:54.

  2 Smith, 2005:374.

  3 Thornton, 1995:47.

  4 Bennett, 1980, in Middleton, 1990:88.

  5 Middleton, 1990:88.

  6 Eisenberg, 1987:110.

  7 Heylin, 1996:xi.

  8 In Eisenberg, 1987:15.

  9 Eagleton, 2000:1.

  10 Eisenberg, 1987:14–15.

  11 Eisenberg, 1987:24.

  12 Thornton, 1995:41.

  13 Thornton, 1995:49.

  14 Frith, 1988:124–5.

  15 See for example, Gray, 2000:851–2.

  16 P. Williams, 2005:124.

  17 Scobie, 2003:25.

  18 P. Williams, 2006:92.

  19 P. Williams (Performing Artist) (1990, 1992, 2005) and Watching the River Flow (1996).

  20 P. Williams, 1990:180–1.

  21 P. Williams, 2005:xi.

  22 Gray, 2000:257.

  23 Gray, 2000:835.

  24 Heylin, 2000:xvii.

  25 Scobie, 2003:118.

  26 Scobie, 2003:118.

  27 Gray, 2000:389.

  28 Gray, 2000:855.

  29 Eisenberg, 1987:51.

  30 Levine, 1990:11–82.

  31 Levine, 1990:72.

  32 Storey, 1993:21-33.

  33 Gray, 2000:850.

  34 Gray, 2000:854.

  35 P. Williams, 2005:35.

  36 Eagleton, 2000:39.

  37 Gray, 2000:846.

  38 Gray, 2000:848.

  39 Gray, 2000:845.

  40 Marqusee, 2003:239, 270–1.

  Chapter 8 Never ending Stardom: Dylan after Time Out Of Mind

  1 Gray, 2000:822.

  2 Sheffield, 2001.

  3 P. Williams, 2005:311.

  4 Frith, 1998:185–6.

  5 Day, 2002:290.

  6 Scobie, 2003: 296.

  7 Johnny Borgan in P. Williams, 2005:309.<
br />
  8 Eisenberg, 1987:27.

  9 Tagg, 1984.

  10 Frith, 1998:150–1.

  11 Cited in Frith, 1998:145–6.

  12 Frith, 1998:148.

  13 Kramer, cited in Frith, 1998:149.

  14 Cited in Frith, 1998: 154–5.

  15 Heylin, 2000:686.

  16 Scobie, 2003:108.

  17 Scobie, 2003:97.

  18 Jameson, 1991:25.

  19 Skinner, 2006.

  20 Skinner, 2006:61.

  21 Skinner, 2006:59.

  22 In Skinner, 2006:57.

  23 Skinner, 2006:71.

  24 Skinner, 2006:71.

  25 Boyle, 2003.

  26 Murray, 1997:6

  27 Scobie, 2003:100.

  28 Wilentz, 2002:305.

  29 Cantwell, 1996:75.

  30 Scobie, 2003:296.

  31 In P. Williams, 2005:164.

  32 Eliot, 1922.

  33 Dyer, 1998:63.

  34 Bennett, 1999:16.

  35 Scobie, 2003:298.

  36 P. Williams, 2005:310.

  37 Hepworth, 2006:93.

  BIBLIOGRAPHY

  Abrams, M. H. (1953) The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Oxford University Press.

  Barbas, S. (2001) Movie Crazy: Fans, Stars and the Cult of Celebrity. New York: Palgrave.

  Barthes, R. (1990), ‘The Grain of the Voice’, in S. Frith and A. Goodwin, On Record. London: Routledge, pp. 293–300.

  Bauldie, J. (1985) ‘Tonal breath control’, The Telegraph 19: 38–40.

  Bauldie, J. (1987) ‘The Oppression of Knowledge: No-One Can Sing the Blues Like Blind Willie McTell’, in M. Gray and J. Bauldie, All Across The Telegraph. London: Futura, pp. 198–202.

  Benjamin, W. (1992) ‘The Work of Art in the Age of Mechanical Reproduction’, in Illuminations. London: Fontana, pp. 211–44.

  Bennett, A. (1999) Romantic Poets and the Culture of Posterity. Cambridge: Cambridge University Press.

  Berger, J. (1972) Ways of Seeing. Harmondsworth: Penguin.

  Bourdieu, P. (1993) The Field of Cultural Production. Cambridge: Polity.

  Boyes, G. (1993) The Imagined Village: Culture, Ideology and the English Folk Revival. Manchester: Manchester University Press.

  Boyle, D. (2003) Authenticity, Brands, Fakes, Spin and the Lust for Real Life. London: Flamingo.

  Brown, R. (2002) ‘Highway 61 and Other American States of Mind’, in N. Corcoran, Do You, Mr Jones? Bob Dylan with the Poets and the Professors. London: Chatto & Windus, pp. 193–220.

  Burnett, R. (1996) The Global Jukebox: The International Music Industry. London: Routledge.

  Cantwell, R. (1996) When We Were Good: The Folk Revival. Cambridge, Mass.: Harvard University Press.

  Cohn, N. (1996) Awopbopaloobopalopbamboom. London: Minerva.

  Corcoran, N. (2002) ‘Introduction: Writing Aloud’, in N. Corcoran, Do You, Mr Jones? Bob Dylan with the Poets and the Professors. London: Chatto & Windus, pp. 7–24.

  Curtis, A. (2002) The Century of the Self, BBC TV. Rebroadcast on BBC4 in 2004 (29 April, 30 April, 1 May, 2 May).

  Day, A. (1989) Jokerman: Reading the Lyrics of Bob Dylan. Oxford: Blackwell.

  Day, A. (2002) ‘Looking for Nothing: Dylan Now’, in N. Corcoran, Do You, Mr Jones? Bob Dylan with the Poets and the Professors. London: Chatto & Windus, pp. 275–93.

  Denisoff, S. (1971) Great Day Coming: Folk Music and the American Left. Urbana: University of Illinois Press.

  Denselow, R. (1989) When the Music’s Over: The Story of Political Pop. London: Faber and Faber.

  Dyer, R. (1991) ‘A Star is Born and the Construction of Authenticity’, in C. Gledhill, Stardom: Industry of Desire. London: Routledge, pp. 32–40.

  Dyer, R. (1998) Stars. London: British Film Institute.

  Eagleton, T. (2000) The Idea of Culture. Oxford: Blackwell.

  Eisenberg, E. (1987) The Recording Angel: The Experience of Music from Aristotle to Zappa. New York: Penguin.

  Eliot, T. S. (1922) The Sacred Wood. London: Methune. Available at http://www.bartleby.com/200/ (last visited 22 September 2006).

  Evans, J. and D. Hesmondhalgh (2005) Understanding Media: Inside Celebrity. Milton Keynes: Open University Press.

  Friedlander, P. (1996) Rock and Roll: A Social History. Boulder, CO: Westview Press.

  Frith, S. (1983) Sound Effects. Bury St Edmunds: St Edmunds-bury Press.

  Frith, S. (1988) Music for Pleasure: Essays in the Sociology of Pop. Cambridge: Polity.

  Frith, S. (1998) Performing Rites. Oxford: Oxford University Press.

  Frith, S. (2001) ‘The Popular Music Industry’, in S. Frith, W. Straw and J. Street, The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, pp. 26–52.

  Frith, S., W. Straw and J. Street (2001) The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press.

  Gendron, B. (2002) Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press.

  Gibbens, J. (2001) The Nightingale’s Code: A Poetic Study of Bob Dylan. London: Touched Press. Gillman, S. (1989) Dark Twins: Imposture and Identity in Mark Twain’s America. Chicago: University of Chicago Press.

  Goldmann, L. (1966) ‘The Subject of Cultural Creation’, Boston Studies in the Philosophy of Science 4: 241–60.

  Goldmann, L. (1973) ‘Introduction to the Problems of a Sociology of the Novel’, Telos 18: 122–35.

  Goldmann, L. (1975) ‘Dialectical Materialism and Literary History’, New Left Review 92: 39–51.

  Gray, M. (2000) Song and Dance Man III: The Art of Bob Dylan. London: Cassell.

  Grossberg, L. (1992) We Gotta Get Outta This Place: Popular Conservatism and Postmodern Culture. New York: Rout-ledge.

  Hampton, W. (1986) Guerrilla Minstrels. Knoxville: University of Tennessee Press.

  Harker, D. (1980) One for the Money: Politics and Popular Song. London: Hutchinson.

  Hepworth, D. (2006) ‘“He’s a ’60s guy”’, Word, January, pp. 92–3.

  Heylin, C. (1987) ‘Lyrics 1962–1985: A Collection Short of the Definitive’, in M. Gray and J. Bauldie, All Across The Telegraph. London: Futura, pp. 229–42.

  Heylin, C. (1991) Behind the Shades. London: Penguin.

  Heylin, C. (1996) Dylan Behind Closed Doors: The Recording Sessions 1960–1994. London: Penguin.

  Heylin, C. (2000) Behind the Shades: Take Two. London: Penguin.

  Hilburn, R. (1992) ‘What becomes a legend most? A never-ending tour, a new audience and keeping the mystery alive’, Los Angeles Times Magazine, 9 February.

  Hitchcock, R. (2006) ‘“He can’t sing”’, Word, January, p. 89.

  Jackson, A. (1997)’ ‘Bob Dylan revisited’, The Times Magazine, 15 November.

  Jameson, F. (1991) Postmodernism or, the Cultural Logic of Late Capitalism. Durham, NC: Duke University Press.

  Keightley, K. (2001) ‘Reconsidering Rock’, in S. Frith, W. Straw and J. Street, The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 109–42

  Keightley, K. (2004) ‘Long Play: Adult-Oriented Popular Music and the Temporal Logics of the Post-War Sound Recording Industry in the USA’, Media Culture and Society 26(3): 375–91.

  Kelly, R. (1987) ‘Fans, Collectors and Biograph’, in M. Gray and J. Bauldie, All Across The Telegraph. London: Futura, pp. 243–9.

  Laing, D. (1990) ‘Listen to Me’, in S. Frith and A. Goodwin, On Record. London: Routledge, pp. 326–40.

  Levine, L. (1990) Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. London: Harvard University Press.

  Lhamon, W. (1990) ‘Dylan’s living lore’, The Telegraph 37: 102–31.

  Lindley, J. (1987) ‘Highway 84 Revisited’, in M. Gray and J. Bauldie, All Across The Telegraph. London: Futura, pp. 204–8.

  Lyotard, J.-F. (1984) The Postmodern Condition: A Report On Knowledge. Manchester: Manchester University Press.

  MacDonald, D. (1957) ‘A
Theory of Mass Culture’, in B. Rosenberg and D. Manning White, Mass Culture: The Popular Arts in America. New York: MacMillan, pp. 59–73.

  McGregor, C. (1972) Bob Dylan: A Retrospective. London: Picador.

  McGuigan, J. (1992) Cultural Populism. London: Routledge.

  Mäkela, J. (2004) John Lennon Imagined: Cultural History of a Rock Star. New York: Peter Lang.

  Marcus, G. (1994) Ranters and Crowd Pleasers: Punk in Pop Music, 1977–1992. New York: Anchor.

  Marcus, G. (1997) Invisible Republic: Bob Dylan’s Basement Tapes. London: Picador.

  Marqusee, M. (2003) Chimes of Freedom: The Politics of Bob Dylan’s Art. New York: The New Press.

  Marshall, L. (2005) Bootlegging: Romanticism and Copyright in the Music Industry. London: Sage.

  Marshall, P. D. (1997) Celebrity and Power: Fame in Contemporary Culture. Minneapolis: University of Minnesota.

  Meisel, P. (1999) The Cowboy and the Dandy: Crossing over from Romanticism to Rock and Roll. New York: Oxford University Press.

  Middleton, R. (1990) Studying Popular Music. Milton Keynes: Open University Press.

  Moore, A. (2001) Rock: The Primary Text. Aldershot: Ashgate.

  Moran, J. (2000) Star Authors: Literary Celebrity in America. London: Pluto.

  Murray, C. (1997) ‘Monty Dylan and the Holy Greil’, The Independent, 24 May, books section, p. 6.

  Negus, K. (1996) Popular Music in Theory: An Introduction. Middletown: Wesleyan University Press.

  Pattison, R. (1987) The Triumph of Vulgarity: Rock Music in the Mirror of Romanticism. Oxford: Oxford University Press.

  Ricks, C. (2003) Dylan’s Visions of Sin. London: Penguin.

  Roe, N. (2002) ‘Playing Time’, in N. Corcoran, Do You, Mr Jones? Bob Dylan with the Poets and the Professors. London: Chatto & Windus, 81–104.

  Rojek, C. (2001) Celebrity. London: Reaktion Books.

  Rojek, C. (2004) Frank Sinatra. Cambridge: Polity.

  Scaduto, A. (1996) Bob Dylan. London: Helter Skelter.

  Schickel, R. (2000) Intimate Strangers: The Culture of Celebrity in America. Chicago: Ivan R. Dee.

  Scobie, S. (2003) Alias Bob Dylan Revisited. Calgary: Red Deer Press.

  Shank, B. (2002) ‘“That Wild Mercury Sound”: Bob Dylan and the Illusion of American Culture’, Boundary 2 29(1): 97–123.

  Sheffield, R. (2001) ‘“Love and Theft” review’, Rolling Stone, 27 September, p. 878. Available at http://www.rollingstone.com/reviews/album/235544/love_and_theft (last visited 22 September 2006).

  Shelton, R. (1986) No Direction Home: The Life and Music of Bob Dylan. London: Penguin.

  Skinner, K. (2006) ‘“Must be born again”: Resurrecting the Anthology of American Folk Music’, Popular Music 25(1): 57–75.

  Smith, L. D. (2005) Writing Dylan: Confessions of a Lonesome Traveller. Westport: Praeger.

 

‹ Prev