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
