NOTES
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader’s search tools.
CHAPTER 2
23 “singing our songs”: T. E. Førland, “Bringing It All Back Home,” 351, also good on Dylan and the protest tradition.
24 “conscience of Young America”: Bob Dylan, Chronicles: Volume One, 133. For the record, the degree was awarded by President Robert F. Goheen, a classics professor, as in June 2004 at St. Andrews University, where he received his other honorary doctorate from classicist and chancellor Sir Kenneth Dover.
27 tape of the show: https://www.youtube.com/watch?v=t4nA3QwGPBg&sns=em.
32 the album represented: Jonathan Cott, Bob Dylan: The Essential Interviews, 260.
33 Blood on the Tracks: Mary Travers interview, http://www.bloodonthetracks.net/About-Bob’s-Album.html.
35 the album’s songs: Clinton Heylin, Behind the Shades Revisited, 466.
CHAPTER 3
43 from Rolfzen’s talk: Greil Marcus, “A Trip to Hibbing High.”
44 “long-lost friend”: L. Tuccio-Koonz, “Mark Twain Fan.”
45 friend John Bucklen: Heylin, Behind the Shades Revisited, 16.
46 “run away from yourself”: Ibid., 4.
48 Friends of Chile: Heylin, Revolution in the Air, 148–50, for an account of the song. Dylan’s parents were present at the Carnegie Hall show.
50 for his last year: Heylin, Behind the Shades Revisited, 28.
55 King of Kings: Drawn from John 19:24–25.
56 the Black Sea: The subject of Chapter 8.
60 they belong together: T. E. Strunk in “Achilles in the Alleyway” even hypothesized that Dylan in the 1960s and ’70s was actually reusing the poems of Catullus. While the Roman poet and the songwriter often end up in the same place, in my view that comes from a shared lyric attitude and shared themes, rather than through any intertextual nexus.
67 “open-stage policy”: A. Carrera, “Oh, the Streets of Rome,” 88.
68 “Girl leaves boy”: Not printed in Terkel’s publication of the interview, and therefore not in Cott’s Essential Interviews. Audible at minute 33.22 of the taped version on YouTube: https://www.youtube.com/watch?v=t4nA3QwGPBg&sns=em.
68 the first time: https://www.youtube.com/watch?v=j-KEiBBg0sg.
72 end of the year: Heylin, Revolution in the Air, 418.
79 “pack of wild geese”: Ibid., 419.
81 “every time I sing it”: Cott, The Essential Interviews, 262.
81 antiquity of the song: Ibid., 263.
CHAPTER 4
109 “better shelves”: Suze Rotolo, A Freewheelin’ Time, 99.
112 the Greek historian (36): Thomas, “The Streets of Rome.”
113 First Gulf War: Cott, The Essential Interviews, 385.
121 “believe in reincarnation?”: Cott, The Essential Interviews, 194.
121 journalist Mikal Gilmore: Cott, Ibid., 411–28.
128 scripture in his life: Douglas Brinkley, “Bob Dylan’s Late-Era, Old-Style American Individualism.”
129 the following caption: The quote is tucked away as a caption to one of the photos included in the AARP The Magazine. On a table there are three old-looking well-used books, with a fourth open but not legible: http://www.aarp.org/entertainment/music/info-2015/bob-dylan-photos.html#slide12.
CHAPTER 5
131 Dylan to John Hammond: Heylin, The Recording Sessions, 8.
134 Cecil Sharp in 1917: Heylin, Revolution in the Air, 116.
134 justice of her case: Ibid., 117.
142 London at the end of 1962: Heylin, Revolution in the Air, 124.
146 “impersonating Bob Dylan”: Sean Wilentz, Bob Dylan in America, 118.
149 New York in early 1963: Rotolo, A Freewheelin’ Time, 199.
149 “‘look at Rimbaud and Verlaine’”: Heylin, Behind the Shades Revisited, 101.
153 biography Shelton was writing: Robert Shelton, No Direction Home, 392.
153 “writing I’m gonna do”: Heylin, Revolution in the Air, 181.
155 “to the highest degree”: Shelton, No Direction Home, 294.
156 as Van Ronk remembers it: Dave Van Ronk, The Mayor of MacDougal Street, 4.
157 politics of Dylan’s art: Marqusee, Chimes of Freedom, 93.
158 “harvest of vitriolic verse”: Paul Schmidt, Arthur Rimbaud, 75.
CHAPTER 6
180 finds fault with the scene: Heylin, Revolution in the Air, 416.
187 the new millennium: The title is stolen from Eric Lott’s treatise of 1993, Love & Theft: Blackface Minstrelsy and the American Working Class.
188 “fatalism of classic blues”: Cott, The Essential Interviews, 394–95.
191 Virgil and Bob Dylan both matter: Thomas, “Shadows Are Falling,” for a more detailed study of the shared melancholy of Dylan and Virgil.
CHAPTER 7
199 “Lonesome Day Blues”: http://dylanchords.info/41_lat/lonesome_day_blues.htm.
201 months after its release: Cott, The Essential Interviews, 426.
205 popularity as being: Tacitus, Dialogue on Oratory, 13.
206 as Suetonius reports: Suetonius, Life of Virgil, 11.
206 true for many songs: Ibid., 26.
211 Bob Dylan, 2004: Cott, The Essential Interviews, 438.
211 Bob Dylan, 1977: Heylin, Revolution in the Air, 181.
213 “overflow of powerful feelings”: William Wordsworth, Preface to the Lyrical Ballads.
213 in a single session: http://www.newyorker.com/magazine/1964/10/24/the-crackin-shakin-breakin-sound.
215 after the stay in Toronto: Heylin, Revolution in the Air, 176–81, for good detective work on this song.
218 his own virtuoso sentence: Neil McCormick, “Bob Dylan: 30 Greatest Songs.”
CHAPTER 8
233 puts it well: See Wilentz, Bob Dylan in America, 314–19, for an excellent detailed reading of “Nettie Moore.”
241 the songs of Modern Times: See Thomas, “The Streets of Rome,” for all the Ovidian lines; Robert Polito, “Dylan’s Memory Palace,” for a recent treatment of Timrod and Ovid.
241 release of Shadows in the Night: Robert Love, “Bob Dylan Does the American Standards His Way.”
242 “from their crumbling sepulchers”: Ovid, Amores 1.8.17; see Polito, “Dylan’s Memory Palace” for other uses of Ovid’s Amores.
243 had become part of: T. S. Eliot, “Philip Massinger.”
CHAPTER 9
267 comeback album, Time Out of Mind: Interview with Jon Pareles in Cott, The Essential Interviews, 392.
268 on YouTube: https://www.youtube.com/watch?v=9UXeXdPv7rA.
269 recalls Dylan saying: Heylin, Behind the Shades: The 20th Anniversary Edition, 717.
270 Great American Songs: a blues: Fricke, “Bob Dylan: Shadows in the Night.”
270 interview with Robert Love: Love, “Bob Dylan Does the American Standards His Way.”
271 one way or another: Ibid.
274 puts together a show: Ibid.
274 “A certain kind of drama”: Ibid.
275 with a perceptive observation: Heylin, Still on the Road, 470.
276 “where the sound’s most powerful”: Flanagan, “Q & A.”
282 “and a sense of purpose”: Edna Gunderson, “Dylan Sets the Tone for the Wonder Boys Soundtrack.”
283 various phases of his life: Dylan addressed the issue of such change at a show at the Fox Warfield in San Francisco on November 12, 1980. In a long introduction to “Caribbean Wind” he started talking about Leadbelly: “At first he was just doing prison songs, stuff like that. The same man that recorded him also recorded Muddy Waters before Muddy Waters changed his name. He’d been out of prison for some time when he decided to do children’s songs. People said all right, did Leadbelly change? Some people liked the old ones, some liked the new ones. Some people liked the prison songs and some people like the children’s songs. But he d
idn’t change, he was the same man.”
283 he went off topic: Love, “Bob Dylan Does the American Standards His Way.”
284 Robert Love asked him: Ibid.
CONCLUSION
293 Bob Dylan for the Nobel: Gordon Ball, “Dylan and the Nobel.”
293 “Nobel Committee has gone electric”: Nancy Wartick, “Readers Go Electric.”
294 “an insult to real poets”: Irish Times, October 13, 2016.
297 “matters where it takes you”: Heylin, Revolution in the Air, 93–94. In 1965 Dylan had said, “I wrote it at the time of the Cuban crisis.” Heylin pointed out that the song was first performed at Carnegie Hall on September 22, 1962, before the U-2 spy plane took photographs of missile sites in western Cuba. Dylan’s original memory may not be so faulty. Cuba had been a building crisis through the summer.
299 “seen such applause before”: David Gaines, “The Bob Dylan Nobel.”
301 might suggest mass incarceration: 200 per 100,000 when Dylan wrote the song, now almost five times that number.
301 Dylan’s Nobel Banquet Speech: Delivered by U.S. Ambassador to Sweden Azita Raji, December 10, 2016.
311 in Los Angeles on June 4: https://www.youtube.com/watch?v=6TlcPRlau2Q
313 already saw: in Chapter 8.
320 “less and less artistic power”: Michael Gray, Song and Dance Man III, 877.
INDEX
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader’s search tools.
AARP The Magazine, 129, 283
“Absolutely Sweet Marie” (song), 163
“Accidentally Like a Martyr” (song), 163
Adams, Lee Richard, 272
Adele, 206–7
Adventures of Huckleberry Finn, The (Twain), 95, 199–201
Aeneid (Virgil), 7–8, 12–15, 62, 80, 132–33, 203
“Lonesome Day Blues” influenced by, 194–96
writing of, 211–12
Aeschylus, 127, 276, 288
Afghanistan war, 113, 289
“Against the Detractors of Virgil” (Asconius Pedianus), 203
“Ain’t Talkin’” (song), 56–57, 93, 233, 240, 243, 244
Alexander the Great (film), 53
Alfred, Lord Tennyson, 63, 189
“All Along the Watchtower” (song), 8, 279
“All or Nothing at All” (song), 278, 279
All Quiet on the Western Front (Remarque), 56, 314–15, 316–19
And They All Sang (Terkel), 27–28
Ann Arbor Blues Festival, 29–30, 37
Another Side of Bob Dylan (album), 155, 213
Antony, Mark, 4, 54, 61
Apartheid, 20
Apple, Fiona, 283
Are We Rome? (Murphy), 3
Aristotle, 125
Arnold, Byron, 170, 173
Art of Love (Ovid), 238
Asconius Pedianus, 203
Astor, John Jacob, IV, 117
Atlantico, 92
Augustus, 4, 56–57, 195, 202, 206, 238
“Autumn Leaves” (song), 271–72, 278, 279
Avril (girlfriend of Dylan), 110, 138–40
Backus, Jim, 117
Baez, Joan, 21, 23, 39, 206, 217, 260–61, 305
Ball, Gordon, 293, 295
“Ballad of a Thin Man” (song), 282–83
“Ballad of Hollis Brown, The” (song), 303
Band, 31, 32
“Banjo Tape, The” (bootleg recording), 68
“Barbara Allen” (ballad), 86–87, 177, 204
Barger, Ralph (“Sonny”), 124–25
Basement Tapes, The (album), 31
Bear, (Chicago club) 27
Beatles, 146–47
Beat poets, 63, 150
Behind the Shades (Heylin), 320
Ben-Hur (film), 54
Bennett, Tony, 58, 272
Bergan, John (“Dan”), 43, 45–46
Berlin, Irving, 269
Best Is Yet to Come, The (television concert), 272
“Beyond Here Lies Nothin’” (song), 241, 278
“Beyond the Horizon” (song), 233
Biblical allusions, 161–62, 174–75, 244
“Big Fat Woman” (song), 183
Biograph (album), 50, 218
Black Hills Passion Play of South Dakota, 55
Blair, Tony, 29
Blake, William, 295
Blind Pig (Ann Arbor bar), 29
“Blind Willie McTell” (song), 303
Blonde on Blonde (album), 1, 22–23, 30, 31, 146, 166, 227. See also individual songs
Blood on the Tracks (album), 29–37, 166, 227, 276–77, 279. See also individual songs
archival material on, 217–25
nighttime theme in, 34–35
principles of painting applied in, 32–33, 36
Bloomfield, Mike, 22
“Blowin’ in the Wind” (song), 19–22, 23, 25–28, 279, 289, 308
lyrics, 25–26
number of concert performances of, 28
writing of, 211, 213
“Blue Carnation” (early title of “Tangled Up in Blue”), 218–19
Blue Hills Bank Pavilion, Boston, 286
Blues, 57, 162, 248, 270
Blues, Songs & Ballads (album), 183
Bob Dylan: Lyrics: 1961–2001 (lyrics book), 83
Bob Dylan: The Lyrics: 1961–2012 (lyrics book), 83, 143, 183, 195, 209, 255–56
Bob Dylan Archive, 151, 212, 214, 216–25, 267
Bob Dylan Center, 217
Bobdylan.com, 260
Bob Dylan’s American Journey, 1956–66 (exhibition), 41
“Bob Dylan’s Dream” (song), 79, 141–43
“Bob Dylan’s Performance Artistry” (symposium), 8
“Bob Dylan’s Secret Archive” (Sisario), 216
“Bob Dylan Unleashed” (Gilmore), 86, 164–67
Bob Dylan Way (street), 46
Booth, John Wilkes, 103
Bootleg Series Vol. 6, The: Bob Dylan Live 1964 (album), 152
Bootleg Series Vol. 8, The: Tell Tale Signs (album), 228
Bootleg Series Vol. 10, The: Another Self Portrait (album), 32
Bootleg Series Vol. 12, The: The Cutting Edge 1965–1966 (album), 215
Bootleg Series Vols. 1–3, The: Rare & Unreleased 1961–1991 (album), 36, 143, 219
“Boots of Spanish Leather” (song), 67–68, 93, 94, 248–49
Bound for Glory (Guthrie), 136, 231
“Bound for Glory” (song), 173
Bradley, Ed, 70, 163
Brando, Marlon, 53
Bratislava, 260
Bringing It All Back Home (album), 23, 290
Brinkley, Douglas, 127–28
“Brother in Korea” (song), 138
Browder, Kalief, 301
“Brownsville Girl” (song), 105
Brutus, 4, 57, 103
“Buck-Eye Rabbit” (song), 173
Bucklen, John, 45
Buddy Holly (album), 231
Burns, Robert, 176–79, 180, 229, 242, 323
Burroughs, Edgar Rice, 102
Burton, Richard, 54, 61
Bush, George W., 28
“Bye and Bye” (song), 187, 202, 237
Byrds, 206
Caesar, Julius, 4, 56, 57, 58, 61–62, 88, 103, 125, 195
Café Wha?, 99, 100
“California Brown-Eyed Baby” (song), 138–40
Cameron, Norman, 154, 158, 159
Campion, Thomas, 63–64
Capitol Theater, 280–81
Cardinal, The (film), 269
Carnegie Hall, 46, 47, 48
Carter Family, 85, 117
Carthy, Martin, 142
Catchfire (film), 108
Catullus, 2, 4, 58–66
Poem 8, 63
Poem 11, 59–60
Cavafy, Constantine, 262–63
Chaiken, Michael, 217
“Changing of the Guards” (song), 38, 80–84, 98
Chaplin, Charlie, 229
“Chimes of Freedom” (song), 155–60, 214–15
“Chimes of Trinity” (song), 156–57
Chinese-Japanese War, 199
Christianity (Dylan’s involvement in). See under Dylan, Bob
Christmas in the Heart (album), 161–62
Chronicles: Volume One (Dylan), 24, 41, 55, 65, 95–119, 138, 149–50, 151–52, 163, 198, 212, 222, 228, 306
difficulty of classifying, 95–96
on the gun room, 106–7
on the library, 110–16, 119, 124, 127, 129, 244
nonlinear structure of, 96–97
reality filtered through creativity in, 99–101
on the tool room, 107–10
Cicero, Marcus Tullius, 17, 129, 244
Cithara, 13, 82
Civil rights movement, 20–21
Civil War, 201, 232
Classics
“Blowin’ in the Wind” structure, 25–27
Dylan’s periods, 37, 39, 162, 227, 276, 277, 278
“Early Roman Kings” structure, 91
Eliot on, 14–16, 209–10
popularity and, 205–8
Clayton, Paul, 118–19
Clearwater, FL tour, 268–69, 277–80, 281–83, 285, 286–87, 288–89
Cleopatra (film), 54, 61–62
Cohen, John, 149
Cohen, Leonard, 39
“Cold Irons Bound” (song), 251
Cold War, 4, 52–53, 63, 300
Coleman, Cy, 283
Collins, Judy, 23
Columbia Records, 29, 96, 118, 214
“Columbus Stockade” (song), 136–41
Como, Perry, 58
Concert for Bangladesh, 28
Confessions of a Yakuza (Saga), 196–99
Cooke, Sam, 89
Cott, Jonathan, 27, 81, 120–21
Country-rock music, 31
“Covering” of songs, 136, 206–7, 268–74, 277. See also Great American Songbook
Cowley, Abraham, 65
Cuban missile crisis, 4, 296
Czech Republic, 260
Danius, Sara, 12, 292, 301–2, 304
Dante, 97, 115, 124, 125, 209, 276
Del Rio (Ann Arbor bar), 29
Demetrius and the Gladiators (film), 53
Dennis, Carolyn, 97
Desert Trip music festival, 29, 272–73, 287
Desire (album), 37, 184, 218, 227, 228
“Desolation Row” (song), 15–16, 100, 185, 215–16, 277, 279, 305
Dinkytown (Minneapolis), 49, 57, 118, 136, 167, 224
Divine Comedy (Dante), 276
Dolby Theatre, 269
Donne, John, 97
Donovan, 148
Why Bob Dylan Matters Page 24
