Dylan

ON Christmas Eve, 1956, a 15-year-old boy heads due south on a five-hour Greyhound Bus journey from his home in Hibbing, Minnesota.

Arriving in the state capital, Saint Paul, he meets up with two summer camp friends and they go to a shop on Fort Road called Terlinde Music.

Styling themselves as The Jokers, the fledgling trio record a rowdy, rudimentary 36-second rendition of R&B party hit Let The Good Times Roll and a handful of other covers.

The boy, with his chubby cheeks and hint of a rock and roller’s quiff, leads the way on vocals and piano.

Already enthralled by popular sounds of the day from Elvis Presley to Little Richard and the rest, he is now in proud possession of a DIY acetate — his first precious recording.

His name is Robert Allen Zimmerman, Bobby to his family and friends.

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Less than seven years later, on October 26, 1963, as Bob Dylan, he takes to the stage in the manner of his folk hero Woody Guthrie, now adopting an altogether more lean and hungry look.

Acoustic guitar and harmonica are his only props as he holds an audience at New York City’s prestigious Carnegie Hall in the palms of his hands.

He performs his rallying cries that resonate to this day — Blowin’ In The Wind, The Times They Are A-Changin’, A Hard Rain’s A-Gonna Fall.

He calls out the perpetrators of race-motivated killings with The Lonesome Death Of Hattie Carroll and Only A Pawn In Their Game.

He dwells on matters of the heart by singing Don’t Think Twice, It’s All Right and Boots Of Spanish Leather.

His 1956 schoolboy shindig and the Carnegie Hall concert, presented in full for the first time, bookend the latest instalment in Dylan’s endlessly captivating Bootleg Series.

Titled Through The Open Window, it showcases an artist in a hurry as he sets out on his epic career.

“I did everything fast,” he wrote in his memoir, Chronicles Vol.1, about his rapid transformation. “Thought fast, ate fast, talked fast and walked fast. I even sang my songs fast.”

But, as he continued: “I needed to slow my mind down if I was going to be a composer with anything to say.”

Among the myriad ways he achieved his stated aim, and then some, was by heading to the quiet surroundings of New York Public Library and avidly scouring newspapers on microfilm from the mid-1800s such as the Chicago Tribune and Memphis Daily Eagle, “intrigued by the language and the rhetoric of the times”.

He’d fallen under the spell of country music’s first superstar Hank Williams — “the sound of his voice went through me like an electric rod”.

Dylan affirmed that without hearing the “raw intensity” of songs by German anti-fascist poet-playwright Kurt Weill, most notably Pirate Jenny, he might not have written songs like The Lonesome Death Of Hattie Carroll.

Then there was Mississippi Delta bluesman Robert Johnson, who Dylan likened to “the scorched earth”. “There’s nothing clownish about him or his lyrics,” he said. “I wanted to be like that, too.”

‘Did everything fast’

We’ll hear more later about the man considered to be his primary early influence, Woody Guthrie, the “Dust Bowl Balladeer” who wielded a guitar emblazoned with the slogan “This machine kills fascists”.

And about leading Greenwich Village folkie Dave Van Ronk, known as the “Mayor Of MacDougal Street”, who had Dylan’s back from the moment he first saw him sing.

On two occasions in recent years, I’ve had the privilege of talking to Joan Baez, the unofficial “Queen” to Dylan’s “King” of the American folk scene in the early Sixties.

She championed him as he made his way, frequently bringing him on stage, their duets on his compositions like With God On Our Side revealing rare chemistry.

They also became lovers as Bob’s relationship with Suze Rotolo, the girl on the cover of the Freewheelin’ album, crumbled.

“He was a phenomenon,” Baez told me in typically forthright fashion. “I guess somebody said, ‘There’s this guy you gotta hear, he’s writing these incredible songs.’

“And he was. His talent was so constant that I was in awe.”

A leading figure in the civil rights movement, who marched with Martin Luther King, Baez added: “It was a piece of good luck that his music came along when it did. The songs said the things I wanted to say.”

But she finished that reflection by saying, tellingly: “And then he moved on.”

For Dylan, now 84, has forever been a restless soul, “moving on” to numerous incarnations — rock star, country singer, Born Again evangelist, Sinatra-style crooner, old-time bluesman, you name it.

In the closing paragraph of Chronicles, he admitted: “The folk music scene had been like a paradise that I had to leave, like Adam had to leave the garden.”

But it is that initial whirlwind period, 1956 to 1963, centred on bohemian Greenwich Village and the coffee shops where young performers got their breaks which forms Volume 18 of the Bootleg Series.

Through The Open Window is available in various formats including an eight-CD, 139-track version, and has been painstakingly pieced together by co-producers Sean Wilentz and Steve Berkowitz.

And it is from Wilentz, professor of American history at Princeton University and author of the liner notes accompanying this labour of love, that I have gleaned illuminating insights.

I can’t think of too many modern artists of his stature, if any, who developed that rapidly

Sean Wilentz

He begins with the arc of Dylan’s development, first as a performer, then as a songwriter, during his early years.

Wilentz says: “He came to Greenwich Village in 1961 with infinite ambition and mediocre skills. By the end of that year, he had learned how to enter a song, make it his own, and put it over, brilliantly.

“By the end of 1962, he had written songs that became immortal, above all Blowin’ In The Wind and A Hard Rain’s A-Gonna Fall.

“By the time of the Carnegie Hall concert in 1963, the capstone to Through The Open Window, his songwriting had reached the level we can recognise, that would eventually lead to the Nobel Prize.

“And his performance style, for the thousands in that hall, was mesmeric. I can’t think of too many modern artists of his stature, if any, who developed that rapidly.”

One of the show’s striking aspects is the lively, often comical, between-song banter. (Yes, Dylan did talk effusively to his audiences back then. Not so much these days.)

In order to assemble Through The Open Window, Wilentz and Berkowitz had “more than 100 hours of material to draw on, maybe two or even three hundred”.

Their chief aim was to find a way to best illuminate “Bob Dylan’s development, mainly in Greenwich Village, as a performer and songwriter”.

But, adds Wilentz: “Several factors came into play — historical significance, rarity, immediacy and, of course, quality of performance.

‘Good taste in R&B’

“We hope, above all, that the collection succeeds at capturing the many overlapping levels — personal, artistic, political and more.”

Though noting Dylan’s inspirations, Woody, Elvis and the rest, Wilentz draws my attention to “a bit of free verse” written by Bob in 1962 called My Life In A Stolen Moment, which suggests nothing was off limits.

“Open up yer eyes an’ ears an’ yer influenced/an’ there’s nothing you can do about it.”

This is our cue to take a deep dive into the mix of unheard home recordings, coffeehouse and nightclub shows as well as studio outtakes from Dylan’s first three albums for Columbia Records — his self-titled debut, The Freewheelin’ Bob Dylan and The Times They Are A-Changin’.

Of the first track, that primitive take on Let The Good Times Roll, Wilentz says: “Dylan and the other two were obviously enthusiastic, and they had good taste in doo-wop and R&B.

“But if you listen closely, you can hear Dylan, on piano, calling things to order and pushing things along, the catalyst, the guy we know from other accounts who was willing to take more risks onstage.”

I ask Wilentz what he considers the most significant previously unreleased discoveries and he replies: “Most obviously Liverpool Gal from 1963, as it’s a song even the most obsessive Dylan aficionados have known existed but had never heard.

“He only recorded it once, at a friend’s party, and it’s stayed locked away on that tape until now.

Dylan was producing so much strong material that some of it was inevitably laid aside

Sean Wilentz

“While not Dylan at his peak, it’s a fine song. It’s significant lyrically, not least as testimony to his stay in London at the end of 1962 and the start of 1963. That stay had a profound effect on his songwriting, and one gets a glimpse of it here.”

Also included is near mythical Dylan song The Ballad Of The Gliding Swan, which he performed as “Bobby” in BBC drama Madhouse On Castle Street during his trip to Britain.

The only copy of the play set in a boarding house was junked by the Beeb in 1968 but this 63-second audio fragment survives.

Of even earlier recordings, Wilentz says: “I’m drawn to Ramblin’ Round.

“Although known (in his own words) as a Woody Guthrie jukebox, Dylan has never released a recording of himself performing a Guthrie song.

“Here he is, in an outtake from his first studio album, handling a Guthrie classic, and with a depth of feeling that shows why his earliest admirers found him so compelling.”

Wilentz considers other treasures: “There’s an entire 20-minute live set from Gerdes Folk City from April, 1962, concluding with Dylan’s first public performance of Blowin’ In The Wind.

“Then there are two tracks of singular historic importance, the first known recordings, both in informal settings, of two masterpieces, The Lonesome Death Of Hattie Carroll and The Times They Are A-Changin’.”

If these versions shed fresh light on classics, let’s not forget the great Dylan songs that didn’t make it on to his albums, so great was the speed he was moving.

Does Wilentz find it staggering that songs like Let Me Die In My Footsteps and Lay Down Your Weary Tune were discarded?

“Yes and no,” he answers. “Yes, because these are powerful songs that were left largely unknown for years.

“No, because Dylan was producing so much strong material that some of it was inevitably laid aside.

‘Literary genius’

“Sometimes intervening factors kicked in. Take the four songs that, for business and censorship reasons, got cut from Freewheelin’ and replaced with four others.

“The album was actually better in its altered form, including songs like Girl From The North Country.

“But that’s how Let Me Die In My Footsteps was lost, along with a lesser-known song I love that we’re happy to include, Gamblin’ Willie’s Dead Man’s Hand, as well as an amazing performance of Rocks And Gravel.”

So, we’ve heard about songs but who were the key figures surrounding Dylan during his formative years?

Wilentz says: “Among the folk singers, Van Ronk most of all, and Mike Seeger, about whom he writes with a kind of awe in Chronicles.

“There was the crowd around Woody Guthrie, including Pete Seeger (‘Mike Seeger’s older brother,’ he calls him at one point) and Ramblin’ Jack Elliott.”

He singles out producer John Hammond, “for signing him to Columbia Records and affirming his talent.

“But most important of all there was Suze Rotolo, who was a whole lot more, to Dylan and the rest of the world, than the girl on the cover of The Freewheelin’ Bob Dylan.”

Finally, I ask Wilentz why the singer felt uncomfortable at being labelled king of the folk movement, “the voice of a generation” if you like.

“People misread Dylan from all sides,” he argues. “Never a protest singer in the mould of Guthrie or Seeger, even though he worshipped Guthrie and admired the left-wing old guard by the time he turned up.

“But Dylan wasn’t one of them, though he sympathised, in a humane way, with victims of injustice.”

Dylan’s work springs from a matrix that is emotional, filtered through his literary genius

Sean Wilentz

Wilentz believes the recent biopic A Complete Unknown, with Timothee Chalamet making a decent fist of portraying the young Dylan, “is a little misleading”.

He says: “It wasn’t Dylan’s ‘going electric’ that pissed off the old guard and their younger equivalent as much as his moving beyond left-wing political pieties.

“Hence the song My Back Pages, from 1964: ‘Ah but I was so much older then/I’m younger than that now.’”

Wilentz concludes: “Dylan’s work springs from a matrix that is emotional, filtered through his literary genius.

“It was impossible for someone like him, living through those two years (1962-63), not to respond to the politics in an artistic way.

“How, if you were Bob Dylan, could you not respond to the civil rights struggle, the killing of Medgar Evers (Only A Pawn In Their Game) or Hattie Carroll, as well as the spectre of nuclear annihilation?

“Dylan had a lot to say, but he was never going to be the voice of anyone but himself.”

Maybe he’d already explained himself on Don’t Think Twice, It’s Alright:

“When your rooster crows at the break of dawn

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Look out your window and I’ll be gone.”

BOB DYLAN

Through The Open Window
The Bootleg Series Vol.18

★★★★★

Emmerdale spoilers have appeared to confirm who new villain Ray will target in the village, as next week on the ITV soap it’s someone other than Dylan he has a job for

There was a worrying Emmerdale hint on Tuesday night about who Ray may be after next, after initially targeting teen Dylan Penders.

Now a new spoiler for the ITV soap may have confirmed the twist and who Ray will really be targeting over the next few weeks. On Tuesday we saw Dylan trying to get out of working for the dealer who had been giving him money, pretending to be his friend.

Bond or not, Ray has Dylan exactly where he wants him and is getting him to do his dodgy dealings. We’ve seen Dylan hiding drugs and sneaking off for drop-offs and whatever else Ray has for him. It comes after fans learned Ray had targeted Moira Dingle off the back of his deal with Robert Sugden.

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So far on the show, Dylan’s return led to the news he was in cahoots with Ray. Ray had sent him and someone else to scope out Moira’s farm to check if Robert was lying about there being no more weed in the barns.

Dylan was injured and is now recovering at the home of Mandy and Paddy, who have taken him in. They of course no idea about his secret visits with Ray, who is giving him money and lining him up with dodgy jobs.

Dylan clearly wants out though and on Tuesday, fans saw the character rumbled over his link to the break-in at Moira’s. He was confronted but it was agreed that the police, and Moira, would not be told.

As for Ray, Dylan told him about Paddy and Mandy as well as his blossoming relationship with April Windsor. Claiming he didn’t want to take advantage, he also wanted to spend some time in the village.

So he told Ray he didn’t want to do the latest job on offer. Ray seemed fine with it as Dylan told him he wouldn’t be able to help this time, with Ray agreeing to ask someone else.

But when Dylan was away from him, it was clear Ray was spying on him and April. His true intentions became clear when Ray was shown on the phone, telling someone that “sweet and innocent” April would be “of use” to them.

So Ray is now targeting April to get her involved in his criminal world – but will she be lured in? Spoilers for next week confirm Dylan reveals April has been offered a job by Ray.

It seems that there is an agreement that if April does the job, Ray will leave Dylan alone. At least that’s what the teens believe, and soon April is tasked with a drug drop by a manipulative Ray. But will she go through with it, and will Ray leave them both alone?

Emmerdale airs weeknights at 7:30pm on ITV1 and ITVX, with an hour-long episode on Thursdays. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Second-generation NBA players are plentiful, and why not?

Dads can pass down their height, dedication and athleticism. Dad’s handsome compensation can afford a son the opportunity to follow in his footsteps. And Dad’s drive can serve as a road map.

Dylan Harper, the second pick in the NBA Draft on Wednesday, is the latest budding star whose father was decorated before him. Ron Harper capped a 15-year NBA career by winning five NBA championships in his last six seasons, back-to-back titles with the Lakers in 2000 and 2001 following three with the Chicago Bulls in 1996, ’97 and ’98.

Ron Harper of the Lakers drives for a layup at Staples Center.

(Paul Morse / Los Angeles Times)

Dylan, a 6-foot-5 guard out of Rutgers, was drafted by the San Antonio Spurs. His brother, Ron Harper Jr., also is in the NBA, having played in 11 games for the Detroit Pistons and Toronto Raptors the last three years.

In any other sport, the progeny of a former star player ascending to the highest level would be especially noteworthy. That Ron Harper’s sons are on the cusp of similar careers as their dad was nothing out of the ordinary.

LeBron James and his oldest son Bronny famously became the first father-son duo to take the court at the same time in the Lakers’ season opener last October. But that is just one of the many dynamics of a son choosing the same career path to the NBA as his dad.

Lakers forward LeBron James greets his son and teammate Bronny James, right, during warm-ups.

(Gerald Herbert / Associated Press)

The phenomenon goes back a long way. Two sons of Minneapolis Lakers legend George Mikan — a five-time All-NBA center in the early 1950s — were drafted into the NBA, with one, Larry, playing 53 games in 1970-71.

During a 15-year career that ended in 1964, Hall of Fame center Dolph Shayes averaged 18.5 points and 12.1 rebounds a game. His son, Danny Shayes, outdid dad in career longevity, playing 18 years through 1999 for seven teams, including a short stint with the Lakers.

Butch Van Breda Kolff played four seasons in the 1940s and in 1976 his son, Jan, became the first player to face a team coached by his father when Jan played for the New York Nets while Butch coached the New Orleans Jazz. Butch also coached the Lakers to the NBA Finals in 1968 and ‘69, where they lost to the Boston Celtics both times.

Other sons who faced teams coached by their fathers — who also played in the NBA — include Mike Dunleavy Jr. and Sr., Coby and George Karl, and Austin and Doc Rivers.

Austin Rivers also became the first to play for his father in an NBA game when he was traded to the Clippers in 2015. At first, he wasn’t thrilled when his dad called to alert him of the proposed deal.

“He called me up and he asked me if ‘this was something you might be interested in because we need you,’ ” Austin said at his introductory news conference. “When I heard that, it was one of those things where I just kind of had to think, take a day to myself and be like, ‘Could this work?’

“And it does, just because of the relationship I have with him. It’s already kind of basketball oriented … It’s not so much like father-son. It’s just kind of like coach-player and then off the court, we deal with that a different way.”

Sons who achieved more than their father abound. Dell Curry was no slouch, averaging 11.7 points and earning $19.8 million over a 16-year NBA career that ended in 2002. One son, Seth, is in his 11th season, having averaged 10 points while earning $45 million.

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1. Toronto Raptors’ Dell Curry lands on top of Trail Blazers’ Damon Stoudamire as he drives to the hoop during their NBA game Wednesday, Dec. 6, 2000, in Portland, Ore. (JACK SMITH/ASSOCIATED PRESS) 2. Golden State Warriors guard Stephen Curry drives past Houston Rockets forward Amen Thompson (1) during the second half of Game 5 of an NBA basketball first-round playoff series, Wednesday, April 30, 2025, in Houston. (David J. Phillip / Associated Press)

Dell’s other son, Stephen, is a certain Hall of Famer, recognized as perhaps the best pure shooter in history. He’s led the Golden State Warriors to four NBA titles while averaging 24.4 points and earning $357.8 million over 16 seasons.

Klay Thompson was a teammate of Steph Curry on all four Warriors championship teams, and he’s averaged 19.1 points while earning $268.8 million over 12 seasons. That easily eclipses the exploits of his loquacious father, Mychal Thompson, who won two titles with the Lakers before becoming a broadcaster with the team as well as a radio personality.

The list of father-son duos is too long to mention them all. Here are a handful.

Three sons of Hall of Fame guard Rick Barry played in the NBA, with Brent enjoying the most success. UCLA product Mike Bibby outdid his dad by playing 14 years to Henry’s nine. Kevin Love outplayed his father, but Stan Love’s association with the Beach Boys stood out.

The father-son combos include a host of juniors in addition to the Harpers and Dunleavys, among them the Larry Drews, the Patrick Ewings, the Rich Dumases, the Matt Guokases, the Tim Hardaways, the Gerald Hendersons, the Jaren Jacksons, the John Lucases, the Wes Matthews, the Larry Nances, the Gary Paytons, the James Paxsons, the Scottie Pippins, Glen Rice, Glenn Robinson, the Wally Szczerbiaks, the Gary Trents and the Duane Washingtons.

And, of course, there are more Lakers ties.

Luke Walton matched his father with two NBA championships and also coached the Lakers, but couldn’t attain the cult status of Bill Walton, a UCLA legend whose quirky, outsized personality transcended his achievements on the court.

The former Laker who did indeed transcend not only his father’s career but that of nearly every player who lived was Kobe Bryant. His father, Joe (Jellybean) Bryant, died last July, four years after his son tragically died in a helicopter crash that also took the lives of his daughter, Gianna, and seven others.

The fractious relationship between Kobe and his father is well-chronicled, and they rarely spoke after Kobe married his wife, Vanessa.

Dylan Harper’s relationship with his father is stronger, although Ron Harper divorced Dylan’s mother in 2012. She raised her two sons and a daughter as a single mom who also happened to coach high school basketball and run a travel program.

Maria Harper, a former Division I player at the University of New Orleans, was an assistant boys’ coach when her sons played at Don Bosco Prep in New Jersey.

“She was hard but loving,” Dylan told the Athletic in 2023. “She wasn’t just tough on me, either. Everyone got a little bit of it.”

Ron Sr. moved near his ex-wife in 2007. Yet he pointed recruiters to Maria when Dylan was being wooed by colleges, he pointed recruiters to Maria.

“Don’t get me wrong, I’m proud of him, but I don’t want this to be about me,” he said at the time.

Yet like any father, Ron Sr. was proud of his son’s accomplishments.

“When Dylan was 5 years old, I told people he was going to be really good,” he said. “He reminded me of me.”

Dylan Harper might exceed his father’s accomplishments in the way that Bryant and Curry did, or fail to do so. In addition to winning five titles, Ron Harper averaged 13.8 points and 3.9 assists in 1,009 NBA games.

Either way, Dylan is about to join a lengthy list of players whose fathers blazed a trail they followed.

As expected, the Dallas Mavericks select Cooper Flagg with top pick while Dylan Harper joins Victor Wembanyama at San Antonio Spurs.

Cooper Flagg anticipated the moment for many months.

Still, when the Duke product heard his name called Wednesday at No 1 overall in the NBA draft by the Dallas Mavericks, he experienced a flurry of emotions.

“I’m feeling amazing,” Flagg said as he stood with his family. “It’s a dream come true, to be honest. I wouldn’t want to share it with anybody else.”

The Mavericks’ announcement ended a months-long buildup for the 18-year-old Maine native, who had long been projected as the top pick. The only question was which team would get a chance to take him, and Dallas earned that opportunity when it won the NBA Draft lottery last month despite 1.8 percent odds.

Flagg figures to quickly provide a new face of the franchise for the Mavericks, who drew ire from their fan base after trading Luka Doncic to the Los Angeles Lakers last season.

The 6-foot-8-inch (2.03m), 221-pound (100kg) Flagg helped guide Duke to an NCAA Final Four appearance after averaging 19.2 points, 7.5 rebounds, 4.2 assists, 1.4 steals and 1.4 blocks as a freshman. He won the Wooden Award as the nation’s best player, along with taking home other honours including Atlantic Coast Conference Rookie of the Year and an ACC All-Defensive Team nod.

The San Antonio Spurs followed with the No 2 pick, which they used to select Rutgers guard Dylan Harper. The son of longtime NBA player Ron Harper will join a talented roster that includes prized big man Victor Wembanyama and reigning Rookie of the Year Stephon Castle.

Harper said he could not wait to get to San Antonio to prepare for the season.

“I’m feeling everything – all the emotions mixed in one bucket,” Harper said. “I think when you play with a bunch of great players, it brings the best out of you. They’ve got a great young core over there. I’m just ready to get in there and make an impact any way I can with those guys.”

At No 3, the Philadelphia 76ers selected guard VJ Edgecombe out of Baylor. He was named Big 12 Freshman of the Year after averaging 15 points and 5.6 rebounds for the Bears.

The Charlotte Hornets selected Duke guard Kon Knueppel next, which marked the second Blue Devils freshman to be selected in the top four picks. Now, Knueppel will stay in North Carolina to play in the NBA.

“It was a big spotlight at Duke,” he said. “(We) freshmen didn’t shy away from that, and it prepared us for the next level. Hopefully, that will carry over.”

The Utah Jazz selected Ace Bailey, who played with Harper at Rutgers, to round out the top five picks.

Flagg’s Duke teammate, centre Khaman Maluach, heard his name called at No 10 overall. The pick belonged to the Houston Rockets, who then sent the draft rights to Maluach to the Phoenix Suns as part of a deal to be finalised for Kevin Durant.

Maluach was born in South Sudan and did not discover basketball until he was an adolescent.

“I’m here representing the whole continent,” Maluach said. “Leaving Africa, I had the whole continent on my back. (I want to be) giving hope to young kids, inspiring young kids and the next generation of African basketball.”

The Mavericks had the No 1 overall pick for the second time in franchise history. They also had the top selection in 1981, when they drafted Mark Aguirre out of DePaul.