Hailing a lift in torrential rain one night from an early 2000s Dylan concert at Docklands Arena – that long-gone ghost of a room – I fell into conversation with a fellow passenger who apologetically turned to me, admitting in old-fashioned Received Pronunciation, to booing the man at the Royal Albert Hall in 1966. You could see it now, I suppose, as a pioneering form of no-platforming – a safe space for the acoustic set.

In 1970, The Who opened their Live at Leeds album with “Young Man Blues”, a hefty version of a song its composer Mose Allison recorded as “Blues” in 1957. Back then, it was the only vocal track on Back Country Suite, an otherwise instrumental blues-jazz album, the Mississippi-born pianist's debut long player. Allison had moved to New York in 1956 and a string of releases followed. The Who weren’t the only British band cocking an ear: in March 1965 The Yardbirds first recorded Allison's “I’m Not Talking”, plucked by them from 1964’s The Word From Mose.

New York-born actor Robert Vaughn, who has died at the age of 83, achieved massive popular success when he starred as the sleek secret agent Napoleon Solo in The Man from U.N.C.L.E., which ran for four seasons from 1964 to 1968 and exploited the then-new James Bond mania to ratings-busting effect. Prior to that, Vaughn, both of whose parents were actors, had racked up a long string of minor credits in American TV and movies, the most prestigious of which was an appearance in John Sturges's 1960 cowboy classic, The Magnificent Seven.

Ewan McGregor has been judged unworthy of adapting Philip Roth in the US. But his directorial debut is finely crafted, and powered by visceral emotion embodied in one of his best performances. As Seymour “Swede” Levov, he’s an All-Jewish-American hero, living the 1950s dream, till the 1960s bring it crashing down. His beloved daughter Merry (Dakota Fanning, pictured below right) is the agent of his destruction, in a one-sided generation war unusually seen from the straight-edged parents’ side.

In case one thought that turning hit TV shows into movies was a 21st century phenomenon, here comes a restoration of The Small World of Sammy Lee to prove that film-makers were at it back in 1963.

Television is not a medium we much associate with any sense of the "sacred". It grapples with "momentous" frequently enough, in snatches of news tragically reported; it rings in, and out, the history that defines our lives. We may debate, equally, whether the small screen is replacing the big one as the bringer of what was once considered cinema art. But for that far most elusive thing, the miraculously elevated experience shared across a nation, and somehow revalidated by that breadth of audience – rarely, so rarely.

A prequel to Ouija (2014), Ouija: Origin of Evil zooms back to a mid-Sixties Los Angeles that's all miniskirts, white PVC boots, splendid chromed-up Chevrolets and Studebakers and clangy garage-band pop music. Our hosts are widowed mom Alice Zander (Elizabeth Reaser, of Twilight fame) and her daughters Lina (Annalise Basso) and Doris (Lulu Wilson). 

Kemp Powers’s play is set in a motel room in Miami on the night of 25 February 1964, after Cassius Clay (as Muhammad Ali then was) had earlier beaten Sonny Liston to gain the world heavyweight title. He is joined by two friends, the singer Sam Cooke and the American football star Jim Brown, and his political and spiritual mentor, the civil rights activist Malcolm X.

For decades Brian Wilson was depicted as the mad, lost genius of the Beach Boys, but these days, at 74, he's looking more like one of pop's great survivors. After all, he has comprehensively outlived his brothers Dennis and Carl, and has restored his reputation with deliriously acclaimed performances of Pet Sounds and the salvaged Sixties masterpiece SMiLE. He gets invited to all-star galas and awards ceremonies at the White House.

The period between the October 1966 release of his eponymous debut album and its follow-up, August 1967’s baroque masterpiece Goodbye and Hello, saw Tim Buckley and his label Elektra reconsider how best to help him generate an impact. No matter how strong its songs and how unique his voice, the folk-rock styled Tim Buckley hadn’t been a big seller. Label boss Jac Holzman thought a non-album single would be good marketing tool, paving the way for a second album. One side of the shelved release surfaced in 2009 on the Where The Action Is!