Visions of Johanna......

''It's the most satisfactory voice in pop, I think. There's this sort of mango and Courvoisier and the best sort of hissing and low gravel Jewishness on it." (Brett Whiteley on Bob Dylan)

Australian artist Brett Whiteley (7 April 1939 - 15 June 1992) was a lifelong fan of the American folk singer, musician and poet Bob Dylan. Throughout his working life he often played Dylan's recordings at high volume in his studios and on social occasions. One of the undoubted highlights of his career occurred in 1986 when Dylan, whilst on tour with Tom Petty and the Heartbreakers, held an Australian press conference in Whiteley's Sydney studio. Bob Dylan had a connection with Australia through various tours - the first back in 1966 - the songs he sang, and the friendships developed with individuals such as the writer Craig McGregor and Whiteley himself (Schwartz 2011). This blog is a brief record of encounters between the singer and artist, primarily from Whiteley's perspective. 

Brett Whiteley painting Christie and Hectorina McLennan 1964 in his studio, next to the Dylan LP cover The Times They Are A Changin'. Source: photograph from the Stefan Sargent film, The Australian Londoners, 1965.

London 1965

Bob Dylan’s self-titled first album was released on 19 March 1962 to a somewhat muted reception amongst the international folk community. At the time of the release, Brett Whiteley was working in Europe, with a base in London. Dylan visited London briefly during December 1962 - January 1963, and it is unlikely that he caught him during any of his appearances at local folk clubs and venues as the performances were unannounced and the singer kept a relatively low profile. This visit was followed by the release of the ground-breaking Freewheelin' Bob Dylan album on 27 May 1963 and, less than a year later, the landmark The Times They Are A Changin' on 13 January 1964. By the end of that year Dylan was a household name in countries such as Australia, Great Britain and the United States. Whiteley had arrived in London in 1961 and was based there through to the middle of 1967, with a brief visit home during 1966. A 1965 interview in the British television documentary The Australian Londoners shows the young artist in his studio walking through a collection of his latest works. Amidst abstract paintings of animals and the work of mass murderer Christie of 10 Rillington Place, London, can be seen a copy of The Times They Are A Changin', mounted prominently on the wall above a record player. This occurred during the height of Dylan's popularity and influence, with both he and the British band The Beatles at the vanguard of a cultural revolution in the West led by the youth of the day. Whiteley was likely a fan of Dylan from his earliest days. It is unclear whether the artist saw Dylan during his various British visits and tours, though it is likely that he made the effort to do so, as popular music was very much a part of the life of the Australian artist. Dylan made a brief visit there in 1964 and toured the UK in 1965 and 1966. There was much controversy during the latter visit arising from his use of electrified backing from members of The Band. Judging from the image of the LP on the wall of his studio, by 1965 the Australian Whiteley was a true fan of the American Dylan.

Sydney 1966

The earliest known Whiteley artwork to feature Dylan comprised a pencil sketch made early in 1966 following his attendance at a concert by the artist in Sydney on 13 April 1966. The Australian visit was the beginning of an extensive world tour which lasted through to 27 May 1966 and was followed by a motorcycle accident on 29 July. This forced him to curtail touring for a number of years and become somewhat reclusive whilst resident in the Woodstock New York area. It also helped the singer recover from the controversy of seemingly abandoning his folk roots and going electric with The Band.

Visions of Johanna, pencil sketch, 1966. Source: Brett Whiteley Estate collection. Reproduced: Sutherland 2010.

Now part of the Brett Whiteley Estate collection, the sketch is entitled Visions of Johanna after one of Dylan's songs (Sutherland 2010). It features two portraits, one with the singer standing before a microphone, singing and strumming his guitar, along with another comprising an image of his face. There is also some text and a study of his hands forming a chord along the neck of a guitar. Some of these motifs would appear in a later painting of Dylan by Whiteley, done some 12 months later during his residence in New York.

New York 1967-9

Brett Whiteley, upon arriving in New York in October 1967 for a two year residency, immediately began work on a large two-panel (diptych) work featuring Bob Dylan as its subject. As in the earlier Visions of Johanna pencil sketch, the large work - titled Dylan Attempt 1 - featured Dylan performing in front of a microphone and spotlight, with a Gibson SG electric guitar in hand and distorted, thick, tentacle-like fingers forming a chord. A collaged photograph of a smiling Dylan also figured, along with an electric cable running from an amplifier and speaker.

Working on the Bob Dylan diptych, Dylan Attempt 1, Chelsea Hotel, circa October-November 1967. Source: Brett Whiteley Estate collection.

Abstraction was introduced into the work in the format of a rainbow-like extrusion from Dylan's head to the speaker box on the ground. The psychedelic extrusion features iconic elements related to his work. A number of black and white photographs of the large multimedia artwork, in various states of completion and location, are known. It is now only known from these, as its present (2020) location, or even if it still exists, remains a mystery. At one stage the work was on show in the New York clothing shop operated by Whitley's wife Wendy. However, it appears to have became lost as a result of the family's hasty departure from New York and flight to Fiji in July 1969. 

Bob Dylan diptych, Dylan Attempt 1, Chelsea Hotel, circa October-November 1967. Source: Brett Whiteley Estate collection. 

Brett Whiteley and Bob Dylan diptych, Time magazine, 10 November 1967.

In a November 1967 Time magazine interview, Whiteley stands before the almost finished Dylan Attempt 1 and refers to Dylan as... 

The finished work was included in Whiteley's May - June 1968 exhibition at the Marlborough-Gerson Gallery, New York.

Dylan - Attempt 1 1967, Marlborough-Gerson Gallery exhibition, May-June 1968. Oil and mixed media on canvas. Source: Exhibition catalogue. 

Between October 1967 and May 1968 Whiteley also produced two additional works featuring Dylan, with all three included in the New York exhibition and reproduced in black and white within the accompanying catalogue. Dylan - Attempt 2 was a more traditional portrait in oil on canvas, featuring an abstract side view of the singer's head, plus a small collaged photograph of him from the famous Highway 61 Revisited recording sessions. This work survives in a private collection in Australia. 

Dylan - Attempt 2 1968, Marlborough-Gerson Gallery exhibition, May-June 1968. Illustrated - Sutherland 2010.

The third Dylan work - entitled Dylan Attempt 3 - comprises three small photographic items: the first, a copy of an ink portrait of Whiteley; the second, an altered copy of a photograph of Dylan, with a split in his head formed by a white chisel-like device; and the third, a copy of a page from a book. 

Dylan - Attempt 3 1968, Marlborough-Gerson Gallery exhibition, May-June 1968. Source: Exhibition catalogue. 

Whiteley was resident at the famous Chelsea Hotel during his time in New York. It had also regularly been used during the 1960s by Dylan as his residence in the city. For instance, he wrote a number of songs there in room 211 for the 1966 album Blonde on Blonde. A suite of photographs taken of Whiteley's apartment in the Chelsea Hotel during 1968 by the Austrian Hermann Landshoff feature Brett, Wendy and their daughter Arkie. In one of these Brett is seen working on a painting, whilst on the wall in front of him two items from Dylan - Attempt 3 can be seen. This suggests that the 3 elements were broken down at some stage.

Hermann Landshoff, Brett Whiteley at work in his Chelsea Hotel apartment, 1968. Collection: Muncher Stadtmuseum.

All of this reflects the important and inspirational role Dylan's music played in Whitley's life, with the desire to have his presence close by as he worked, whether it be an LP cover stuck to the wall, his music playing in the background on a record player, or a photograph or some other work of art featuring the singer prominently displayed. It could be assumed from later comments by Whiteley that he met with Dylan at some point during his New York residence, between October 1967 and July 1969. The nature of any such meeting is unknown, and it may have been a casual encounter in a New York club or restaurant. Unfortunately, Whiteley did not subsequently make any definitive comments in regard to this. In June 1969, just prior to leaving the United States, Whiteley sat down with some Australian friends, including the art critic Robert Hughes, to watch Dylan's appearance on the first episode of the Johnny Cash Show.

Bob Dylan and Johnny Cash, July 1969. 

This was one of the singer's first public performances following the motorcycle accident of 1966, though he continued to release recordings.

 

Return to Australia

Brett Whiteley returned to Australia at the end of 1969, after a brief period of exile in Fiji. He was to remain a fan of the artist through the following decades, producing a number of pen and ink drawings featuring Dylan. Whiteley also saw Dylan perform during various Australian tours and on occasion met with him personally and presented him with works of art. Dylan was to become a fan of the artist's work.

The Dire Straits connection

Brett's connection with, and love of music, manifested in an evolving relationship with musicians from the band Dire Straits, specifically the lead guitarist Mark Knopfler and bass player John Isley (Newman 2017). A drawing of Knopfler by Whiteley is remarkably similar to his earlier 1966 pen sketch of Dylan.

Brett Whiteley, Mark Knopfler, drawing.

Isley and Knopfler liked Whiteley's epic, multipanelled artwork Alchemy so much that they commissioned the artist to prepare a version for the cover of their similarly titled 1984 double live album and accompanying record sleeves. He was paid $15,000 for the work by the record company.

During 1979 Dylan had seen a performance by Dire Straits at the Roxy theatre in Los Angeles and as a result asked Mark Knopfler to appear on his Slow Train Coming religious album. The pair subsequently toured and recorded together on a number of occasions.

1986 Press Conference

Arising out of the relationship, Knopfler introduced Whiteley to Dylan whilst both were on tour in Australia. As a result, and with the assistance of local tour manager Patti Mostyn, Whiteley was able to secure the holding of a Bob Dylan press conference at his Sydney studio on 10 February 1986. The interview took approximately 30 minutes, with 18 minutes of that captured on a film freely available on YouTube.

Bob Dylan interview, Brett Whiteley Studio, Sydney, 10 February 1986. Duration: 18 m 22 s.

A number of media reports and images featuring both Dylan and Whiteley survive of this event, though none are of the two together as Dylan left before the artist had the chance to chat with him. Dylan performed at the Sydney Entertainment Centre that evening, backed by Tom Petty and the Heartbreakers. He later expressed his disdain of the episode, having been forced to do the interview by his manager. A reporter in the audience at Whiteley's studio was Donald Robertson, one of the founders of the Adelaide-based music magazine Roadrunner, and at the time working on Countdown magazine. He was accompanied by photographer John Webber, two of whose photographs of the event are reproduced below.  

Bob Dylan at the Brett Whiteley Studio, 10 February 1986. Photograph: John Webber.

Brett Whiteley during the Bob Dylan interview in his studio, 10 February 1986. Photograph: John Webber.

The second Webber photograph captures Whitley's obvious joy at having Dylan visit his studio, as he proudly stands beside one of his recent ink portraits of the singer. Another person in attendance at the invitation of Whiteley was young local artist Tim Johnson. On the day a rather awe-struck Johnson took a number of photographs. A collage of these, featuring both Dylan and the similarly awe-struck Whiteley is reproduced below.

 

Dylan leaving the press conference. Photograph: Tim Johnson.

Brett Whiteley after Dylan had left. The artist was somewhat taken aback by the haste of the departure. Photograph: Tim Johnson.

Dylan during the press conference. One of Whitney's self portraits is in the background. Photograph: Tim Johnson.

Dylan during the press conference. Photograph: Tim Johnson.

Another person on hand at the interview was well known Australian rock photographer Tony Mott, who captured a pensive looking Dylan.

 

Bob Dylan at the Brett Whiteley Studio, 1986. Photograph: Tony Mott.

One of the many reporters present was Evan Whitton of the Sydney Morning Herald. He wrote an article which was dismissive of Dylan, and which subsequently garnered a letter to the editor in response from the famous American actress Lauren Bacall - in Sydney at the time.

Dylan speaks!

Evan Whitton

MR BOB DYLAN appeared at yesterday's media conference as a small, middle-aged (44), blue-eyed man with dark, frizzy hair. He wore jeans tucked into large boots, a black leather jerkin revealing a small expanse of largely hairless body, an earring, and an air of melancholy weariness, or, as they say in the better class of journal, weltschmerz. Having slept through the 1960s, I am not well-placed to take a position on Mr Dylan, but I hear that he is a fine, perhaps even a great poet; a plain, hoarse baritone; something less than a virtuoso on the mouth organ and guitar; that he taught the Beatles and the Rolling Stones that rock could be art; and that he did his best work between 1962 and 1966. Appropriately, the conference for the great American artist was held in the Surrey Hills studio of one of Australia's greatest, Mr Brett Whiteley, 46, who, as Mr Robert Hughes has noted, draws like an angel. The studio is a large white-washed place with barred windows high up, for all I know, there may have been a million dollars worth of paintings lying around. One huge blue number represented the interior of the artist's studio, and showed a number of ladies, not necessarily angelic, in various contorted positions. Mr Whiteley was among those present and, indeed, made a fair stab at taking over the conference. His vague resemblance to the late Mr Harpo Marx was heightened by the golden curls peeping from under a brimless black hat turned up at the front. Some couple of hundred turned up for the 3 pm start. Press people experienced in these matters assumed Mr Dylan would be late. Fidgeting was ameliorated by black-tied waiters offering sandwiches, but no risks were taken in the way of drinks: the choice was apple juice, tomato juice, orange juice, or Perrier water. There was some muttering among the still photographers when they were advised that they could have thirty seconds to do their work, and were then to retire to the back of the room. After no more than twelve seconds, a person connected with the Dylan entourage said: 'That's all.' This command was generally ignored; attempts to enforce it were eventually given up. The Herald's Mr Anton Cermak, a disciplined type, dutifully retired, but stood on a chair to resume his toil. A person attached to the entourage plucked at his sleeve. In vain: Mr Cermak advised him forcefully that if there was a desire to throw him out they would have to get the police to do it. After the '60 Minutes' debacle of the previous evening, in which an heroically persevering Mr George Negus had found Mr Dylan in a singularly uncommunicative vein, there was said to be some nervousness within the Patti Mostyn publicity machine as to how, or if, Mr Dylan would perform at the conference.

George Negus interview with Bob Dylan, 60 Minutes, Australia, 1986. Duration: 8.30 minutes.

He did come on a little stronger than with Mr Negus, and he became almost animated when he disclosed what may be the reason he appears to effect an attitude of near catatonia in his dealings with the media: he had, he said, tried to answer questions honestly in the 1960s, but the interviews always seemed to come out differently in print. He made it clear, however, that these strictures were reserved for what he called the 'entertainment` press; he specifically absolved such as covered wars and murders, with whom he had had no dealings. One gentleman asked Mr Dylan why he said that, if the 60s were the years of protest, the 70s and 80s were the years of masturbation. Mr Dylan said: 'Is that something I said? Jesus!' He laughed, which in itself was a surprise, and went on: 'I don't know where 1 could have been that day.' Mr Whiteley, dearly shooting for an examination of the fellow artist's muse, tried him with: 'How much of your music is pulled up from your subconscious?' Mr Dylan said he used to pull a lot of it from there, but it was getting less now. Encouraged, Mr Whiteley asked: 'How much do you feel you are a medium or vessel for God, or some higher power?' Mr Dylan said: 'That's the way it mostly happens, although you may not know it at the time.' Pressing his luck, Mr Whiteley asked him who from history he would most like to have been. Mr Dylan said: 'I don't know.' Mr Whiteley retired from the room.

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{JUKE magazine}

Dylan in conference

Juke’s Murray Engelheart (tape-recorder) and Bob King (cameras) joined the jostling throng as The Zim gave his only Australian press conference. The narrow, roughly paved back streets of Surrey Hills in Sydney was a strangely apt, though unusual, environment in which to cross paths with a living legend. There was a distinct air of tension and anticipation in the expansive studio of artist Brett Whitley. Hardened industry persons shifted uncomfortably, not sure which position to take. Approximately 15 minutes late it was announced that “Mr Dylan” would be arriving soon, and photographers had 30 seconds to take their shots. Then, in he strolled, to the deafening overture of a multitude of clicking cameras and the awe-filled murmurs of those present. Dylan positioned himself on the leather lounge, hands together, eyes raised, tolerating the adulation. The photographers’ curfew was firmly enforced. Dylan seemed relatively at ease, his customary leather jacket and bike boots complemented by a shirt undone to his waist. He looked tired but, after all, this is Bob Dylan. Contrary to the Sixty Minutes fiasco, Dylan displayed a kaleidoscope of moods: warm, humble and humorous. The razor tongue that was the terror of interviewers year ago has been replaced with the patience of a world-weary man who has humbly seen it all and inspired most of it. The man had a spiritual calm about him, almost an aura. Despite the fact his Christianity concerns are now back between the lines as they were prior to his seventies’ public spirituality, this is still, without a doubt, the man whose heart poured out the majestic prayer, “I Believe In You” from Slow Train A’ Coming, although the fire-breathing rock’n’roller is making a resurgence. The questions came thick and fast from dozens of media reps and hangers on. Some just stood and listened in awe. Although reluctant to give opinions on some subjects, which he countered with a three or four word response, Dylan fielded most questions in a slow, thoughtful manner, though at times translation was difficult.

On his high profile recently and the Live Aid and Farm Aid experiences.

“Live Aid and Farm Aid were pretty good causes I guess.”

His involvement in those projects.

“As much as anyone else that was there.”

Did imitators flatter him?

“It’s… it’s… it’s flattering.”

On his visit to Moscow last year.

“I was invited by a poet, Yevgeny Yevtushenko. He invited me to a poetry convention.”

Was he surprised at how much that country knew about him?

“The particular show I did was only for a certain type of people.”

Did he see himself as a poet?

“I don’t know, compared to whom? I don’t really put my stuff next to Byron or Keats. I don’t think my stuff stands up too well on paper next to that.”

Why Australia with Tom Petty?

“Why? Because of the money.”

In the video of “Tight Connection To My Heart” he looked uncomfortable at times.

“All the time.” Laughs.

Did he hate every minute of it?

“Yeah.” (Grins)

Are videos a necessary evil?

“Not any more than anything else.”

Such as?

“Like anything.”

Also looking uncomfortable in “We Are The World”.

“To tell you the truth, I don’t remember that. I did as best as I could.”

The reason for the popularity of monstrous music?

“There is so much mediocrity going on, every time someone really good comes along it’s like you can’t be too good ‘cause you’re looked at. You stand out. People that stand out in an individual kind of way, they don’t fit into the system because they don’t sell, they don’t keep system commodities going. I thought Peter Townshend’s record was real good.”

On Shyness:

“Yeah, most of the time.”

On himself:

“Who’s Bob Dylan? I’m only Bob Dylan when I have to be Bob Dylan. Most of the time I just be myself.”

On Christianity:

“I was doing what I believed I should be doing. Most artists should do some gospel kind of music. If they don’t do something with gospel, I don’t really trust that artist. I don’t care who he is. I never considered myself to have Christian fans and non-Christian fans. I don’t deal with people in that kinda way.”

Impact over the years:

“I know I’ve had a lot of influence on people, but a lot of people have been an influence on me, too. When I started, when I was coming up, I was influenced by everybody. That had formed the style I’d come up with. It’s not a bad thing to be influenced by other people.”

Responsibility and the Protest movement:

“That was never my intention. To be responsible, to set an example for anybody, that’s not my fault.”

What is believed to be the sexist overtones on  Empire Burlesque. (Uproar from the group)

“What’s a sexist album? What does that mean. Sexist, I don’t know what you mean, I have never met a man who is stereotyped.”

Women:

“I couldn’t live without them.”

The world:

“I am just as much anti-nuclear as  anybody. Things have changed, you know. They might still be the same, they might just look different.”

Change for the better:

“In the States they have. In a lot of different parts of the States, they have, sure.”

Changed for the better?

“For the better? In the United States? See, I can only speak for things in the United States. Well, it’s like we’ve been talking, it’s true there’s a lot of oppression in the United States. but it’s also true there’s more freedom there.”

How much of the music comes from the subconscious and how much are you a medium for God?

“I don’t know. It gets less and less that’s pulled up from my subconscious. I used to pull a lot of it up. I pull some of it up once in a while now, but not too often.”

Medium for God?

“I feel that way about most of the stuff I do. I may not know at the time that that’s what happening, or that might be the process, but when I see it later it seems to me that that’s the way it happens.”

Surprised his influence wasn’t stronger in ‘60s as the ministerial poet?

“Yeah, but see, poetry, it takes a long time to get your thing together. Everybody expects (pause)... there’s this commercialism of stuff where if you’re a good looking kid or got a good voice they expect you to be able to do it all. You may be good looking and you may have a great voice, but if you’ve never had experience to go with it, you’re just gonna be disposed of.

“There are quite a few people that did that (follow his lead). I think it does a lot whether you know it or not, because a lot of stuff that is really good, nobody is really turned up to, you know. Most of the things you’re exposed to you just hear on the radio or television and it’s like if it’s not on the radio or on the television it’s not happening, and that’s not true at all. There’s a lot of stuff happening, but it’s not just happening on that level.”

Music affecting society and politics.

“No, I don’t think so. I think they (music) can get into people’s subconscious minds, maybe in a roundabout way, and they make people feel better. They feel that maybe sometimes what they are thinking or feeling they can hear it articulated in a song and they may think, yeah, I’m not so crazy to feel that way.”

If the credit for recent work lies with God, where does the credit for year early work lie?

“It’s all for God, you know.”

On patriotism and the scoundrel reference in “Sweetheart Like You” and is Patriot a scoundrel?

“Groups of people use America for a stepping stone for a more powerful position in the rest of the world. I mean, face it, there are people who are trying to gain control of the entire world now, not just in America, but everywhere. There would seem like in future there’s gonna be some man that wants to be powerful enough to rule the world, and why not?”

The press — could you have made it without them?

“No. I could not have made it without their help. The press wasn’t that powerful when I got started. I only got turned off the press in the mid-60s when record companies would send me over to do an interview with someone and you’d be honest with that person and he’d ask you questions and you answer them in an honest way and then you’d see the article would come out and, not dishonest, but he’d take quotations and turn things around and make you seem like a different kind of person by using everything that you gave him. So you felt like you’d been suckered into something.

“Someone else has an idea about doing something to you and you were innocent and didn’t know about it, so, after that I started to get turned off by the manner of the people who were coming to interview you for a magazine.

“When I was talking about the press I wasn’t talking about war reporters or people covering fires or investigating murders. I never meant that side of the press, just the side that was pertaining to the entertainment section.”

Career:

“What career? I’ve never had a career. I am somebody that doesn’t work for a living.”

What does Bob Dylan think of Bob Dylan?

“Bob Dylan doesn’t ever think about Bob Dylan.”

Whey does he continue? Does he enjoy it?

“Well, this is about all I can really do. I don’t really remember doing anything else.”

But, you don’t have to?

“I don’t have to? ... I don’t know.”

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1992 meeting and death

During a 13 March 1992 telephone interview with Australian rock journalist Stuart Coupe, Dylan made the following comment:

Hey listen, you could say hi to this guy Brett Whiteley, yeah. Is he still out there painting? He gave me some drawings the last time there and they still look good to me.

Sometime around 24-26 March or 13-16 April 1992, just 2-3 months prior to his death in Thirroul due to a heroin overdose on 15 June, Brett Whiteley and Bob Dylan had an extended meeting in Whiteley's Sydney studio, where they talked about art and music. Dylan was in Sydney for 6 concerts as part of his Still On The Road tour.

1994 Frannie's reminiscences

During 1994 Brett Whiteley's sister Frannie Hopkirk published a memoir which included reference to her brother's long-term fascination with Bob Dylan.

He found an intellectual and spiritual brother in this man... Brett was obsessed with poet-musician Dylan... He collected his albums and was intimate with every song as though they were speaking to him directly. He listened to Dylan almost daily for most of his life.

1999 Uncut comment

Murray Engelheart interviewed Dylan during 1999 for music magazines Uncut and Guitar World. Her article included the following comment by Dylan in regard to Brett Whiteley:

Oh yeah, I thought the world of Brett. I loved his artwork and still do.

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References

Bailey, Michael, Tangled up in Bob: Michael Chubb on his Nine Dylan tours, Australian Financial Review, 13 July 2018. Available URL: https://www.afr.com/life-and-luxury/arts-and-culture/tangled-up-in-bob-michael-chugg-on-his-nine-dylan-tours-20180626-h11vxu.

Coupe, Stuart, Trying to Interview Bob Dylan, Stuart Coupe [blog], 1 March 2014. Available URL: http://stuartcoupewriting.blogspot.com/2014/03/trying-to-interview-bob-dylan-ive.html.

Kent, Harry, Brett Whiteley Listens to Bob Dylan, Tachisme [blog], 21 February 2012. Available URL: http://tachisme.blogspot.com.au/2012/02/brett-whiteley-listens-to-bob-dylan.html.

Newman, Ed, Brett Whiteley: Art, Dylan and the Other Thing, Ennyman's Territory: Arts, Culture and other life obsessions [blog], 12 August 2017. Available URL: https://pioneerproductions.blogspot.com.au/2017/08/brett-whiteley-art-dylan-and-other-thing.html.

Schwartz, Larry, Blowing in, yet again: Bob Dylan just didnt change with the times, he changed the times, The Age, 15 April 2011. Available URL: https://www.theage.com.au/entertainment/music/blowing-in-yet-again-20110414-1dffx.html.

NB: This blog was listed on the Bob Dylan Expecting Rain archive site on 27 July 2019.

Michael Organ
Last updated: 30 December 2020