Always a master thief, in recent years Dylan has become a collage artist as well.
The director’s new documentary, Rolling Thunder Revue: A Bob Dylan Story, is practically a mockumentary — playing fast and loose with facts to highlight the musician’s penchant for fascinating contradictions.
The Bootleg series once served a useful function, but it has long since tipped over into decadence.
Caetano Veloso is an aesthete, not a man of politics, but the times and his conscience lent a political valence to his aesthetic choices.
Whether or not he raised popular music to the level of literature — a meaningless claim lazy boomers have been pushing on the younger generation for years — he certainly assumed the role of the Romantic author-genius in a popular context and made the resulting dialectic thrilling as hell.
Master songwriter Bob Dylan’s latest release looks like an invitation to steal. The cover of the 86-track compilation is a photograph of worn paper, like the surface of an old file folder. On the front is scribbled in marker: Bob Dylan: The Copyright Extension Collection Vol. 1. It may put the viewer in mind of System of a Down’s Steal This Album!, but theft is the last thing on Sony’s mind — the compilation is meant as a tactic to maintain copyright control of the music amidst Europe’s shifting public domain laws.
This month, reviews of Twin Shadow, Bob Dylan,The Rough Guide to Highlife, Istanbul 70, The Sheepdogs, Orient Noir, Deadmau5, and Jens Lekman.
After Gagosian collected Bob Dylan into his roster of artist for an underwhelming exhibition in his Upper East Side gallery, it’s hard to take these celebrity-turned-artists seriously.