His reedy voice was inserted into many scenes, and at one point a doctored photo of him appears, with Sloman lurking in the back of the frame. TIME talked to several people who were on the Rolling Thunder tour—two musicians, a manager and a journalist—to sort out the truths and myths in Scorsese’s film. The notion that one of the most revered American poets would be reduced to a roadie seems absurd, and is unlikely to be true. It was the first time he’d played “Blood on the Tracks” material live after the album was released to rapturous response in January. Others at the show included Joni Mitchell, Joan Baez, Ramblin’ Jack Elliott, Ronee Blakley, Roger McGuinn and Gordon Lightfoot. Cher performed ‘Happiness Is Just a Thing Called Joe’ as the finale to Sunday’s ‘I Will Vote’ concert in support of presidential candidate Joe Biden.
It’s just something that happened 40 years ago.”, But those on the tour say that Dylan’s film persona couldn’t be more different from his actual demeanor on the tour. ), Sharon Stone also shows up in interviews, saying that she joined the tour as as a 19-year-old—and that her KISS shirt inspired Dylan’s onstage face paint. The year was 1975: Richard Nixon had just resigned and the Vietnam War was over. “It was all full of new songs.
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese looks a lot like a documentary. It’s also a treat hearing his take on Curtis Mayfield’s “People Get Ready” on the same disc, although audio quality of this rehearsal recording is less than ideal. A lollapalooza of a tour, the Rolling Thunder Revue was divided into two parts across two years and began in 1975, the year after Dylan had returned to touring, headlining with the Band.
“The Voice” judges Blake Shelton and Gwen Stefani announced on Instagram that they are getting married after dating very publicly for five years. The shows: Reflecting the spontaneous nature of the music, Dylan insisted that shows be announced spur-of-the-moment style, with little or no formal advertising, relying instead on handbills distributed perhaps a few days before each show. In the footage from 1975, he appears both as Bob Dylan and Renaldo, coming off as an aloof leading man who repeatedly refuses interviews to the cameraman (the fictional Van Dorp’s pleas behind the camera are edited in).
The name: In a nutshell, according to a source close to Dylan, “Nobody knows why Bob calls anything anything.” The “Revue” part of the moniker, however, was designed to signal that shows would feature a series of acts, not just Dylan. Southern California Edison says its equipment may be to blame. The tour is also documented in an ambitious 14-disc, 148-track box set, “Rolling Thunder Revue: The 1975 Live Recordings,” serving up an expansive collection of those performances. Stoner has another theory, based on the fact that Renaldo and Clara was a commercial and critical failure. He also confesses that he was taken with the face paint used by — believe it or not — Kiss, brought to his attention on a shirt worn by a 19-year-old Sharon Stone, whose mother brought her along to one of the shows.
The guitarist Stephen Soles says in a talking-head interview that the atmosphere was “like the court of Henry VIII.”, But Stoner said the atmosphere was much different than portrayed. For a brief moment of the shown ’70s footage, she speaks about the fascinating communal aspect of the Rolling Thunder Revue, like it was a way for famous, successful musicians to escape expectations for a little while and run away and join some high-functioning circus. But an extremely similar scene also occurs in Renaldo and Clara, in which Dylan and Baez’s characters (Renaldo and the Woman in White, respectively) discuss marriage—with the same camera angle, costumes and demeanors. But Van Dorp, like Tanner, is a fictional creation, played by the actor Martin von Haselberg.
The following year he assembled a far less structured outing, the Rolling Thunder Revue, something he envisioned being more in line with old-time traveling medicine shows, gypsy caravans or vaudeville tours.
Additionally, Dylan showed up most nights wearing pancake makeup, occasionally behind a plastic mask, and always a broad-brimmed fedora decorated with fresh flowers, a long scarf around his neck and a dark vest. “That’s a bunch of sensationalist crap that they tried to edit in there,” he said. The commercial reception: “The tour was a catastrophe,” Dylan tells Scorsese. “It wasn’t a success — not if you measure success in terms of profit.” It’s not a big surprise that financially, the tour ended up in the red, given the large traveling entourage and comparatively small paydays each night. Bob Dylan’s performances in the fall of 1975 on the Rolling Thunder Revue are some of the most impassioned of his career. But appearances can be deceiving, especially when it comes to Bob Dylan. A look at California’s November ballot propositions.
Netflix did not make Scorsese, Dylan or the film’s producers available for this article. Endorsement: The Times endorses Hoffman, Anderson, Henderson and Han for LACCD. She’d be writing things she saw, like the white lines on the highway.”, Rolling Thunder Revue amplifies the backstage drama of the tour, depicting squabbles between bandmates, journalists, promoters and even the camera crew. “It was all very mellow.”, McGuinn agreed: “I think we all knew we had to check our egos at the door,” he said. Dylan was also reaching a musical peak at the time.