Question: Where did performer of all i really want to do play in New York?

full_context: Document 1: All I Wanna Do (Sheryl Crow song): ``All I Wanna Do ''US commercial cassette single Single by Sheryl Crow from the album Tuesday Night Music Club B - side`` Solidify'' ``I'm Gonna Be a Wheel Someday ''Released April 4, 1994 Format CD single, cassette single Recorded Toad Hall, Pasadena, California, 1993 Genre Country pop Length 4: 32 (Album version) 4: 11 (Remix) Label A&M Songwriter (s) Sheryl Crow, David Baerwald, Bill Bottrell, Kevin Gilbert, Wyn Cooper Producer (s) Bill Bottrell Sheryl Crow singles chronology`` What I Can Do for You'' (1993) ``All I Wanna Do ''(1994)`` Leaving Las Vegas'' (1994) Audio sample Sheryl Crow's ``All I Wanna Do ''from Tuesday Night Music Club file help
Document 2: Electric Dylan controversy: By 1965, Bob Dylan had achieved the status of leading songwriter of the American folk music revival. The response to his albums The Freewheelin 'Bob Dylan and The Times They Are a-Changin' led to him being labelled as the ``spokesman of a generation ''by the media. In March 1965, Dylan released his fifth album, Bringing It All Back Home. Side One featured Dylan backed by an electric band. Side Two featured Dylan accompanying himself on acoustic guitar. On July 20, 1965, Dylan released his single`` Like a Rolling Stone'', featuring a rock sound. On July 25, 1965, Dylan performed his first electric concert at the Newport Folk Festival, joined by guitarist Mike Bloomfield and Barry Goldberg of the Electric Flag. Some sections of the audience booed Dylan's performance. Leading members of the folk movement, including Irwin Silber and Ewan MacColl, criticized Dylan for moving away from political songwriting and for performing with an electric band.
Document 3: It's All Over Now, Baby Blue: "It's All Over Now, Baby Blue" is a song written and performed by Bob Dylan and featured on his "Bringing It All Back Home" album, released on March 22, 1965 by Columbia Records ("see" 1965 in music). The song was recorded on January 15, 1965 with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. The lyrics were heavily influenced by Symbolist poetry and bid farewell to the titular "Baby Blue." There has been much speculation about the real life identity of "Baby Blue", with possibilites including Joan Baez, David Blue, Paul Clayton, Dylan's folk music audience, and even Dylan himself.
Document 4: Detroit: In the 1940s, Detroit blues artist John Lee Hooker became a long-term resident in the city's southwest Delray neighborhood. Hooker, among other important blues musicians migrated from his home in Mississippi bringing the Delta blues to northern cities like Detroit. Hooker recorded for Fortune Records, the biggest pre-Motown blues/soul label. During the 1950s, the city became a center for jazz, with stars performing in the Black Bottom neighborhood. Prominent emerging Jazz musicians of the 1960s included: trumpet player Donald Byrd who attended Cass Tech and performed with Art Blakey and the Jazz Messengers early in his career and Saxophonist Pepper Adams who enjoyed a solo career and accompanied Byrd on several albums. The Graystone International Jazz Museum documents jazz in Detroit.
Document 5: Don't Think Twice, It's All Right: ``Do n't Think Twice, It's All Right ''is a song written by Bob Dylan in 1962, recorded on November 14 that year, and released on the 1963 album The Freewheelin 'Bob Dylan and as a single.
Document 6: My Back Pages: ``My Back Pages ''is a song written by Bob Dylan and included on his 1964 album Another Side of Bob Dylan. It is stylistically similar to his earlier folk protest songs and features Dylan's voice with an acoustic guitar accompaniment. However, its lyrics -- in particular the refrain`` Ah, but I was so much older then / I'm younger than that now'' -- have been interpreted as a rejection of Dylan's earlier personal and political idealism, illustrating his growing disillusionment with the 1960s' folk protest movement with which he was associated, and his desire to move in a new direction. Although Dylan wrote the song in 1964, he did not perform it live until 1988.
Document 7: Greenwich Village: The Village had a cutting - edge cabaret and music scene. The Village Gate, the Village Vanguard, and The Blue Note (since 1981), regularly hosted some of the biggest names in jazz. Greenwich Village also played a major role in the development of the folk music scene of the 1960s. Music clubs included Gerde's Folk City, The Bitter End, Cafe Au Go Go, Cafe Wha?, The Gaslight Cafe and The Bottom Line. Three of the four members of The Mamas & the Papas met there. Guitarist and folk singer Dave Van Ronk lived there for many years. Village resident and cultural icon Bob Dylan by the mid-60s had become one of the world's foremost popular songwriters, and often developments in Greenwich Village would influence the simultaneously occurring folk rock movement in San Francisco and elsewhere, and vice versa. Dozens of other cultural and popular icons got their start in the Village's nightclub, theater, and coffeehouse scene during the 1950s, 1960s, and early 1970s, including Jimi Hendrix, Barbra Streisand, Peter, Paul, and Mary, Bette Midler, The Lovin 'Spoonful, Simon & Garfunkel, Liza Minnelli, Jackson Browne, James Taylor, Eric Andersen, Joan Baez, The Clancy Brothers and Tommy Makem, The Velvet Underground, The Kingston Trio, Carly Simon, Richie Havens, Maria Muldaur, Tom Paxton, Janis Ian, Phil Ochs, Joni Mitchell, Laura Nyro, and Nina Simone. The Greenwich Village of the 1950s and 1960s was at the center of Jane Jacobs's book The Death and Life of Great American Cities, which defended it and similar communities, while criticizing common urban renewal policies of the time.
Document 8: All I Really Want to Do: ``All I Really Want to Do ''is a song written by Bob Dylan and featured on his Tom Wilson - produced 1964 album, Another Side of Bob Dylan (see 1964 in music). It is arguably one of the most popular songs that Dylan wrote in the period immediately after he abandoned topical songwriting. Within a year of its release on Another Side of Bob Dylan, it had also become one of Dylan's most familiar songs to pop and rock audiences, due to hit cover versions by Cher and the Byrds.
Document 9: Music of New York City: Beginning in the 1940s, New York City was the center for a roots revival of American folk music. Many New Yorkers, especially young people, became interested in blues, Appalachian folk music, and other roots styles. In Greenwich Village, many of these people gathered; the area became a hotbed of American folk music as well as leftist political activism.
Document 10: Don't Think Twice, It's All Right: ``Do n't Think Twice, It's All Right ''Single by Bob Dylan from the album The Freewheelin 'Bob Dylan A-side`` Blowin' in the Wind'' Released August 1963 Length 3: 40 Label Columbia Songwriter (s) Bob Dylan Producer (s) John Hammond The Freewheelin 'Bob Dylan track listing 13 tracks Side one ``Blowin' in the Wind ''`` Girl from the North Country'' ``Masters of War ''`` Down the Highway'' ``Bob Dylan's Blues ''`` A Hard Rain's a-Gonna Fall'' Side two ``Do n't Think Twice, It's All Right ''`` Bob Dylan's Dream'' ``Oxford Town ''`` Talkin 'World War III Blues'' ``Corrina, Corrina ''`` Honey, Just Allow Me One More Chance'' ``I Shall Be Free ''
Document 11: Smalls Jazz Club: Smalls Jazz Club is a jazz club at 183 West 10th Street, Greenwich Village, New York City. Established in 1994, it earned a reputation in the 1990s as a "hotbed for New York's jazz talent" with a "well-deserved reputation as one of the best places in the city to see rising talent in the New York jazz scene". Its jazz musicians are noted for being "talented, though largely unknown" while its music is characterized as "modern versions of bebop and hard bop". The club's main room is in a basement with a capacity of 50 people that expanded to 60 people. Smalls Jazz Club should not be confused with Smalls Paradise in Harlem, which was founded in 1925 by Ed Smalls and closed in the 1950s.
Document 12: It Ain't Me Babe: "It Ain't Me Babe" is a song by Bob Dylan that originally appeared on his fourth album "Another Side of Bob Dylan", which was released in 1964 by Columbia Records. According to music critic Oliver Trager, this song, along with others on the album, marked a departure for Dylan as he began to explore the possibilities of language and deeper levels of the human experience. Within a year of its release, the song was picked up as a single by folk rock act the Turtles and country artist Johnny Cash (who sang it as a duet with his future wife June Carter).
Document 13: Miami: This was also a period of alternatives to nightclubs, the warehouse party, acid house, rave and outdoor festival scenes of the late 1980s and early 1990s were havens for the latest trends in electronic dance music, especially house and its ever-more hypnotic, synthetic offspring techno and trance, in clubs like the infamous Warsaw Ballroom better known as Warsaw and The Mix where DJs like david padilla (who was the resident DJ for both) and radio. The new sound fed back into mainstream clubs across the country. The scene in SoBe, along with a bustling secondhand market for electronic instruments and turntables, had a strong democratizing effect, offering amateur, "bedroom" DJs the opportunity to become proficient and popular as both music players and producers, regardless of the whims of the professional music and club industries. Some of these notable DJs are John Benetiz (better known as JellyBean Benetiz), Danny Tenaglia, and David Padilla.
Document 14: New York City: Numerous major American cultural movements began in the city, such as the Harlem Renaissance, which established the African-American literary canon in the United States. The city was a center of jazz in the 1940s, abstract expressionism in the 1950s, and the birthplace of hip hop in the 1970s. The city's punk and hardcore scenes were influential in the 1970s and 1980s. New York has long had a flourishing scene for Jewish American literature.
Document 15: The Times They Are a-Changin' (song): ``The Times They Are a-Changin '''is a song written by Bob Dylan and released as the title track of his 1964 album of the same name. Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Released as a 45 - rpm single in Britain in 1965, it reached number 9 in the British top ten.
ground_truth: Greenwich Village
sub_queries: who sang all i really want to do Answer: Bob Dylan
where did Bob Dylan play in new york Answer: Greenwich Village