- Taschenbuch: 928 Seiten
- Verlag: Faber & Faber; Auflage: Main. (1. April 2011)
- Sprache: Englisch
- ISBN-10: 0571272401
- ISBN-13: 978-0571272402
- Größe und/oder Gewicht: 15,5 x 6 x 23,5 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 262.233 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Behind the Shades: The 20th Anniversary Edition (Englisch) Taschenbuch – 1. April 2011
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In virtually all areas of Dylan's life - his immigrant antecedents, his business dealings, his various addictions and his romantic attachments - Heylin is able to provide a fascinating picture of a man who changed the whole course of popular music in the sixties and, over thirty years later, won three Grammys. Heylin has given full weight to Dylan's own words and those of his closest associates, with over 250 people quoted in the book, helping to provide a portrait of a complex figure.
Including 60,000 words of brand new material - dealing with Dylan's four twenty-first century albums; his archival audio-visual projects; his third film; his series of paintings and exhibitions; his autobiography, Chronicles; and his ongoing romantic liaisons and 'missing' marriages - this fully updated story of Dylan provides a monumental overview of the Man and his Music.
Über den Autor und weitere Mitwirkende
Clinton Heylin is recognised all over the world as a leading authority on Bob Dylan. His other books include The Great White Wonders (an in-depth history of bootlegging) and No More Sad Refrains (a biography of Sandy Denny). Brought up in Manchester, he now lives in Somerset.
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Let's start with the second reason. Clinton Heylin has made quite a number of enemies among Dylan fans. He rubs some people up the wrong way, and the other two reviews are reflections of this. Why? Because he is extremely opinionated, often infuriatingly self-righteous, and frequently severely critical of other Dylan critics, even esteemed Dylan critics like Michael Gray (whose Song and Dance Man III he damns with faint praise). In the final section of this third edition, for example, he spends pages and pages rubbishing the work of Dylan biographer Howard Sounes (who publicized one of Dylan's secret marriages - Heylin is at pains to point out that he was not the first to spill the beans, nor was he necessarily right about the number of wives Dylan has had). I can imagine that the likes of Gray and Sounes are more than a little miffed by Heylin's lack of professional respect.
The Heylin ego does get in the way sometimes, yes. At other times, however, it can make for an entertaining read, especially when he skewers lesser Dylan collaborators like Robert Hunter. Even Gray can be mighty mean spirited - check out his assessment of Bono in The Bob Dylan Encyclopedia. The real upside of Heylin's arrogance, though, is that it often allows him to be unusually clear sighted and a welcome champion of some of Dylan's worthy but under-appreciated work. We need someone to stand up for works like Slow Train Coming and Infidels with the gusto that Heylin brings to the task, and it is to his eternal credit that he was the first Dylan biographer to recognize the significance of Dylan's latter day work, and to give it its due attention. He pores over the eighties and nineties in great detail; he is mostly spot on in his praise for brilliant but flawed albums like Infidels and Under the Red Sky. He is not affected by the tides of fashion, and is unafraid to puncture some of the grandiose claims that have been made about Time Out of Mind and "Love and Theft".
Of course, Heylin is not just a critic. He is, here, a biographer, and he offers a narrative of unrivalled detail, with quotes that are usefully separated from the main text, and commentary that is always fascinating even when you do not agree with him. You have to admit that Heylin knows more than just about anyone else about Dylan, and here you have the fruits of his research. If he annoys you with his opinions at certain points, or his arrogance gets in the way, these are a small price to pay for the sheer wealth of detail here. I bought this book back in the early nineties when it was first published, and recently bought the 20th anniversary edition. The extra material is worth the price of admission alone - there is a massive amount about the Theme Time Radio Hour, the last few albums, the Never-Ending Tour. Even if you have read much about Dylan, there is a huge amount of fresh insight here, not all of it pretty, but surely (almost) all of it true.
So there you have it. If you are new to the Dylan world, what you should know is that while Heylin has his critics he is unarguably one of the most important writers on Dylan, and this is one of the best Dylan books ever written. It is massive (almost 1000 pages) and an absolute bargain in its kindle form particularly. Do not trust the other 'grudge' reviews here.
with in a few feet of Dylan.
In particular, I'm annoyed (and almost angered) by his perpetuated but outright false claim that at Dylan's July 01, 1978 concert at the Reichsparteitagsgelände (Nazi rallying arena) in Nuremberg (a concert I attended and have rather vivid and fond memories of)
"a couple of dozen neo-Nazis... threw things at him [Dylan] for his affrontery" (p. 483).
Heylin has consistently claimed this (without any substantiation other than his own perceived "expertise" he never gets tired of mentioning when- and wherever he can) as far back as Stolen Moments -- but his claim has long been dismissed by several eyewitness accounts (not only by German attendants of this concert) in rec.music.dylan as far back as October 1997 -- why is he still perpetuating his false and totally unsubstantiated claim in his latest (allegedly updated) book fourteen years later?
Since he's the only "Dylan biographer" to claim this (as far as I know) and since all eyewitness accounts (of concert attendants like myself, but also of concert promoter Fritz Rau or Alex Conti of Lake whom I interviewed back in 2006) do NOT report any incident of that kind, Heylin's perpetuation of something long dismissed as blatantly untrue amounts to merely serving equally unfounded stereotypes and prejudices like "there's still a Nazi in every German", "Germans have not learned from history", etc. for the sake of sensationalism -- something I usually associate with sleazy tabloid journalism and not with "the most comprehensive and illuminating account... of one of the twentieth century's defining artists" (publisher's blurp).