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[Daniel Mark Epstein]The Ballad of Bob Dylan A Portrait(epub){Zzzzz}

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Description

 							
  
  
  
  Drawing on
revelatory interviews, a rich analysis oflyrics, and a lifelong study of one of the greatest songwriters of our
time,Daniel Mark Epstein delivers a singular, nuanced, and insightful examination ofBob Dylan—the poet, the
musician, and the man. Interweaving in-depthconversations with Dylan collaborators and contemporaries, including Eric
Andersen,Tom Paxton, Woody Guthrie’s daughter Nora Guthrie, Ramblin’Jack Elliott, Pete Seeger, Maria
Muldaur, John P.Hammond, and many others, Epstein crafts a vivid and unforgettable portrait ofthe inimitable poet and
performer. Readers of Christopher Ricks’ Dylan’s Visions of Sin, the Dylanautobiography, Chronicles, or
Sean Wilentz’s Dylan inAmerica, as well as fans enthralled by expository musician stories, such asKeith
Richards’ Life and PattiSmith’s Just Kids, will be captivatedby Epstein’s unprecedented and
incisive look at Bob Dylan, music’s mostineffable creator.
  
  Product Description
  
 
Review
  “What sets Epstein’s book apart is its accessibility. . . . Epstein is refreshingly
direct and approachable, and while the author, also a folk musician, makes much of his extensive quotes from
Dylan’s lyrics, it is his own clear, emotional enthusiasm that carries the tale.” (Rob Fitzpatrick, Sunday
Times (London))
  
  “If you like Keith Richards’ Life, then read The Ballad of Bob Dylan. Just
in time for the musician’s 70th birthday, Daniel Mark Epstein’s biography offers a vivid portrait of the
visionary artist.” (US Weekly)
  
  “Offers a portrait that explodes the semi-hostile cliché of
much unauthorized biography. New interviews and photographs add depth to an account distinguished by a fine sensitivity
to all aspects of Dylan’s art, from the personal to the music’s history.” (Tim Martin, Telegraph
(London))
  
  “Brilliant—that Daniel Mark Epstein is both a poet and a biographer stands him in
good stead in this penetrating, compassionate (but utterly clear-eyed), beautifully written portrait of Bob Dylan as an
artist and a man. Among the very best writing about Dylan, ever.” (James Kaplan, author of Frank: The Voice)

 
  “In The Ballad of Bob Dylan, Daniel Mark Epstein does what few have been able to do at all, much less
this well: capture that spirit, and in so doing, somehow manage to get closer to the essence of an American icon.”
(Dave Moyer, New York Journal of Books)
  
  From the Back Cover
  
  Through the lens of
four seminal concerts, acclaimed poet and biographer Daniel Mark Epstein offers an intimate, vivid, and comprehensive
portrait of Bob Dylan. Beginning in 1963, Epstein revisits Dylan's early struggles to find artistic direction; his
transition from folk icon to rock star; and his secluded family life and divorce. A breathtaking account of Dylan's
Never Ending Tour and his contemporary studio sessions brings us full circle, revealing how Dylan revived a flagging
career and accepted his role as the éminence grise of rock and roll today.
  
  Drawing on new interviews
with those closest to Dylan—including Maria Muldaur, Nora Guthrie, and Ramblin' Jack Elliott—The Ballad of
Bob Dylan is a singular take on an artist who has transformed generations and continues to inspire and surprise
today.
  
  Publisher: Harper Perennial; Reprint edition (15 May 2012)
 
Language: English
  ISBN-10: 0061807338
  ISBN-13: 978-0061807336
  
  Most Helpful Customer Reviews
  
  The intertwining trajectories of the music
legend and a fan 12 March 2011
  By Corinne H. Smith - 
  Author Daniel Mark Epstein has set his goals
high. How else can you explain the brave desire to assemble a new biography about someone for whom many others have
already produced thousands of pages? About an individual who has already published the first volume of his own
autobiography? To additionally spend time analyzing many of the tunes and lyrics created during this 50+-year musical
career, knowing full well that myriad liberal arts students dissect those same lines and melodies in countless
classrooms across this globe every day? What could possibly be said here and now that hasn't already been made public
and well known?
  
  Well, Mr. Epstein's got a hook. He's a fan. He has seen Bob Dylan four times in concert,
with more than a decade separating each event. By anchoring his approach with those evenings (in 1963, 1974, 1997, &
2009), the author plants himself in that narrow aisle between his iconic subject matter and the rest of us in the
audience. Epstein becomes Everyman, and it's easy for us to identify with his experiences and his viewpoints. We've sat
in similar theaters and arenas. We know the music. The four gigs serve as the stanzas to the Dylan life ballad.
Epstein's text could be sketched as a quadrupled Venn diagram. The concert hours are the overlapping slivers of time;
and that which falls into the wide outside spaces represents the lives lived away from the stage, both for the performer
and for the listener.
  
  You might think, Great, four concerts. This won't take long. Wrong! The author
fills in the gap of those intervening years with the kinds of details we crave from in-depth celebrity portrayals. He
catches us up on what Bob Dylan was doing musically at those times and what aspects of his personal life affected his
creativity, his lifestyle, and his performances. Epstein comes this close (pressed fingertips) to meeting the man in
person. He interviews people close to Dylan at various points in his career. He does not dwell a lot on the topic of
substance abuse; but he does document the letdown when Dylan abandoned his previous work for born-again religion at the
beginning of the 1980s. We can relate. Somehow we expect our heroes (esp. our musical ones, it seems) to remain the same
or to sustain a good level of predictability, even while we grow older and move in and out of relationships with people,
ideas, places, etc. It doesn't occur to us that those icons are (mostly) human too, and that the same waves that change
us might change them. Here we can tag along to the venues and share in Epstein's struggles to understand the varying
musical styles, images and dimensions of one particularly gifted and knowledgeable singer/songwriter/painter/poet.

 
  I saw Bob Dylan in concert in Amherst MA in November 2004. Admittedly, I'm not much of a fan. I don't own any
Dylan albums, and I'm familiar only with his most popular and radio-friendly songs. But I am a huge follower of folk and
rock music and I am a veteran concertgoer / reviewer. I went to the arena that night because I thought I had to see
Dylan at least once in my life. And I can well remember the chills I got when he ended the evening with "Like a Rolling
Stone" and came back with the encore of "All Along the Watchtower." I'm quite glad I was able to witness it. I guess
journalist Ed Bradley must have been in the house that night too, because he later met Dylan at a local hotel in order
to conduct his interview for "60 Minutes." Watching that TV show made the outing, in retrospect, much more memorable and
real for me. That was my own little snippet of the circle: one that I kept in my mind as I was reading about Mr.
Epstein's own concert memories. The lines blurred, and our encounters mingled. Anyone who has seen Dylan in person will
find something to identify with here.
  
  Cresting the 440-page mark, "The Ballad of Bob Dylan" is hardly a
superficial treatment. It requires just as much dedication to read and to turn the pages as it must have taken to write
them. Readers should know the generalities of the Dylan chronology before venturing into this volume, since it does not
follow a typically stale biographical format. This narrative is aimed at an intelligent and thoughtful audience that
wants to dive into history, musicianship, composition analysis, and critical performance -- or who just wants to hear a
darn good story told well. It makes for an interesting and enlightening read for any Baby Boomer, any avid concertgoer
of any ilk, and any student of popular music of the 20th and 21st centuries. And it arrives just as Bob Dylan turns 70
(!) on May 24, 2011. (... while unfortunately, his first muse and "Freewheelin'" album cover mate, Suze Rotolo, recently
passed away at the age of 67.)
  
  Just a Regular Guy 9 April 2011
  By Richard Wells - 
  No one who thinks about Bob Dylan thinks about him as if he were a normal human being, much less a regular guy. I
can't think of one person who's written about Dylan who has cast him as anything approaching normal. If Dylan is a
genius - and he is - he must be a tortured genius, otherwise there's no story. So biographers find evidence of torture
in relationships gone bad, friendships betrayed, substances abused, lyrics plagiarized, until Dylan seems not only
tortured but down right nasty. Interesting, though, that no one has been able to dig up any dirt on Dylan in
relationship to his children and grandchildren. Now that's telling because if Dylan were half as nuts as we've been led
to believe, surely one of his kids would have written a tell-all by now. I find it hard to believe they're silent under
pain of excommunication, or whatever sword Dylan wields.
  
  "The Ballad of Bob Dylan: A Portrait," is a view
of Bob Dylan that shows us a hard working entertainer, a brilliant song-writer, a mediocre painter, a crappy film maker
- and a decent guy, protective of his family and generous to his friends. Eccentric? Of course. Anyone who's spent over
40 years in the music business, and half his life in the public eye is bound to be eccentric. Alcoholic, drug-crazed,
serial womanizer subject to fits of madness? Not so much.
  
  Daniel Mark Epstein is a practiced poet,
essayist, and playwright - and a prize winning biographer; he's also a fan, and not un-critical. My god, he's reasonable
about his subject matter - not the usual modus operandi for someone writing about Dylan. He takes a look at Dylan's life
through the prism of four concerts that seem to delineate four periods in the man's life - his as well as Dylan's. What
he's come up with is a good story, well told - entertaining, non-pedantic, easy on the lyric analyses, but strong on the
art and craft of Dylan's writing, recording, and performing. Epstein has mined the sources, and opened up some new
information through interviews of Dylan's friends and band-mates.
  
  When I finished this book I counted the
Dylan tomes on my groaning bookshelf. Forty-three books by or about Bob Dylan. That's ridiculous, but what can I say,
I'm up there with Christopher Ricks (I think it was) who feels that being alive while Dylan is writing and performing is
akin to having been alive when Shakespeare was working. Anyway, this book 44 has been the most pleasurable read, due in
no little part to Epstein's humanizing of the troubadour. 
  
   						

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