These photos of Bob Dylan date from 1964/5, when he rode a Triumph on the leafy roads surrounding his home in Woodstock, New York. This charming young folk singer, a man of unpredictable habits, was a charismatic figure on his red-and-silver '64 Tiger 100. He was often accompanied by a lovely young lady named Joan Baez, who was his early defender, lover, and co-performer, notably at the August 28, 1963 March on Washington, in which Dr. Martin Luther King, Jr. gave his 'I have a Dream' speech. Dylan's music, implicitly political during this period, became anthemic to a generation seeking change. The Triumph must have given him a needed break from his resounding fame at the age of 23; we all know the curative effects of a ride through the woods on a scintillating and well-balanced motorcycle. He had recently released his third album, which had gone double Platinum. His second album, , had gone Platinum, and included the single 'Blowin in the Wind'. His first album, 1962's sold a mere 5000 copies.

By 1964, many other artists were covering his songs and scoring hits with them as well. During the two years he owned his Tiger, Dylan had recorded albums; and, all of which went gold, platinum, or double-platinum. Added to the recording dates were incessant US and European tours, appearances, and photo opportunities; On July 29, 1966, it was announced that he had suffered injuries after 'locking up the brakes' on his Tiger 100, not far from his manager Alan Grossman's house in Woodstock. Though no hospital data records an entry from Bob Dylan, he claimed to have suffered facial lacerations and 'several broken vertebrae in his neck'. Quite an injury, yet no ambulance was summoned. Dylan had this to say about his crash: "When I had that motorcycle accident ... I woke up and caught my senses, I realized that I was just workin' for all these leeches. And I didn't want to do that. Plus, I had a family and I just wanted to see my kids." In the months after his 'accident', Bob Dylan withdrew from what had been a frenetic touring, recording, and appearance schedule, and didn't play much in public for 8 long years.

His music became more personal, less political, as he explored blues and country music in later years, much to the chagrin of his fans. Nowadays he rejects political interpretations of his lyrics, but his presence at events like the March on Washington tell a different story.Sony Mavica Digital Still Camera He certainly cut a stylish figure on his Triumph, although it's a shame the motorcycle took the rap for a man who clearly needed a break. Washer And Dryer For Sale In DfwAbove is the cover of his 1965 album, ; Prom Dress Shop In Bramhallpeeking out from his psychedelic blue satin shirt is a Triumph tee, which surely boosted sales amongst the young and hip. An early example of 'product placement'!Go Behind the Scenes of Bob Dylan's 'Highway 61 Revisited' Album Cover

"This wasn't the plan," says photographer Daniel Kramer of now-famous image in new making-of video The next installment of Bob Dylan's epic Bootleg Series, The Cutting Edge 1965–1966: The Bootleg Series, Vol. 12, zeroes in on Dylan's early electric period, presenting dozens of outtakes from the albums Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. In advance of the release, Bob Egan, the rock scholar behind PopSpots, is telling the stories behind the covers of these landmark LPs in a series of mini documentaries. Last month, we premiered a video focused on Bringing It All Back Home, and today, we present Egan's piece on Highway 61 Revisited. 'Highway 61,' Dylan's Weirdest, Funniest Album, Turns 50 Bob Dylan and the Band's Big Pink Opened as Vacation Rental Inside Bob Dylan's Massive New Sixties Bootleg Series Trove Egan traces Dylan and photographer Daniel Kramer's path from Greenwich Village up to Gramercy Park on the day of the Highway 61 shoot.

The pair lunched at O. Henry's Steak House on 6th Avenue and West 4th Street before heading to an apartment owned by Dylan's then-manager, Albert Grossman. (The Bringing It All Back Home cover had been shot at Grossman's Bearsville estate.) Dylan insisted on going inside and donning his newly acquired Triumph Motorcycles T-shirt. Beyond that, according to Kramer, there was no particular plan. The famous image came about when Dylan sat down on the front stoop, in front of the apartment building's ornate doorway. Sizing up the shot, Kramer felt that the background was "all naked," so he asked Dylan's friend Bob Neuwirth to stand behind the singer. Kramer then handed Neuwirth one of his cameras. "Once he did that, it seems like something's going on," Kramer tells Egan of the photo's cryptic narrative quality. Kramer took two photos of the setup, and the second became the Highway 61 cover, a more-spontaneous counterpart to the Bringing It All Back Home image. "This wasn't even expected that we would do a picture like this," he says.

The Cutting Edge 1965–1966: The Bootleg Series, Vol. 12 is out November 6th in three different versions: a six-CD deluxe set, a two-CD best-of and an 18-CD collector's edition, featuring "every single note recorded by Bob Dylan in the studio in 1965/1966." Bob Egan's video on the making of the Blonde on Blonde cover premieres October 27th.(edited by Derek Barker) To mark the 100th issue of Isis magazine Derek Barker has selected the best articles from the magazine's 16-year history and bound them together in an anthology The circa 280 page book contains 31 chapters, five of which are previously unpublished and have been commissioned especially for the book one of the previously unpublished pieces is an extensive 7000 word interview with Abe & Beatty Zimmerman. Published by 'Helter Skelter Publishing', the 135,000 word anthology will be available in paperback and as a signed and numbered limited collector's hardback. The hardback edition is limited to 500 copies