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Bob Dylan by Greil Marcus: Writings 1968–2010 by Greil Marcus

By Greil Marcus

The booklet starts in Berkeley in 1968, and ends with a bit on Dylan’s convey on the college of Minnesota—his first actual visual appeal at his alma mater—on election evening 2008. In among are moments of euphoric discovery: From Marcus’s liner notes for the 1967 Basement Tapes (pop music’s most renowned bootlegged records) to his exploration of Dylan’s reimagining of the yank event within the 1997 trip of brain. And rejection; Marcus’s Rolling Stone piece on Dylan’s album Self Portrait——often known as the main recognized checklist overview ever written—began with “What is that this shit?” and resulted in his departure from the journal for 5 years. Marcus follows not just recordings yet performances, books, videos, and all demeanour of highways and byways within which Bob Dylan has made himself felt in our culture.

Together the handfuls of items accumulated the following contain a portrait of the way, all through his occupation, Bob Dylan has drawn upon and reinvented the panorama of conventional American tune, its myths and choruses, heroes and villains. they're the results of a greater than forty-year engagement among an extraordinary singer and a uniquely acute listener.

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Extra resources for Bob Dylan by Greil Marcus: Writings 1968–2010

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He’d been a legend—a story people passed on as if it might even be true—at least since 1964. But time moved fast then—Bobby Darin, you can imagine, wanted to be a legend by the time he was twenty-five because after that it might be too late. As a chronicle of events happening as they were written about—which this book, much of it a matter of reviews, reports, sightings, comment in monthly or bi-weekly magazines and weekly newspapers, to some degree is—that heroic period hangs over what I wrote.

25) Self Portrait, the Auteur, and Home Movies, con’t. We all play the auteur game: we went out and bought Self Portrait not because we knew it was great music—it might have been but that’s not the first question we’d ask—but because it was a Dylan album. What we want, though, is a different matter—and that’s what separates most people from auteurists—we want great music, and because of those three albums back in ’65 and ’66, we expect it, or hope for it. I wouldn’t be dwelling on this but for my suspicion that it is exactly a perception of this approach that is the justification for the release of Self Portrait, to the degree that it is justified artistically (the commercial justification is something else—self-justification).

If the title is serious, Dylan no longer cares much about making music and would just as soon define himself on someone else’s terms. There is a curious move toward self-effacement: Dylan removing himself from a position from which he is asked to exercise power. It’s rather like the Duke of Windsor abdicating the throne. After it’s over he merely goes away, and occasionally there’ll be a picture of him getting on a plane somewhere. ” The Nashville recordings of Self Portrait, taken together, may not be all that staggering but they are pleasant—a sentimental little country melodrama.

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