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\"Dylan on Dylan is an authoritative, chronologically arranged anthology of interviews, speeches, and press conferences, as well as excerpts from more than eighty additional Q&As spanning Dylan's entire career--from 1961 through 2016. The majority have not been previously anthologized and some have never before appeared in print. The material comes from renowned media outlets like Rolling Stone and TV's 60 Minutes and from obscure periodicals like Minnesota Daily, a student newspaper at Dylan's alma mater. Interviewers include some of the top writers of our time, such as Jonathan Lethem, Douglas Brinkley, and Mikal Gilmore, as well as musicians like Pete Seeger and Happy Traum. Introductions put each piece in context and, in many cases, include the interviewer's reminiscences about the encounter.\"--Inside dust jacket.

Bob Dylan: The Essential Interviews features over two dozen of the most significant and revealing conversations with the singer, gathered in one definitive collection that spans his career from street poet to Nobel Laureate. First published in 2006, this acclaimed collection brought together the best interviews and encounters with Bob Dylan to create a multi-faceted, cultural, and journalistic portrait of the artist and his legacy. This edition includes three additional pieces from Rolling Stone that update the volume to the present day. Among the highlights are the seminal Rolling Stone interviews--anthologized here for the first time--by Jann Wenner, Jonathan Cott, Kurt Loder, Mikal Gilmore, Douglas Brinkley, and Jonathan Lethem--as well as Nat Hentoff's legendary 1966 Playboy interview. Surprises include Studs Terkel's radio interview in 1963 on WFMT in Chicago, the interview Dylan gave to screenwriter Jay Cocks when he was a student at Kenyon College in 1964, a 1965 interview with director Nora Ephron, and an interview Sam Shepard turned into a one-act play for Esquire in 1987.

Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.

Little did I know that a few years later-through some fortuitous alignment of stars: an indulgent author, a trusted mutual friend, and a generous publisher willing to take a chance on a neophyte- not only would that translation be published, but I would be more than halfway through translating Fresán's career-defining trilogy. Over time, our correspondence expanded beyond the translations themselves to include book recommendations, rehashing episodes of Twin Peaks: The Return, new Philip K. Dick adaptations, or the latest installment in the Marvel Universe. Whether sipping Mantras in Barcelona's Belvedere, zipping through Manhattan bookstores in search of a gift for his son or some rare edition of Transparent Things, or sharing a stage at a reading, I'm always struck by Fresán's disarming wit and kindness. The Dreamed Part-a book I'm now intimately familiar with, having read its pages countless times while morphing it into English-follows Fresán's narrator, The Writer, through a long insomniac night of serpentine digressions and waking reveries, picking up the narrative threads of The Invented Part and weaving a new kind of tapestry, replete with Fresán's characteristic humor, formal playfulness, and referential mania, reprising roles for Penelope and the Karmas, key cameos by Emily Bronte, Vladimir Nabokov, and Bob Dylan, and revelations that will bring readers closer to the dark secrets at the heart of the story and the narrator's sleeplessness.

This article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's heterogeneous activities—ranging from “third stream” music and multimedia happenings to incidental scores and tape collage—deserve investigation on their own terms, rather than from within narratives concerned with the stylistic development of “minimalism.” More appropriate and viable aesthetic parallels are drawn between Reich's work for tape and Californian Funk art.

Carlos Varela is one of the best-known singer-songwriters to emerge from the Cuban nueva trovo movement: heir to the musical traditions forged by Silvio Rodríguez and Pablo Milanés. Parochially, if accurately, known in North America as \"Cuba's Bob Dylan,\" he has produced eight CDs since he began recording in 1988 and has toured Europe, the United Kingdom, Latin America, the Caribbean, and North America. In Cuba he is known as the voice of the generation that came of age during the Special Period of the 1990s, those raised with the promise and seeming collapse of the Cuban Revolution, for whom his songs have become generational anthems. In this interview, Varela discusses the meaning his music has for Cubans in the diaspora and on the island, the benefits and liabilities of creating music in today's Cuba, censorship, history, the current Cuban hip-hop scene, and the ongoing significance of music as a political language for his own and other generations of Cubans. He also shares some reflections about his own career and his songwriting process since the 1980s. Carlos Varela es uno de los cantautores más famosos surgido del movimiento cubano de la nueva trova, y heredero de la tradición musical de Silvio Rodríguez y Pablo Milanés. Celebrado como el \"Bob Dylan cubano\", ha producido ocho discos desde que comenzó a grabar en 1988, y ha dado giras por Europa, el Reino Unido, América Latina, el Caribe y América del Norte. En Cuba, Varela es conocido como la voz de la generación que se formó durante el Período Especial de los años noventa, los que crecieron con la promesa y, a la vez, la desilusión de la Revolución Cubana, y para quienes sus canciones se convirtieron en himnos generacionales. En esta entrevista, habla sobre el significado de sus canciones para los cubanos dentro y fuera de la isla, sobre los beneficios y las dificultades de la creación musical en la Cuba de hoy, sobre la censura, la historia, el escenario actual del hip-hop cubano, y el constante significado de la música como lenguaje político, tanto para su generación como para las otras generaciones de cubanos. También, Varela comparte algunas reflexiones sobre su carrera y el proceso de creación de sus canciones desde los años ochenta.