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By 1961, Joan Baez, the dark-haired waif who had captured the spotlight at the first Newport Folk Festival just two years earlier, was folk music's virginal superstar, leading the coffeehouse culture of a new American generation. And an unknown, unwashed, Woody Guthrie—worshiping kid from the Minnesota suburbs named Bob Dylan had just arrived in Greenwich Village. In an excerpt from his forthcoming book, Positively 4th Street, DAVID HAJDU recalls the prickly beginnings of the Baez-Dylan relationship, the strange symbiosis between her voice and his music, and the triumphant, magi...

Extra! Extra! Read all about it! Summerland Secondary School’s theatre department is taking audiences back to the Golden Age of the newspaper.

The Dylan Center in Tulsa offers a read as endlessly fascinating, as vital to the American story, as its subject himself

Music may be the glue of every NYC underground scene 'This Must Be the Place' covers, but Jesse Rifkin’s primary interest is in the community held together by that glue.

For his current exhibition at David Kordansky Gallery in New York, Fred Eversley has produced a new body of sculptures that realize ideas initially explored by the artist in writing some fifty years ago. The “Cylindrical Lenses,” which consist of six vertically-oriented structures measuring between seven and nine feet tall, mark the first time that Eversley has made free-standing, floor-based works in resin—a material that has been intrinsic to his practice since the very beginning.