Bob Dylan – Vintage 1966 UK Tour Photograph with D.A. Pennebaker / ‘Eat The Document’ Tour
A vintage 1966 photograph of (l-r) Bob Dylan, documentary director D.A. Pennebaker, Dylan drummer Mickey Jones and photographer Fiona Adams, shot during Dylan’s 1966 European Tour. This was published in 16 Magazine offshoot Spec, and is from the estate of 16‘s editor Gloria Stavers.
Dylan’s 1966 tour was filmed by Pennebaker for the film Eat The Document, the planned follow up to the pair’s 1965 tour documentary Don’t Look Back. As Wikipedia notes, ‘The film was originally commissioned for the ABC Television series ABC Stage 67. Though shooting had completed for the film, Dylan’s July 1966 motorcycle accident delayed the editing process. Once well enough to work again, Dylan edited the film himself. ABC rejected the film as incomprehensible for a mainstream audience. It has never been released on home video and prints are rarely screened in theaters.’
The print has one grease pencil crop mark on the top border, easily removable if you wish, and publication notations on the back, as are commonly found on photographs published in 16 and Spec. There is also a Sun Photos credit stamp.
In Near Mint condition. 10 1/8″ x 7 1/4″
From Wikipedia: Gloria Stavers (October 3, 1927 – April 1, 1983) was the editor in chief of 16 MagazineHer personality gave this teen celebrity magazine its stamp for many years. Stavers is credited with being one of the first women rock-and-roll journalists, but male editors, detractors and those who scoffed at teen or celebrity magazines sometimes called her “Mother Superior of the Inferior”.
Stavers got her start at 16 Magazine in 1957…she initially worked as a subscriptions clerk, paid 50 cents an hour…Stavers had no experience in journalism nor did she possess a university degree, but she rose quickly through the ranks. She was promoted to the position of editor in chief, wherein she had unprecedented access to many of the top recording acts of the day…
According to a feature article in the Saturday Evening Post in 1967, record companies frequently consulted Stavers as to how to best promote an artist, and would not make a decision until she weighed in with her opinion. At that time, few women in any field wielded such power.
Tony Barrow, the press officer to the Beatles, credits Stavers with providing “significant help” toward the task of fast-tracking the band to the top of the U.S. charts. In the months before their first visit to the US, a substantial volume of the editorial space in 16 was given to the Beatles. Paul McCartney remembered Gloria as being “very dignified, very professional and totally business-like. She inspired respect from us all”.
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