Bob Dylan
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Bob Dylan

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Bob Dylan
A rare collection of autograph material and ephemera associated with Bob Dylan's visit to London, May, 1965, including:
-A fascinating three-page typescript questionnaire sent from a student representative of Cambridge University's newspaper Varsity, to Bob Dylan, April 9th [1965] and completed in the artist's hand in black ink on VARSITY The University Newspaper, 9A Bridge Street, Cambridge headed stationery, giving a rare, personal and valuable insight into Dylan's song-writing technique, his response to past recorded material, the function of his songs and his views on various topical subjects raised:
[1.] In answer to the first question regarding the length of time it takes him to write his songs, Dylan responded in detail - songs come in ideas/people good bad indifferent, situations anything takes me short time to write it out usually changes somewhat constantly..
[2.] Asked why Dylan has been quoted as saying that he could no longer listen to his old songs, he answered somewhat enigmatically - Old songs tend to be motivated by private desires.
[3.] Dylan's response to the next question asking him which of all the songs he has written he likes best, hints at a certain restless dissatisfaction harboured by the songwriter for his own work - NONE - All of them have no favourites just some of them I like Less..
[4.] Asked why Dylan no longer cites Woody Guthrie or indeed anyone as an influence, he responds - Woody's language doesn't appeal to me anymore...his ideas are folce [sic] I have no faith in better world coming I live now in this world..
[5.] When asked to explain what he means when he says that he doesn't write about anything, Dylan answers - I write inside out...I cannt [sic] write about the tree I must write of the tree.
[6.] Asked if the function of his songs is to entertain or to make people think about what he has to say, Dylan gives a single-minded response - Myself to satisfy..
[7.] When questioned about his reluctance to be identified with the Civil Rights or any other movement, Dylan gives a philosphical answer - Life it too big for any ONE thing - I would rather give anonomously than to sign my name -
[8.] Asked if he sometimes utilizes words in his writing for their sound, rather than their meaning, Dylan responds - Sometimes...but not just that simple..
[9.] Dylan gives an abrupt answer to the question whether the commercial success of his records will influence his method of writing now, in preference for penning songs motivated by his conscience - No
[10.] When asked if he's concerned that people might attend his concerts and buy his records now because he's currently fashionable rather than being prompted by a genuine appreciation of his poetry, Dylan answers - it doesn't matter why..
[11.] In the penultimate question, Dylan is asked if he'd be annoyed if girls screamed at his concerts like they do for the Beatles, he responds firmly - I would not play
[12.] Finally, when asked if he had any say in the selection of tracks released as singles from Times They Are A Changin and Subterranean Homesick Blues, Dylan answers rather elusively - ... Times They Are Changing - that was recorded three years ago for an Album S.H.B. was taken off new album -
3pp. and corresponding envelope [stamp removed];

- A quantity of letters and ephemera associated with Bob Dylan's stay in London in May 1965, include:
- A British Nursing Associations, Notification And Conditions of Employment form, the printed document completed in blue ballpoint pen in an unidentified hand, giving client's details as: Mr R. Dillon [sic], The Savoy Hotel, Strand - W.C.2. and further details of two nurses, one for days and one for nights, instructed to report to him on: 24-5-65 for fees of £4.10.0 per 12 hour Night - Non - Resident and £16-10-0 per 44 hour week - Day Duty - Non. Resident; and corresponding envelope frankmarked London, N.W.I. 25 May 1965; the form giving documentary evidence of the seriousness of Dylan's illness during his sojourn in London [see footnote];

- An autograph letter, signed, from Joan Baez to Bob Dylan [n.d. but May, 1965] written in black ink on Savoy Hotel, London WC2 illustrated and headed stationery, beginning Dear Bobby, They tell me you're ill - I'm sorry - It's so shitty to be ill... telling him she's in London for a few more days If I can do anything, call me... signing off Love - Joanie..1p. and corresponding envelope addressed in her hand Bobby Dylan and signed by Baez in the top left corner;

- An autograph letter, signed, from Joan Baez Snr. [Joan's mother] to Bob Dylan [n.d. but May, 1965] written in black ink on The Savoy Hotel, London W.C.2.. headed stationery, telling Bobby...There are a lot of us funnies down on the 2-4-5th Floors who wonder each hour how you are. Don't like to keep phoning...do want to tell you that a whole lot of that four letter word like maybe L-O-V-E is riding the air waves up all the stair ways & lifts day & night - signing off Get well - We love you, Joan (Mom) Baez, 1p. and corresponding envelope inscribed in her hand Bobby Dylan, Rm 863;

- An autograph letter, signed, from Nico, [n.d. but May, 1965], written in red felt pen, telling Bob, I have wonderful news for you & I wish that you would be still in London next Friday to see me sing your song on "Ready Steady Go", telling him that she's been asked to sing 'Tambourine Man' I will sing it for you especially.. telling him of her sadness at the news of his illness and pleading with him ..to be strong. Please, please you promised to write me songs & I want to sing your songs... adding dramatically ...they are the only once [sic] that make sense for me & my life depends on them..., begging Dylan to let her know whether he's staying on in London or not, adding ...It seems to be a big secret!.. and signing off Ciao! Nico - 3pp. and corresponding envelope addressed in Nico's hand in green ink Bob Dylan, Room 863

- An autograph postcard from Donovan to Bob Dylan, frankmarked London, May [?] 1965, addressed to Room 279 (Dylan Suite), Savoy Hotel, London telling him Bob. I can't make your concerts going to Spain, see you maybe Donovan, the obverse illustrated with a coloured print of a Dorothy Wilding portrait of H.M. Queen Elizabeth II;

- A page from a notebook signed in blue ballpoint pen Bob Dylan -- 4x6 1/8in.(10.2x15.7cm.);

- A printed invoice from The Rik Gunnell Agency, 47, Gerrard St. London W.1. with typescript details, date:25/5/65, for:John Mayall's Bluesbreakers recording with Bob Dylan 12/5/65 for the sum of £28, addressed to:T.Wilson, Esq. Columbia Records, c/o Savoy Hotel, London W.1.; and corresponding envelope, frankmarked London W1, 25 V 65;

- A detailed order for two pairs of stage boots for Mr Bob Dylan, comprising an order card inscribed with various details in an unidentified hand in blue ballpoint pen and pencil, attached to a piece of paper annotated with a pencil outline of Dylan's right foot, a sketch of a calf-length boot marked with various measurements including length of zip and height of boot, other details on order card include: 1 Pr NO 8. Suede. Black Suede..Embassy Last To Stretch. Urgent for Show -- 8x12in. (20.3x30.3cm.); and related material (a lot)
Literature
DOGGETT, Peter Are You Ready For The Country, London: Penguin Books, 2001
Bob Dylan In His Own Words - Compiled by Miles, London: Omnibus Press, 1987
THOMSON, Elizabeth & GUTMAN, David The Dylan Companion, London: Macmillan, 1990
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

The significance of Bob Dylan's hand-written responses to the questionnaire in this lot can only be appreciated when the history of this songwriter's remarkable influence is taken into consideration - in the words of Miles ...No entertainer's words have been so studied, analysed, interpreted and discussed as those of Bob Dylan...He has been called the spokesman of his generation and for millions of people his music can single-handedly sum up growing up in the Sixties. His songs paralleled the general direction of the youth movement: beginning with the Greenwich Village folk revival through the protests against the Vietnam war, a growing experimentation with drugs and finally the charm of rural life.. As Miles remarked Though he has been making records since 1961 he has given surprisingly few interviews. After his crash in 1966 he remained out of sight for eighteen months and between 1969 and 1975 he only granted one major interview...

Although Dylan gave a number of interviews in Britain during his 1965 tour, he rarely provided orthodox or revealing answers to questions about his songwriting and creativity. This questionnaire reveals that he was prepared to answer such questions seriously in the right circumstances; however, the fact that he neglected to return the questionnaire to the sender may have indicated some reticence on his behalf to be quoted in public, even in a student magazine.

The remainder of the items in this lot offer fascinating sidelights on what was a key period in Dylan's career. His 1965 UK tour was his last series of concerts as a solo acoustic performer. He had already begun to record electric rock music in America, and was now determined to perform with a band in public, against the wishes of many of his fans. Besides this pressure, which briefly led him to consider retiring from the music business, Dylan was locked into a heavy work schedule; was leading an unhealthy lifestyle; and was involved in a decaying personal relationship with folksinger Joan Baez, who accompanied him to Europe. Their relationship effectively ended during the tour.

Around 22nd May 1965, Dylan was taken seriously ill with what was described as a stomach virus, which required him to be attended by nurses at his hotel, and subsequently hospitalised. After not being allowed to see him at the Savoy Hotel, Joan Baez visited him in hospital, where she was greeted by Dylan's future wife Sara Lownds - the first time she became aware of her rival's existence. In this context the get-well notes from Baez and her mother, written just before this discovery, are particularly poignant.

The postcard from British folksinger Donovan illustrates another theme of the 1965 tour, as Dylan and Donovan were portrayed in the press as rivals for the folk 'crown'. As documented in the film Don't Look Back, the two men did eventually meet, in uneasy circumstances, after which Donovan seems to have shied away from attending Dylan's London concerts.

During his time in Britain, Dylan staged one abortive recording session with John Mayall's Bluesbreakers. The session soon dissolved into chaos, and nothing taped that day has ever been released, but Dylan's recording manager Tom Wilson was still invoiced for the band's services.

Actress and would-be singer Nico was one of a number of women who joined Dylan's entourage during the tour. Her handwritten note alludes to the fact that Dylan had promised to write some material for her. In the event, he gave her a song he had already composed, I'll Keep It With Mine. Nico made a brief attempt at pop stardom in Britain, before moving to New York and joining the Velvet Underground.

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