The Bob Dylan Scrapbook 1956-1966, by Bob Dylan, Robert Santelli

The book of the film of the spokesman of more than one generation

Liz Thomson
Monday 07 November 2005 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

The Bob Dylan Scrapbook is, essentially, the book of the film. It offers both a nostalgic wallow and an in-depth look at key moments in Dylan's turbo-powered development.

Spiral-bound and slipcased, it takes the same form as Lennon Legend, with facsimiles of lyrics, concert posters, Dylan's pass as a "platform guest" at the March on Washington when Dr Martin Luther King gave his "I have a dream" speech, plus a CD of interviews. An October 1963 leaflet of concerts at Carnegie Hall shows Dylan rubbing shoulders with, among others, Stokowski and Rostropovich.

The text, by the Dylan specialist Robert Santelli, offers no startling insights, but that's not the point, which is to show how Dylan's talent and career developed. What is interesting is to see the handwritten lyrics and chords to "Blowin' in the Wind", apparently completed in just half an hour. There are no line changes, but Dylan had second thoughts about which verse should come last. "Chimes of Freedom", written on notepaper from the Waldorf Astoria in Toronto, shows more signs of re-writing, not surprisingly given the song's complexity. The use of both pencil and ballpoint suggests that it was written over at least two sittings. Cigarette burns add to the authenticity.

He was in London's May Fair Hotel when he wrote "It Ain't Me Babe", and the intensity displayed on screen is evident on the page: you can see how hard Dylan's purple-blue ballpoint has pressed into the paper. On the reverse of the page are doodles, snatches of surrealist prose and his thoughts, about not being "a folksinger", on the musical battles he was starting to fight.

As in the film, there are great images, reminders of a more vital time when music and social action came together. Dylan always denied that he set out to write protest songs, and said that he didn't want to be the spokesman of his generation. Maybe, but that he gave his generation and many to follow so many timeless songs cannot be denied.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in