Bob Dylan (Born Robert Allen Zimmerman May 24, 1941) Is

Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-
songwriter, musician, poet and painter who has been a major figure in popular music for
five decades. [2] Much of his most celebrated work dates from the 1960s when he was,
at first, an informal chronicler and then an apparently reluctant figurehead of social
unrest. A number of his songs, such as "Blowin' in the Wind" and "The Times They Are
a-Changin'," became anthems for both the civil rights[3] and the anti-war[4] movements.
Dylan's early lyrics incorporated political, social and philosophical as well as literary
influences. They defied existing pop music conventions and appealed hugely to the then
burgeoning counterculture. While expanding and personalizing genres, he has explored
many traditions of American song, from folk, blues and country to gospel, rock and roll
and rockabilly to English, Scottish and Irish folk music, and even jazz and swing.[5]
Dylan performs with guitar, piano and harmonica. Backed by a changing line-up of
musicians, he has toured steadily since the late 1980s on what has been dubbed the
Never Ending Tour. His accomplishments as a recording artist and performer have been
central to his career, but his greatest contribution is generally considered to be his
songwriting.[6]
He has received numerous awards over the years including Grammy, Golden Globe and
Academy Awards; he has been inducted into the Rock and Roll Hall of Fame, Nashville
Songwriters Hall of Fame and Songwriters Hall of Fame. In 2008 a Bob Dylan Pathway
was opened in the singer's honor in his birthplace of Duluth, Minnesota.[7] The Pulitzer
Prize jury in 2008 awarded him a special citation for what they called his profound
impact on popular music and American culture, "marked by lyrical compositions of
extraordinary poetic power."[8]
Dylan released his most recent studio album, Christmas in the Heart, on October 13,
2009. The album comprised traditional Christmas songs, including "Here Comes Santa
Claus" and "Hark! The Herald Angels Sing". All Dylan's royalties from the sale of this
album will benefit the charity Feeding America in the USA, and similar charities in
overseas markets
Origins and musical beginnings
Robert Allen Zimmerman (Hebrew name Shabtai Zisel ben Avraham)[10][11] was born in
St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota,[12][13] and raised there and in
Hibbing, Minnesota, on the Mesabi Iron Range west of Lake Superior. His paternal
grandparents, Zigman and Anna Zimmerman, emigrated from Odessa in the Russian
Empire (now Ukraine) to the United States following the antisemitic pogroms of 1905.
[14]
His mother's grandparents, Benjamin and Lybba Edelstein, were Lithuanian Jews
who arrived in the United States in 1902.[14] In his autobiography Chronicles: Volume
One, Dylan writes that his paternal grandmother's maiden name was Kyrgyz and her
family originated from Istanbul.[15]
Dylan’s parents, Abram Zimmerman and Beatrice "Beatey" Stone, were part of the
area's small but close-knit Jewish community. Robert Zimmerman lived in Duluth until
age six, when his father was stricken with polio and the family returned to his mother's
home town, Hibbing, where Zimmerman spent the rest of his childhood. Robert
Zimmerman spent much of his youth listening to the radio—first to blues and country
stations broadcasting from Shreveport, Louisiana and, later, to early rock and roll.[16] He
formed several bands in high school: The Shadow Blasters was short-lived, but his next,
The Golden Chords,[17] lasted longer and played covers of popular songs. Their
performance of Danny and the Juniors' "Rock and Roll Is Here to Stay" at their high
school talent show was so loud that the principal cut the microphone off.[18] In 1959 he
saw Buddy Holly in the Winter Dance Party tour and later recalled how he made eye
contact with him. In his 1959 school yearbook, Robert Zimmerman listed as his
ambition "To join Little Richard."[19] The same year, using the name Elston Gunnn (sic),
he performed two dates with Bobby Vee, playing piano and providing handclaps.[1][20][21]
Zimmerman moved to Minneapolis in September 1959 and enrolled at the University of

Minnesota. His early focus on rock and roll gave way to an interest in American folk
music. In 1985 Dylan explained the attraction that folk music had exerted on him: "The
thing about rock'n'roll is that for me anyway it wasn't enough ... There were great catch-
phrases and driving pulse rhythms ... but the songs weren't serious or didn't reflect life
in a realistic way. I knew that when I got into folk music, it was more of a serious type
of thing. The songs are filled with more despair, more sadness, more triumph, more
faith in the supernatural, much deeper feelings."[22] He soon began to perform at the 10
O'clock Scholar, a coffee house a few blocks from campus, and became actively
involved in the local Dinkytown folk music circuit.[23][24]
During his Dinkytown days, Zimmerman began introducing himself as "Bob Dylan."[17]
In a 2004 interview, Dylan explained: "You're born, you know, the wrong names,
wrong parents. I mean, that happens. You call yourself what you want to call yourself.
This is the land of the free."[25] In his autobiography, Chronicles: Volume One, Dylan
acknowledged that he was familiar with the poetry of Dylan Thomas.[26]
[edit] 1960s
[edit] Relocation to New York and record deal
Dylan dropped out of college at the end of his freshman year. In January 1961, he
moved to New York City, hoping to perform there and visit his musical idol Woody
Guthrie, who was seriously ill with Huntington's Disease in Greystone Park Psychiatric
Hospital.[27] Guthrie had been a revelation to Dylan and was the biggest influence on his
early performances. Describing Guthrie's impact on him, Dylan later wrote: "The songs
themselves had the infinite sweep of humanity in them ... [He] was the true voice of the
American spirit. I said to myself I was going to be Guthrie's greatest disciple."[28] As
well as visiting Guthrie in the hospital, Dylan befriended Guthrie's acolyte Ramblin'
Jack Elliott. Much of Guthrie's repertoire was actually channeled through Elliott, and
Dylan paid tribute to Elliott in Chronicles (2004).[29]
From February 1961, Dylan played at various clubs around Greenwich Village. In
September, he eventually gained public recognition when Robert Shelton wrote a
positive review in The New York Times of a show at Gerde's Folk City.[30] The same
month Dylan played harmonica on folk singer Carolyn Hester's eponymous third album,
which brought his talents to the attention of the album's producer John Hammond.[31]
Hammond signed Dylan to Columbia Records in October. The performances on his first
Columbia album, Bob Dylan (1962), consisted of familiar folk, blues and gospel
material combined with two original compositions. The album made little impact,
selling only 5,000 copies in its first year, just enough to break even.[32] Within Columbia
Records, some referred to the singer as "Hammond's Folly" and suggested dropping his
contract. Hammond defended Dylan vigorously, and Johnny Cash was also a powerful
ally of Dylan.[32] While working for Columbia, Dylan also recorded several songs under
the pseudonym Blind Boy Grunt, for Broadside Magazine, a folk music magazine and
record labe
Dylan made two important career moves in August 1962. He legally changed his name
to Robert Dylan, and signed a management contract with Albert Grossman. Grossman
remained Dylan's manager until 1970, and was notable both for his sometimes
confrontational personality, and for the fiercely protective loyalty he displayed towards
his principal client.[34] Dylan would subsequently describe Grossman thus: "He was kind
of like a Colonel Tom Parker figure ... you could smell him coming."[24] Tensions
between Grossman and John Hammond led to Hammond being replaced as the producer
of Dylan's second album by the young African American jazz producer Tom Wilson.[35]
From December 1962 to January 1963, Dylan made his first trip to the UK.[36] He had
been invited by TV director Philip Saville to appear in a drama, The Madhouse on
Castle Street, which Saville was directing for BBC Television.[37] At the end of the play,
Dylan performed Blowin' in the Wind, one of the first major public performances of the
song[38] While in London, Dylan performed at several London folk clubs, including Les
Cousins, The Pinder Of Wakefield,[39] and Bunjies.[36] He also learned new songs from
several UK performers, including Martin Carthy.[36]
By the time Dylan's second album, The Freewheelin' Bob Dylan, was released in May
1963, he had begun to make his name as both a singer and a songwriter. Many of the
songs on this album were labeled protest songs, inspired partly by Guthrie and
influenced by Pete Seeger's passion for topical songs.[40] "Oxford Town", for example,
was a sardonic account of James Meredith's ordeal as the first black student to risk
enrollment at the University of Mississippi.[41]
His most famous song at this time, "Blowin' in the Wind", partially derived its melody
from the traditional slave song "No More Auction Block", while its lyrics questioned
the social and political status quo.[42] The song was widely recorded and became an
international hit for Peter, Paul and Mary, setting a precedent for many other artists who
would have hits with Dylan's songs. "A Hard Rain's a-Gonna Fall" was based on the
tune of the folk ballad "Lord Randall". With its veiled references to nuclear apocalypse,
it gained even more resonance when the Cuban missile crisis developed only a few
weeks after Dylan began performing it.[43] Like "Blowin' in the Wind", "A Hard Rain's
a-Gonna Fall" marked an important new direction in modern songwriting, blending a
stream-of-consciousness, imagist lyrical attack with a traditional folk form
While Dylan's topical songs solidified his early reputation, Freewheelin' also included a
mixture of love songs and jokey, surreal talking blues. Humor was a large part of
Dylan's persona,[46] and the range of material on the album impressed many listeners,
including The Beatles. George Harrison said, "We just played it, just wore it out. The
content of the song lyrics and just the attitude—it was incredibly original and
wonderful."[47]
The rough edge of Dylan's singing was unsettling to some early listeners but an
attraction to others. Describing the impact that Dylan had on her and her husband, Joyce
Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrained
voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and
electrifying."[48] Many of his most famous early songs first reached the public through
more immediately palatable versions by other performers, such as Joan Baez, who
became Dylan's advocate, as well as his lover.[17] Baez was influential in bringing Dylan
to national and international prominence by recording several of his early songs and
inviting him onstage during her own concerts.[49]
Others who recorded and had hits with Dylan's songs in the early and mid-1960s
included The Byrds, Sonny and Cher, The Hollies, Peter, Paul and Mary, Manfred
Mann, and The Turtles. Most attempted to impart a pop feel and rhythm to the songs,
while Dylan and Baez performed them mostly as sparse folk pieces. The cover versions
became so ubiquitous that CBS started to promote him with the tag "Nobody Sings
Dylan Like Dylan."[50]
"Mixed Up Confusion", recorded during the Freewheelin' sessions with a backing band,
was released as a single and then quickly withdrawn. In contrast to the mostly solo
acoustic performances on the album, the single showed a willingness to experiment with
a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist
with his mind wandering towards Elvis Presley and Sun Records."[51]
[edit] Protest and Another Side
In May 1963, Dylan's political profile was raised when he walked out of The Ed
Sullivan Show. During rehearsals, Dylan had been informed by CBS Television's "head
of program practices" that the song he was planning to perform, "Talkin' John Birch
Society Blues", was potentially libelous to the John Birch Society. Rather than comply
with the censorship, Dylan refused to appear on the program.[
By this time, Dylan and Baez were both prominent in the civil rights movement, singing
together at the March on Washington on August 28, 1963.[53] Dylan's third album, The
Times They Are a-Changin', reflected a more politicized and cynical Dylan.[54] The
songs often took as their subject matter contemporary, real life stories, with "Only A
Pawn In Their Game" addressing the murder of civil rights worker Medgar Evers; and
the Brechtian "The Lonesome Death of Hattie Carroll" the death of black hotel barmaid
Hattie Carroll, at the hands of young white socialite William Zantzinger.[55] On a more
general theme, "Ballad of Hollis Brown" and "North Country Blues" address the despair
engendered by the breakdown of farming and mining communities. This political
material was accompanied by two personal love songs, "Boots of Spanish Leather" and
"One Too Many Mornings".[56]
By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest
movements.[57] These tensions were publicly displayed when, accepting the "Tom Paine
Award" from the National Emergency Civil Liberties Committee shortly after the
assassination of John F. Kennedy, an intoxicated Dylan brashly questioned the role of
the committee, characterized the members as old and balding, and claimed to see
something of himself (and of every man) in Kennedy's alleged assassin, Lee Harvey
Oswald
Another Side of Bob Dylan, recorded on a single June evening in 1964,[17] had a lighter
mood than its predecessor. The surreal, humorous Dylan reemerged on "I Shall Be Free
#10" and "Motorpsycho Nightmare". "Spanish Harlem Incident" and "To Ramona" are
romantic and passionate love songs, while "Black Crow Blues" and "I Don't Believe
You (She Acts Like We Never Have Met)" suggest the rock and roll soon to dominate
Dylan's music. "It Ain't Me Babe", on the surface a song about spurned love, has been
described as a rejection of the role his reputation had thrust at him.[59] His newest
direction was signaled by two lengthy songs: the impressionistic "Chimes of Freedom",
which sets elements of social commentary against a denser metaphorical landscape in a
style later characterized by Allen Ginsberg as "chains of flashing images,"[60] and "My
Back Pages", which attacks the simplistic and arch seriousness of his own earlier topical
songs and seems to predict the backlash he was about to encounter from his former
champions as he took a new direction.[61]
In the latter half of 1964 and 1965, Dylan’s appearance and musical style changed
rapidly, as he made his move from leading contemporary songwriter of the folk scene to
folk-rock pop-music star. His scruffy jeans and work shirts were replaced by a Carnaby
Street wardrobe, sunglasses day or night, and pointy "Beatle boots". A London reporter
wrote: "Hair that would set the teeth of a comb on edge. A loud shirt that would dim the
neon lights of Leicester Square. He looks like an undernourished cockatoo."[62] Dylan
also began to spar in increasingly surreal ways with his interviewers. Appearing on the
Les Crane TV show and asked about a movie he was planning to make, he told Crane it
would be a cowboy horror movie. Asked if he played the cowboy, Dylan replied, "No, I
play my mother."[63]
[edit] Going electric
Main article: Electric Dylan controversy
Dylan's March 1965 album Bringing It All Back Home was yet another stylistic leap,[64]
featuring his first recordings made with electric instruments. The first single,
"Subterranean Homesick Blues", owed much to Chuck Berry's "Too Much Monkey
Business"[65] and was provided with an early music video courtesy of D. A.
Pennebaker's cinéma vérité presentation of Dylan's 1965 tour of England, Dont Look
Back.[66] Its free association lyrics both harked back to the manic energy of Beat poetry
and were a forerunner of rap and hip-hop.[67]
By contrast, the B side of the album consisted of four long songs on which Dylan
accompanied himself on acoustic guitar and harmonica.[68] "Mr. Tambourine Man"
quickly became one of Dylan's best known songs when The Byrds recorded an electric
guitar version which reached number one in both the U.S. and the U.K. charts.[69][70] "It's
All Over Now Baby Blue" and "It's Alright Ma (I'm Only Bleeding)" would be
acclaimed as two of Dylan's most important compositions.[68][71]
In the summer of 1965, as the headliner at the Newport Folk Festival, Dylan performed
his first electric set since his high school days with a pickup group drawn mostly from
the Paul Butterfield Blues Band, featuring Mike Bloomfield (guitar), Sam Lay (drums)
and Jerome Arnold (bass), plus Al Kooper (organ) and Barry Goldberg (piano).[72]
Dylan had appeared at Newport in 1963 and 1964, but in 1965 Dylan, met with a mix of
cheering and booing, left the stage after only three songs. As one version of the legend
has it, the boos were from the outraged folk fans whom Dylan had alienated by
appearing, unexpectedly, with an electric guitar. An alternative account claims audience
members were merely upset by poor sound quality and a surprisingly short set.[73]
Dylan's 1965 Newport performance provoked an outraged response from the folk music
establishment.[74] Ewan MacColl wrote in Sing Out!, "Our traditional songs and ballads
are the creations of extraordinarily talented artists working inside traditions formulated
over time ... But what of Bobby Dylan? ... a youth of mediocre talent. Only a non-
critical audience, nourished on the watery pap of pop music could have fallen for such
tenth-rate drivel."[75] On July 29, just four days after his controversial performance at
Newport, Dylan was back in the studio in New York, recording "Positively 4th Street".
The lyrics teemed with images of vengeance and paranoia,[76] and it was widely
interpreted as Dylan's put-down of former friends from the folk community—friends he
had known in the clubs along West 4th Street
In July 1965, Dylan released the single "Like a Rolling Stone", which peaked at #2 in
the U.S. and at #4 in the UK charts. At over six minutes in length, the song has been
widely credited with altering attitudes about what a pop single could convey. Bruce
Springsteen, in his speech during Dylan's inauguration into the Rock and Roll Hall of
Fame said that on first hearing the single, "that snare shot sounded like somebody'd
kicked open the door to your mind".[79] In 2004, Rolling Stone Magazine listed it at #1
on its list of "The RS 500 Greatest Songs of All Time".[78] The song also opened Dylan's
next album, Highway 61 Revisited, titled after the road that led from Dylan's Minnesota
to the musical hotbed of New Orleans.[80] The songs were in the same vein as the hit
single, flavored by Mike Bloomfield's blues guitar and Al Kooper's organ riffs.
"Desolation Row" offers the sole acoustic exception, with Dylan making surreal
allusions to a variety of figures in Western culture during this long song. Andy Gill
wrote, "'Desolation Row' is an 11-minute epic of entropy which takes the form of a
Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic
characters, some historical (Einstein, Nero), some biblical (Noah, Cain and Abel), some
fictional (Ophelia, Romeo, Cinderella), some literary (T.S. Eliot and Ezra Pound), and
some who fit into none of the above categories, notably Dr. Filth and his dubious nurse"
[81]
In support of the record, Dylan was booked for two U.S. concerts and set about
assembling a band. Mike Bloomfield was unwilling to leave the Butterfield Band, so
Dylan mixed Al Kooper and Harvey Brooks from his studio crew with bar-band
stalwarts Robbie Robertson and Levon Helm, best known at the time for being part of
Ronnie Hawkins's backing band The Hawks.[82] On August 28 at Forest Hills Tennis
Stadium, the group was heckled by an audience still annoyed by Dylan's electric sound.
The band's reception on September 3 at the Hollywood Bowl was more favorable.[83]
While Dylan and the Hawks met increasingly receptive audiences on tour, their studio
efforts floundered. Producer Bob Johnston persuaded Dylan to record in Nashville in
February 1966, and surrounded him with a cadre of top-notch session men. At Dylan's
insistence, Robertson and Kooper came down from New York City to play on the
sessions.[84] The Nashville sessions produced the double-album Blonde on Blonde
(1966), featuring what Dylan later called "that thin wild mercury sound".[85] Al Kooper
described the album as "taking two cultures and smashing them together with a huge
explosion": the musical world of Nashville and the world of the "quintessential New
York hipster" Bob Dylan.[86]
On November 22, 1965, Dylan secretly married 25-year-old former model Sara
Lownds.[17][87] Some of Dylan’s friends (including Ramblin' Jack Elliott) claim that, in
conversation immediately after the event, Dylan denied that he was married.[87]
Journalist Nora Ephron first made the news public in the New York Post in February
1966 with the headline “Hush! Bob Dylan is wed.”[88]
Dylan undertook a world tour of Australia and Europe in the spring of 1966. Each show
was split into two parts. Dylan performed solo during the first half, accompanying
himself on acoustic guitar and harmonica. In the second half, backed by the Hawks, he
played high voltage electric music. This contrast provoked many fans, who jeered and
slow handclapped.[89] The tour culminated in a famously raucous confrontation between
Dylan and his audience at the Manchester Free Trade Hall in England.[90] (A recording
of this concert, Bob Dylan Live 1966, was finally released in 1998.) At the climax of the
evening, one fan, angry with Dylan's electric sound, shouted: "Judas!" to which Dylan
responded, "I don't believe you ... You're a liar!". Dylan turned to his band and said
"Play it fucking loud!",[91] and they launched into the final song of the night with gusto
—"Like a Rolling Stone".
[edit] Motorcycle accident and reclusion
After his European tour, Dylan returned to New York, but the pressures on him
continued to increase. ABC Television had paid an advance for a TV show they could
screen.[92] His publisher, Macmillan, was demanding a finished manuscript of the
poem/novel Tarantula. Manager Albert Grossman had already scheduled an extensive
concert tour for that summer and fall.
On July 29, 1966, Dylan crashed his 500cc Triumph Tiger 100 motorcycle on a road
near his home in Woodstock, New York, throwing him to the ground. According to
interviews conducted years later, Dylan had "been up for three days" preceding the
accident.[93] The incident also happened "really early in the morning,"[93] and Dylan has
claimed he was blinded by the sun while approaching the top of a hill: "I went blind for
a second and I kind of panicked or something. I stomped down on the brake and the rear
wheel locked up on me and I went flyin'."[93]
Though the extent of his injuries were never fully disclosed, Dylan said that he broke
several vertebrae in his neck.[94] Mystery still surrounds the circumstances of the
accident[95] since no ambulance was called to the scene and Dylan was not hospitalized.
[94]
Dylan later expressed concern about where his career and private life were headed up
until the point of the 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."[96] Many
biographers believe that the crash offered Dylan the much-needed chance to escape
from the pressures that had built up around him.[94][97] In the wake of his accident, Dylan
withdrew from the public and, apart from a few select appearances, did not tour again
for eight years.[95]
Once Dylan was well enough to resume creative work, he began editing film footage of
his 1966 tour for Eat the Document, a rarely exhibited follow-up to Dont Look Back. A
rough-cut was shown to ABC Television and was promptly rejected as
incomprehensible to a mainstream audience.[98] In 1967 he began recording music with
the Hawks at his home and in the basement of the Hawks' nearby house, called "Big
Pink".[99] These songs, initially compiled as demos for other artists to record, provided
hit singles for Julie Driscoll ("This Wheel's on Fire"), The Byrds ("You Ain't Goin'
Nowhere", "Nothing Was Delivered"), and Manfred Mann (Quinn the Eskimo ("The
Mighty Quinn"). Columbia belatedly released selections from them in 1975 as The
Basement Tapes. Over the years, more and more of the songs recorded by Dylan and his
band in 1967 appeared on various bootleg recordings, culminating in a five-CD bootleg
set titled The Genuine Basement Tapes, containing 107 songs and alternate takes.[100] In
the coming months, the Hawks recorded the album Music from Big Pink using songs
they first worked on in their basement in Woodstock, and renamed themselves The
Band,[101] thus beginning a long and successful recording and performing career of their
own.
In October and November 1967, Dylan returned to Nashville.[102] Back in the recording
studio after a 19-month break, he was accompanied only by Charlie McCoy on bass,[103]
Kenny Buttrey on drums,[104] and Pete Drake on steel guitar.[105] The result was John
Wesley Harding, a quiet, contemplative record of shorter songs, set in a landscape that
drew on both the American West and the Bible. The sparse structure and
instrumentation, coupled with lyrics that took the Judeo-Christian tradition seriously,
marked a departure not only from Dylan's own work but from the escalating psychedelic
fervor of the 1960s musical culture.[106] It included "All Along the Watchtower", with
lyrics derived from the Book of Isaiah (21:5–9). The song was later recorded by Jimi
Hendrix, whose version Dylan himself would later acknowledge as definitive.[22]
Woody Guthrie died on October 3, 1967, and Dylan made his first live appearance in
twenty months at a Guthrie memorial concert held at Carnegie Hall on January 20,
1968. That May Dylan had suffered the loss of his father Abraham Zimmerman who
had suffered a heart attack on the 29th May
Dylan's next release, Nashville Skyline (1969), was virtually a mainstream country
record featuring instrumental backing by Nashville musicians, a mellow-voiced Dylan,
a duet with Johnny Cash, and the hit single "Lay Lady Lay", which had been originally
written for the Midnight Cowboy soundtrack, but was not submitted in time to make the
final cut.[109] In May 1969, Dylan appeared on the first episode of Johnny Cash's new
television show, duetting with Cash on "Girl from the North Country", "I Threw It All
Away" and "Living the Blues". Dylan next travelled to England to top the bill at the Isle
of Wight rock festival on August 31, 1969, after rejecting overtures to appear at the
Woodstock Festival far closer to his home.[110]
[edit] 1970s
In the early 1970s critics charged Dylan's output was of varied and unpredictable
quality. Rolling Stone magazine writer and Dylan loyalist Greil Marcus notoriously
asked "What is this shit?" upon first listening to 1970's Self Portrait.[111][112] In general,
Self Portrait, a double LP including few original songs, was poorly received.[17] Later
that year, Dylan released New Morning, which some considered a return to form.[113] In
November 1968, Dylan had co-written "I'd Have You Anytime" with George Harrison;
[114]
Harrison recorded both "I'd Have You Anytime" and Dylan's "If Not For You" for
his 1970 solo triple album All Things Must Pass. Dylan's surprise appearance at
Harrison's 1971 Concert for Bangladesh attracted much media coverage, reflecting that
Dylan's live appearances had become rare.[115]
Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock Studios, a
small studio in New York's Greenwich Village. These sessions resulted in one single,
"Watching The River Flow", and a new recording of "When I Paint My Masterpiece".[56]
On November 4, 1971 Dylan recorded "George Jackson" which he released a week
later.[56] For many, the single was a surprising return to protest material, mourning the
killing of Black Panther George Jackson in San Quentin Prison that summer.[116]
In 1972 Dylan signed onto Sam Peckinpah's film Pat Garrett and Billy the Kid,
providing songs and backing music for the movie, and playing the role of "Alias", a
member of Billy's gang who had some basis in history.[117] Despite the film's failure at
the box office, the song "Knockin' on Heaven's Door" has proven its durability as one of
Dylan's most extensively covered songs
Dylan began 1973 by signing with a new record label, David Geffen's Asylum Records,
when his contract with Columbia Records expired. On his next album, Planet Waves, he
used The Band as backing group, while rehearsing for a major tour. The album included
two versions of "Forever Young", which became one of his most popular songs.[120]
Christopher Ricks has connected the chorus of this song with John Keats's "Ode on a
Grecian Urn", which contains the line "For ever panting, and for ever young."[121] As
one critic described it, the song projected "something hymnal and heartfelt that spoke of
the father in Dylan",[122] and Dylan himself commented: "I wrote it thinking about one of
my boys and not wanting to be too sentimental."[123] Biographer Howard Sounes noted
that Jakob Dylan believed the song was about him.[120]
Columbia Records simultaneously released Dylan, a haphazard collection of studio

outtakes (almost exclusively cover songs), which was widely interpreted as a churlish
response to Dylan's signing with a rival record label.[124] In January 1974 Dylan and The
Band embarked on their high-profile, coast-to-coast North American tour. A live double
album of the tour, Before the Flood, was released on Asylum Records.
After the tour, Dylan and his wife became publicly estranged. He filled a small red
notebook with songs about relationships and ruptures, and quickly recorded a new
album entitled Blood on the Tracks in September 1974.[125] Dylan delayed the album's
release, however, and re-recorded half of the songs at Sound 80 Studios in Minneapolis
with production assistance from his brother David Zimmerman.[126] During this time,
Dylan returned to Columbia Records which eventually reissued his Asylum albums.
Released in early 1975, Blood on the Tracks received mixed reviews. In the NME, Nick
Kent described "the accompaniments [as] often so trashy they sound like mere practise
takes."[127] In Rolling Stone, reviewer Jon Landau wrote that "the record has been made
with typical shoddiness."[128] However, over the years critics have come to see it as one
of Dylan's greatest achievements, perhaps the only serious rival to his mid-60s trilogy of
albums. In Salon.com, Bill Wyman wrote: "Blood on the Tracks is his only flawless
album and his best produced; the songs, each of them, are constructed in disciplined
fashion. It is his kindest album and most dismayed, and seems in hindsight to have
achieved a sublime balance between the logorrhea-plagued excesses of his mid-'60s
output and the self-consciously simple compositions of his post-accident years."[129]
Novelist Rick Moody called it "the truest, most honest account of a love affair from tip
to stern ever put down on magnetic tape
That summer Dylan wrote his first successful "protest" song in 12 years, championing
the cause of boxer Rubin "Hurricane" Carter, who had been imprisoned for a triple
murder in Paterson, New Jersey. After visiting Carter in jail, Dylan wrote "Hurricane",
presenting the case for Carter's innocence. Despite its 8:32 minute length, the song was
released as a single, peaking at #33 on the U.S. Billboard Chart, and performed at every
1975 date of Dylan's next tour, the Rolling Thunder Revue.[131] The tour was a varied
evening of entertainment featuring about one hundred performers and supporters[132]
drawn from the resurgent Greenwich Village folk scene, including T-Bone Burnett,
Ramblin' Jack Elliott, Joni Mitchell.[133] David Mansfield, Roger McGuinn, Mick
Ronson, Joan Baez, and violinist Scarlet Rivera, whom Dylan discovered while she was
walking down the street, her violin case hanging on her back.[134] Allen Ginsberg
accompanied the troupe, staging scenes for the film Dylan was simultaneously shooting.
Sam Shepard was initially hired to write the film's screenplay, but ended up
accompanying the tour as informal chronicler.[135]
Running through late 1975 and again through early 1976, the tour encompassed the
release of the album Desire, with many of Dylan's new songs featuring an almost
travelogue-like narrative style, showing the influence of his new collaborator,
playwright Jacques Levy.[136][137] The spring 1976 half of the tour was documented by a
TV concert special, Hard Rain, and the LP Hard Rain; no concert album from the
better-received and better-known opening half of the tour was released until 2002's Live
1975.[138]
The fall 1975 tour with the Revue also provided the backdrop to Dylan's nearly four-
hour film Renaldo and Clara, a sprawling and improvised narrative, mixed with concert
footage and reminiscences. Released in 1978, the movie received generally poor,
sometimes scathing, reviews and had a very brief theatrical run.[139][140] Later in that year,
Dylan allowed a two-hour edit, dominated by the concert performances, to be more
widely released.[141]
In November 1976 Dylan appeared at The Band's "farewell" concert, along with other
guests including Joni Mitchell, Muddy Waters, Van Morrison and Neil Young. Martin
Scorsese's acclaimed cinematic chronicle of this show, The Last Waltz, was released in
1978 and included about half of Dylan's set.[142] In 1976, Dylan also wrote and duetted
on the song "Sign Language" for Eric Clapton's No Reason To Cry[143].
Dylan's 1978 album Street-Legal, recorded with a large, pop-rock band, complete with
female backing vocalists, was lyrically one of his more complex and cohesive.[144] It
suffered, however, from a poor sound mix (attributed to his studio recording practices),
[145]
submerging much of its instrumentation until its remastered CD release nearly a
quarter century later.
[edit] Born-again period

In the late 1970s, Dylan became a born-again Christian[146][147][148] and released two
albums of Christian gospel music. Slow Train Coming (1979) featured the guitar
accompaniment of Mark Knopfler (of Dire Straits) and was produced by veteran R&B
producer, Jerry Wexler. Wexler recalled that when Dylan had tried to evangelize him
during the recording, he replied: "Bob, you're dealing with a sixty-two-year old Jewish
atheist. Let's just make an album."[149] The album won Dylan a Grammy Award as "Best
Male Vocalist" for the song "Gotta Serve Somebody". The second evangelical album,
Saved (1980), received mixed reviews, although Kurt Loder in Rolling Stone declared
the album was far superior, musically, to its predecessor.[150] When touring from the fall
of 1979 through the spring of 1980, Dylan would not play any of his older, secular
works, and he delivered declarations of his faith from the stage, such as:
Years ago they ... said I was a prophet. I used to say, "No I'm not a prophet" they say "Yes you
are, you're a prophet." I said, "No it's not me." They used to say "You sure are a prophet." They
used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They
say, "Bob Dylan's no prophet." They just can't handle it.[151]
Dylan's embrace of Christianity was unpopular with some of his fans and fellow
musicians.[152] Shortly before his murder, John Lennon recorded "Serve Yourself" in
response to Dylan's "Gotta Serve Somebody".[153] By 1981, while Dylan's Christian faith
was obvious, Stephen Holden wrote in the New York Times that "neither age (he's now
40) nor his much-publicized conversion to born-again Christianity has altered his
essentially iconoclastic temperament
In the fall of 1980 Dylan briefly resumed touring for a series of concerts billed as "A
Musical Retrospective", where he restored several of his popular 1960s songs to the
repertoire. Shot of Love, recorded the next spring, featured Dylan's first secular
compositions in more than two years, mixed with explicitly Christian songs. The
haunting "Every Grain of Sand" reminded some critics of William Blake’s verses.[155]
In the 1980s the quality of Dylan's recorded work varied, from the well-regarded
Infidels in 1983 to the panned Down in the Groove in 1988. Critics such as Michael
Gray condemned Dylan's 1980s albums both for showing an extraordinary carelessness
in the studio and for failing to release his best songs.[156] The Infidels recording sessions,
for example, produced several notable songs that Dylan left off the album. Most well
regarded of these were "Blind Willie McTell" (a tribute to the dead blues singer and an
evocation of African American history[157]), "Foot of Pride" and "Lord Protect My
Child".[158] These songs were later released on The Bootleg Series Volumes 1-3 (Rare &
Unreleased) 1961-1991.
Between July 1984 and March 1985, Dylan recorded his next studio album, Empire
Burlesque.[159] Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi
Lauper, was asked to engineer and mix the album. Baker has said he felt he was hired to
make Dylan's album sound "a little bit more contemporary".[159]
Dylan sang on USA for Africa's famine relief fundraising single "We Are the World".
On July 13, 1985, he appeared at the climax at the Live Aid concert at JFK Stadium,
Philadelphia. Backed by Keith Richards and Ronnie Wood, Dylan performed a ragged
version of "Hollis Brown", his ballad of rural poverty, and then said to the worldwide
audience exceeding one billion people: "I hope that some of the money ... maybe they
can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the
mortgages on some of the farms and, the farmers here, owe to the banks."[160] His
remarks were widely criticized as inappropriate, but they did inspire Willie Nelson to
organize a series of events, Farm Aid, to benefit debt-ridden American farmers.[161]
In April 1986, Dylan made a foray into the world of rap music when he added vocals to
a verse of Kurtis Blow's "Street Rock", which appeared on Blow's album Kingdom
Blow. Credited with making arrangements for Dylan's performance are veteran singer-
songwriter-producer, Wayne K. Garfield, who conceived the collaboration and former
Dylan back-up singer, Debra Byrd, who is now head vocal coach for American Idol.[162]
In July 1986 Dylan released Knocked Out Loaded, an album containing three cover
songs (by Little Junior Parker, Kris Kristofferson and the traditional gospel hymn
"Precious Memories"), three collaborations with other writers (Tom Petty, Sam Shepard
and Carole Bayer Sager), and two solo compositions by Dylan. The album received
mainly negative reviews; Rolling Stone called it "a depressing affair",[163] and it was the
first Dylan album since Freewheelin' (1963) to fail to make the Top 50.[164] Since then,
some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard,
'Brownsville Girl', a work of genius.[165] In 1986 and 1987, Dylan toured extensively
with Tom Petty and The Heartbreakers, sharing vocals with Petty on several songs each
night. Dylan also toured with The Grateful Dead in 1987, resulting in a live album
Dylan & The Dead. This album received some very negative reviews: Allmusic said,
"Quite possibly the worst album by either Bob Dylan or the Grateful Dead."[166] After
performing with these musical permutations, Dylan initiated what came to be called The
Never Ending Tour on June 7, 1988, performing with a tight back-up band featuring
guitarist G. E. Smith. Dylan would continue to tour with this small but constantly
evolving band for the next 20 years
In 1987, Dylan starred in Richard Marquand's movie Hearts of Fire, in which he played
Billy Parker, a washed-up-rock-star-turned-chicken farmer whose teenage lover (Fiona)
leaves him for a jaded English synth-pop sensation (played by Rupert Everett).[167]
Dylan also contributed two original songs to the soundtrack—"Night After Night", and
"I Had a Dream About You, Baby", as well as a cover of John Hiatt's "The Usual". The
film was a critical and commercial flop.[168] Dylan was inducted into the Rock and Roll
Hall of Fame in January 1988. Bruce Springsteen's induction speech declared: "Bob
freed your mind the way Elvis freed your body. He showed us that just because music
was innately physical did not mean that it was anti-intellectual."[169] Dylan then released
the album Down in the Groove, which was even more unsuccessful in its sales than his
previous studio album.[170] The song "Silvio", however, had some success as a single.[171]
Later that spring, Dylan was a co-founder and member of the Traveling Wilburys with
George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty returning to the album charts
with the multi-platinum selling Traveling Wilburys Vol. 1.[170] Despite Orbison's death in
December 1988, the remaining four recorded a second album in May 1990, which they
released with the unexpected title Traveling Wilburys Vol. 3.[172]
Dylan finished the decade on a critical high note with Oh Mercy produced by Daniel
Lanois. Rolling Stone magazine called the album "both challenging and satisfying".[173]
[174]
The track "Most of the Time", a lost love composition, was later prominently
featured in the film High Fidelity, while "What Was It You Wanted?" has been
interpreted both as a catechism and a wry comment on the expectations of critics and
fans.[175] The religious imagery of "Ring Them Bells" struck some critics as a re-
affirmation of faith.[176]
[edit] 1990s
Dylan's 1990s began with Under the Red Sky (1990), an about-face from the serious Oh
Mercy. The album contained several apparently simple songs, including "Under the Red
Sky" and "Wiggle Wiggle". The album was dedicated to "Gabby Goo Goo"; this was
later explained as a nickname for the daughter of Dylan and Carolyn Dennis, Desiree
Gabrielle Dennis-Dylan, who was four at that time.[177] Sidemen on the album included
George Harrison, Slash from Guns N' Roses, David Crosby, Bruce Hornsby, Stevie Ray
Vaughan, and Elton John. Despite the stellar line-up, the record received bad reviews
and sold poorly. Dylan did not make another studio album of new songs for seven years.
[178]
In 1991, Dylan was honored by the recording industry with a Grammy Lifetime
Achievement Award.[179] The event coincided with the start of the Gulf War against
Saddam Hussein, and Dylan performed his song "Masters of War".[180] Dylan then made
a short speech which startled some of the audience.[180]
The next few years saw Dylan returning to his roots with two albums covering old folk
and blues numbers: Good as I Been to You (1992) and World Gone Wrong (1993),
featuring interpretations and acoustic guitar work. Many critics and fans commented on
the quiet beauty of the song "Lone Pilgrim",[181] penned by a 19th century teacher and
sung by Dylan with a haunting reverence. An exception to this rootsy mood came in
Dylan's 1991 songwriting collaboration with Michael Bolton; the resulting song "Steel
Bars", was released on Bolton's album Time, Love & Tenderness. In November 1994
Dylan recorded two live shows for MTV Unplugged. He claimed his wish to perform a
set of traditional songs for the show was overruled by Sony executives who insisted on
a greatest hits package.[182] The album produced from it, MTV Unplugged, included
"John Brown", an unreleased 1963 song detailing the ravages of both war and jingoism.
With a collection of songs reportedly written while snowed-in on his Minnesota ranch,
[183]
Dylan booked recording time with Daniel Lanois at Miami's Criteria Studios in
January 1997. The subsequent recording sessions were, by some accounts, fraught with
musical tension.[184] Late that spring, before the album's release, Dylan was hospitalized
with a life-threatening heart infection, pericarditis, brought on by histoplasmosis. His
scheduled European tour was cancelled, but Dylan made a speedy recovery and left the
hospital saying, "I really thought I'd be seeing Elvis soon."[185] He was back on the road
by midsummer, and in early fall performed before Pope John Paul II at the World
Eucharistic Conference in Bologna, Italy. The Pope treated the audience of 200,000
people to a sermon based on Dylan's lyric "Blowin' in the Wind".[186]
September saw the release of the new Lanois-produced album, Time Out of Mind. With
its bitter assessment of love and morbid ruminations, Dylan's first collection of original
songs in seven years was highly acclaimed. Rolling Stone said "Mortality bears down
hard, while shots of gallows humor ring out."[187] This collection of complex songs won
him his first solo "Album of the Year" Grammy Award (he was one of numerous
performers on The Concert for Bangladesh, the 1972 winner). The love song "Make
You Feel My Love" became a number one country hit for Garth Brooks.[17]
In December 1997 U.S. President Bill Clinton presented Dylan with a Kennedy Center
Honor in the East Room of the White House, paying this tribute: "He probably had
more impact on people of my generation than any other creative artist. His voice and
lyrics haven't always been easy on the ear, but throughout his career Bob Dylan has
never aimed to please. He's disturbed the peace and discomforted the powerful
Dylan commenced the new millennium by winning his first Oscar; his song "Things
Have Changed", penned for the film Wonder Boys, won a Golden Globe and an
Academy Award in March 2001.[190] The Oscar (by some reports a facsimile) tours with
him, presiding over shows perched atop an amplifier.[191]
"Love and Theft" was released on September 11, 2001. Recorded with his touring band,
Dylan produced the album himself under the pseudonym Jack Frost.[192] The album was
critically well-received and earned nominations for several Grammy awards.[193] Critics
noted that Dylan was widening his musical palette to include rockabilly, Western swing,
jazz, and even lounge ballads.[194]
In 2003 Dylan revisited the evangelical songs from his "born again" period and
participated in the CD project Gotta Serve Somebody: The Gospel Songs of Bob Dylan.
That year also saw the release of the film Masked & Anonymous, a collaboration with
TV producer Larry Charles that had Dylan appearing in a cast of well-knowns,
including Jeff Bridges, Penelope Cruz and John Goodman. The film polarised critics:
many dismissed it as an “incoherent mess”[195][196]; a few treated it as a serious work of
art.[
In October 2004, Dylan published the first part of his autobiography, Chronicles:
Volume One. The book confounded expectations.[199] Dylan devoted three chapters to his
first year in New York City in 1961–1962, virtually ignoring the mid-'60s when his
fame was at its height. He also devoted chapters to the albums New Morning (1970) and
Oh Mercy (1989). The book reached number two on The New York Times' Hardcover
Non-Fiction best seller list in December 2004 and was nominated for a National Book
Award.[200]
Martin Scorsese's acclaimed[201] film biography No Direction Home was broadcast in

September 2005.[202] The documentary focuses on the period from Dylan's arrival in
New York in 1961 to his motorcycle crash in 1966, featuring interviews with Suze
Rotolo, Liam Clancy, Joan Baez, Allen Ginsberg, Pete Seeger, Mavis Staples, and
Dylan himself. The film received a Peabody Award in April 2006[203] and a Columbia-
duPont Award in January 2007.[204] The accompanying soundtrack featured unreleased
songs from Dylan's early career
May 3, 2006, was the premiere of Dylan's DJ career, hosting a weekly radio program,
Theme Time Radio Hour, for XM Satellite Radio, with song selections revolving around
a chosen theme.[205][206] Dylan played classic and obscure records from the 1930s to the
present day, including contemporary artists as diverse as Blur, Prince, L.L. Cool J and
The Streets. The show was praised by fans and critics as "great radio," as Dylan told
stories and made eclectic references with his sardonic humor, while achieving a
thematic beauty with his musical choices.[207][208] Music author Peter Guralnick
commented: "With this show, Dylan is tapping into his deep love—and I would say his
belief in—a musical world without borders. I feel like the commentary often reflects the
same surrealistic appreciation for the human comedy that suffuses his music."[209] In
April 2009, Dylan broadcast the 100th show in his radio series; the theme was
"Goodbye" and the final record played was Woody Guthrie's "So Long, It's Been Good
To Know Yuh". This has led to speculation that Dylan's radio series may have ended.
[210]
On August 29, 2006, Dylan released his Modern Times album. In a Rolling Stone
interview, Dylan criticized the quality of modern sound recordings and claimed that his
new songs "probably sounded ten times better in the studio when we recorded 'em."[211]
Despite some coarsening of Dylan’s voice (a critic for The Guardian characterised his
singing on the album as "a catarrhal death rattle"[212]) most reviewers praised the album,
and many described it as the final installment of a successful trilogy, embracing Time
Out of Mind and "Love and Theft".[213] Modern Times entered the U.S. charts at number
one, making it Dylan's first album to reach that position since 1976's Desire.[214]
Nominated for three Grammy Awards, Modern Times won Best Contemporary
Folk/Americana Album and Bob Dylan also won Best Solo Rock Vocal Performance
for "Someday Baby". Modern Times was named Album of the Year, 2006, by Rolling
Stone magazine,[215] and by Uncut in the UK.[216] On the same day that Modern Times
was released the iTunes Music Store released Bob Dylan: The Collection, a digital box
set containing all of his albums (773 tracks in total), along with 42 rare and unreleased
tracks.[217]
August 2007 saw the unveiling of the award-winning film I'm Not There,[218][219] written
and directed by Todd Haynes, bearing the tagline "inspired by the music and many lives
of Bob Dylan".[220] The movie uses six distinct characters to represent different aspects
of Dylan's life, played by Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard
Gere, Heath Ledger and Ben Whishaw.[220][221] Dylan's previously unreleased 1967
recording from which the film takes its name[222] was released for the first time on the
film's original soundtrack; all other tracks are covers of Dylan songs, specially recorded
for the movie by a diverse range of artists, including Eddie Vedder, Stephen Malkmus,
Jeff Tweedy, Willie Nelson, Cat Power, Richie Havens, and Tom Verlaine
On October 1, 2007, Columbia Records released the triple CD retrospective album

Dylan, anthologising his entire career under the Dylan 07 logo.[224] As part of this
campaign, Mark Ronson produced a re-mix of Dylan's 1966 tune "Most Likely You Go
Your Way (And I'll Go Mine)", which was released as a maxi-single. This was the first
time Dylan had sanctioned a re-mix of one of his classic recordings.[225]
The sophistication of the Dylan 07 marketing campaign was a reminder that Dylan’s
commercial profile had risen considerably since the 1990s. This first became evidenced
in 2004, when Dylan appeared in a TV advertisement for Victoria’s Secret lingerie[226].
Three years later, in October 2007, he participated in a multi-media campaign for the
2008 Cadillac Escalade.[227][228] Then, in 2009, he gave the highest profile endorsement
of his career, appearing with rapper Will.i.am in a Pepsi ad that debuted during the
telecast of Super Bowl XLIII.[229] The ad, broadcast to a record audience of 98 million
viewers, opened with Dylan singing the first verse of "Forever Young" followed by
Will.i.am doing a hip hop version of the song's third and final verse.[230][231][232]
Over a decade after Random House had published Drawn Blank (1994), a book of
Dylan's drawings, an exhibit of his art, The Drawn Blank Series, opened in October
2007 at the Kunstsammlungen in Chemnitz, Germany.[233] This first public exhibition of
Dylan's paintings showcased more than 200 watercolors and gouaches made earlier in
2007 from the original drawings. The exhibition's opening also premiered the release of
the book Bob Dylan: The Drawn Blank Series, which includes 170 reproductions from
the series.[233][234][235]
In an interview with The Times[236] in July, 2008, Dylan ended with what may have been
an endorsement of presidential candidate Barack Obama:
Well, you know right now America is in a state of upheaval. Poverty is demoralizing. You can't
expect people to have the virtue of purity when they are poor. But we've got this guy out there
now who is redefining the nature of politics from the ground up: Barack Obama. He's redefining
what a politician is, so we'll have to see how things play out. Am I hopeful? Yes, I'm hopeful
that things might change. Some things are going to have to.[237]
In October 2008, Columbia released Volume 8 of Dylan's Bootleg Series, Tell Tale
Signs: Rare And Unreleased 1989-2006 as both a two-CD set and a three-CD version
with a 150-page hardcover book. The set contains live performances and outtakes from
selected studio albums from Oh Mercy to Modern Times, as well as soundtrack
contributions and collaborations with David Bromberg and Ralph Stanley.[238] The
pricing of the album—the two-CD set went on sale for $18.99 and the three-CD version
for $129.99—led to complaints about "rip-off packaging" from some fans and
commentators.[239][240] The release was widely acclaimed by critics.[241] The plethora of
alternative takes and unreleased material suggested to Uncut's reviewer: "Tell Tale
Signs is awash with evidence of (Dylan's) staggering mercuriality, his evident
determination even in the studio to repeat himself as little as possible."[242]
During 2008, Dylan began curating a project to set some of Hank Williams' "lost" lyrics
to music, overseeing contributions from Jack White, Willie Nelson, Lucinda Williams,
and Norah Jones.[243][244] The idea for the project, which was sanctioned by Hank
Williams' estate, originated after music publisher Acuff Rose entrusted Dylan with
some of the so-called "Shoebox Songs", a collection of notebooks and drafts that had
been kept by Williams' widow.[243]
[edit] Together Through Life and Christmas In The Heart (2009)
Bob Dylan released his album Together Through Life on April 28, 2009.[245][246] In a
conversation with music journalist Bill Flanagan, published on Dylan's website, Dylan
explained that the genesis of the record was when French film director Olivier Dahan
asked him to supply a song for his new road movie, My Own Love Song; initially only
intending to record a single track, "Life Is Hard," "the record sort of took its own
direction". Dylan also acknowledged the contributions of backing musicians Mike
Campbell, the guitarist with Tom Petty and the Heartbreakers, and David Hidalgo, the
accordionist with Los Lobos.[247] Nine of the ten songs on the album are credited as co-
written by Bob Dylan and Robert Hunter.[248]
The album received largely favourable reviews,[249] although several critics described it
as a minor addition to Dylan's canon of work. In Rolling Stone magazine, David Fricke
wrote: "The album may lack the instant-classic aura of Love and Theft or Modern
Times, but it is rich in striking moments, set in a willful rawness."[250] Dylan critic Andy
Gill wrote in The Independent that the record "features Dylan in fairly relaxed,
spontaneous mood, content to grab such grooves and sentiments as flit momentarily
across his radar. So while it may not contain too many landmark tracks, it's one of the
most naturally enjoyable albums you'll hear all year."[251]
In its first week of release, the album reached number one in the Billboard 200 chart in
the U.S.,[252] making Bob Dylan (68 years of age) the oldest artist to ever debut at
number one in the Billboard 200 chart.[252] It also reached number one on the UK album
charts, 39 years after Dylan's previous UK album chart topper New Morning. This
meant that Dylan currently holds the record for the longest gap between solo number
one albums in the UK chart.[253]
On October 13, 2009, Dylan released a Christmas album, Christmas in the Heart,
comprising such Christmas standards as "Little Drummer Boy", "Winter Wonderland"
and "Here Comes Santa Claus".[254] The U.S. royalties from the collection will benefit
Feeding America, which has been described as the nation's leading hunger-relief
charity.[255] Dylan commented: “It’s a tragedy that more than 35 million people in this
country alone – 12 million of those children – often go to bed hungry and wake up each
morning unsure of where their next meal is coming from. I join the good people of
Feeding America in the hope that our efforts can bring some food security to people in
need during this holiday season.”[9]
The album received generally favourable reviews.[256]The New Yorker commented that
Dylan had welded a pre-rock musical sound to "some of his croakiest vocals in a while",
and speculated that Dylan's intentions might be ironic: "Dylan has a long and highly
publicized history with Christianity; to claim there’s not a wink in the childish optimism
of “Here Comes Santa Claus” or “Winter Wonderland” is to ignore a half-century of
biting satire."[257] In USA Today, Edna Gundersen pointed out that Dylan was "revisiting
yuletide styles popularized by Nat King Cole, Mel Tormé, and the Ray Conniff
Singers." Gundersen concluded that Dylan "couldn't sound more sentimental or
sincere".[258]
The National Gallery of Denmark announced that they would hold a major exhibition of
Dylan's art in the fall of 2010. The chief curator of the Gallery, Kasper Monrad, said,
"Several of Dylan's images reveal an affinity for some of the modernist masters, not
least Henri Matisse's works from the 1920s
The Never Ending Tour commenced on June 7, 1988,[260] and Dylan has played roughly
100 dates a year for the entirety of the 1990s and the 2000s—a heavier schedule than
most performers who started out in the 1960s.[261] By the end of 2008, Dylan and his
band had played more than 2100 shows,[262] anchored by long-time bassist Tony Garnier
and filled out with talented sidemen. To the dismay of some of his audience,[263] Dylan's
performances remain unpredictable as he alters his arrangements and changes his vocal
approach night after night.[264] Critical opinion about Dylan’s shows remains divided.
Critics such as Richard Williams and Andy Gill have argued that Dylan has found a
successful way to present his rich legacy of material.[265][266] Others have criticised his
vocal style as a “one-dimensional growl with which he chews up, mangles and spits out
the greatest lyrics ever written so that they are effectively unrecognisable”,[267] and his
lack of interest in bonding with his audience.[268]
Bob Dylan's European tour of spring 2009 opened in Stockholm on March 22 and ended
in Dublin on May 6.[269] Dylan is currently touring the United States, concluding in New
York in November.[270]
[edit] Personal life
[edit] Family
Dylan married Sara Lownds on November 22, 1965. Their first child, Jesse Byron
Dylan, was born on January 6, 1966, and they had three more children: Anna Lea,
Samuel Isaac Abraham, and Jakob Luke (born December 9, 1969). Dylan also adopted
Sara's daughter from a prior marriage, Maria Lownds (later Dylan), (born October 21,
1961 now married to musician Peter Himmelman). In the 1990s his son Jakob Dylan
became well known as the lead singer of the band The Wallflowers. Jesse Dylan is a
film director and a successful businessman. Bob and Sara Dylan were divorced on June
29, 1977.[271]
In June 1986, Dylan married his longtime backup singer Carolyn Dennis (often
professionally known as Carol Dennis).[272] Their daughter, Desiree Gabrielle Dennis-
Dylan, was born on January 31, 1986. The couple divorced in October 1992. Their
marriage and child remained a closely guarded secret until the publication of Howard
Sounes' Dylan biography, Down the Highway: The Life Of Bob Dylan in 2001.[273]
[edit] Religious beliefs
Growing up in Hibbing, Dylan and his parents were part of the area's small but close-
knit Jewish community, and in May 1954 Dylan had his Bar Mitzvah.[274] However, for
a period during the late 1970s and early 80s, Bob Dylan publicly converted to
Christianity. From January to April 1979, Dylan participated in Bible study classes at
the Vineyard School of Discipleship in Reseda, California. Pastor Kenn Gulliksen has
recalled: "Larry Myers and Paul Emond went over to Bob’s house and ministered to
him. He responded by saying, 'Yes he did in fact want Christ in his life.' And he prayed
that day and received the Lord."[275][276]
By 1984, Dylan was deliberately distancing himself from the "born-again" label. He
told Kurt Loder of Rolling Stone magazine: "I've never said I'm born again. That's just a
media term. I don't think I've been an agnostic. I've always thought there's a superior
power, that this is not the real world and that there's a world to come."[277] In response to
a question from Loder as to whether he belonged to any Church or synagogue, Dylan
laughingly replied, "Not really. Uh, the Church of the Poison Mind."[277]
Since his trilogy of Christian albums, Dylan's faith has been a subject of scrutiny. In
1997 he told David Gates of Newsweek:
Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity
and philosophy in the music. I don't find it anywhere else. Songs like "Let Me Rest on a
Peaceful Mountain" or "I Saw the Light"—that's my religion. I don't adhere to rabbis, preachers,
evangelists, all of that. I've learned more from the songs than I've learned from any of this kind
of entity. The songs are my lexicon. I believe the songs.[6]
In an interview published in The New York Times on September 28, 1997, journalist Jon
Pareles reported that "Dylan says he now subscribes to no organized religion."[278]
Dylan has been described, in the last 20 years, as a supporter of the Chabad Lubavitch
movement[279] and has privately participated in Jewish religious events, including the bar
mitzvahs of his sons. Subsequently, Jewish news services have reported that Dylan has
"shown up" a few times at various High Holiday services at various Chabad
synagogues.[280] For example, he attended Congregation Beth Tefillah, in Atlanta,
Georgia on September 22, 2007 (Yom Kippur), where he was called to the Torah for the
sixth aliyah.[281]
Dylan has continued to perform songs from his gospel albums in concert, occasionally
covering traditional religious songs. He has also made passing references to his
religious faith—such as in a 2004 interview with 60 Minutes, when he told Ed Bradley
that "the only person you have to think twice about lying to is either yourself or to
God." He also explained his constant touring schedule as part of a bargain he made a
long time ago with the "chief commander—in this earth and in the world we can't
see."[25]
In October 2009, Dylan released Christmas in the Heart, an album of Christmas songs
which included the traditional carols "O Come All Ye Faithful" and "O Little Town of
Bethlehem".[282]
[edit] Influence
Bob Dylan has been described as one of the most influential figures of the 20th century,
musically and culturally. Dylan was included in the Time 100: The Most Important
People of the Century where he was called "master poet, caustic social critic and
intrepid, guiding spirit of the counterculture generation".[283] In 2004, he was ranked
number two in Rolling Stone magazine's list of "Greatest Artists of All Time".[284] Dylan
biographer Howard Sounes placed him in even more exalted company when he said,
"There are giant figures in art who are sublimely good—Mozart, Picasso, Frank Lloyd
Wright, Shakespeare, Dickens. Dylan ranks alongside these artists."[285]
Initially modelling his style on the songs of Woody Guthrie,[286] and lessons learnt from
the blues of Robert Johnson,[287] Dylan added increasingly sophisticated lyrical
techniques to the folk music of the early 60s, infusing it "with the intellectualism of
classic literature and poetry".[288] Paul Simon suggested that Dylan's early compositions
virtually took over the folk genre: "[Dylan's] early songs were very rich ... with strong
melodies. 'Blowin' in the Wind' has a really strong melody. He so enlarged himself
through the folk background that he incorporated it for a while. He defined the genre for
a while."[289]
When Dylan made his move from acoustic music to a rock backing, the mix became
more complex. For many critics, Dylan's greatest achievement was the cultural
synthesis exemplified by his mid-'60s trilogy of albums—Bringing It All Back Home,
Highway 61 Revisited and Blonde on Blonde. In Mike Marqusee's words: "Between late
1964 and the summer of 1966, Dylan created a body of work that remains unique.
Drawing on folk, blues, country, R&B, rock'n'roll, gospel, British beat, symbolist,
modernist and Beat poetry, surrealism and Dada, advertising jargon and social
commentary, Fellini and Mad magazine, he forged a coherent and original artistic voice
and vision. The beauty of these albums retains the power to shock and console."[290]
One legacy of Dylan’s verbal sophistication was the increasing attention paid by literary
critics to his lyrics. Professor Christopher Ricks published a 500 page analysis of
Dylan’s work, placing him in the context of Eliot, Keats and Tennyson,[291] and claiming
that Dylan was a poet worthy of the same close and painstaking analysis.[292] Former
British poet laureate, Andrew Motion, argued that Bob Dylan’s lyrics should be studied
in schools.[293] Since 1996, academics have lobbied the Swedish Academy to award
Dylan the Nobel Prize in Literature.[294][295][296][297] When asked to name the lyric or verse
that has had the biggest effect on his life, Dylan selected 1794 song A Red, Red Rose, of
Scottish poet and lyricist Robert Burns.[298]
Dylan’s voice was, in some ways, as startling as his lyrics. New York Times critic
Robert Shelton described Dylan's early vocal style as "a rusty voice suggesting Guthrie's
old performances, etched in gravel like Dave Van Ronk's."[299] When the young Bobby
Womack told Sam Cooke he didn’t understand Dylan’s vocal style, Cooke explained
that: “from now on, it's not going to be about how pretty the voice is. It's going to be
about believing that the voice is telling the truth.”[300] Rolling Stone magazine ranked
Dylan at number seven in their 2008 listing of “The 100 Greatest Singers of All Time”.
[301]
Bono commented that “Dylan has tried out so many personas in his singing because
it is the way he inhabits his subject matter.”[300]
Dylan's influence has been felt in several musical genres. As Edna Gundersen stated in
USA Today: "Dylan's musical DNA has informed nearly every simple twist of pop since
1962."[302] Many musicians have testified to Dylan's influence, such as Joe Strummer,
who praised Dylan as having "laid down the template for lyric, tune, seriousness,
spirituality, depth of rock music."[303] Other major musicians to have acknowledged
Dylan's importance include John Lennon,[304] Paul McCartney,[305] Neil Young,[306][307]
Bruce Springsteen,[308] David Bowie,[309] Bryan Ferry,[310] Syd Barrett,[311] Nick Cave,[312]
[313]
Patti Smith,[314] Joni Mitchell,[315] Cat Stevens[316], and Tom Waits.[317]
There have been dissenters. Because Dylan was widely credited with imbuing pop
culture with a new seriousness, the critic Nik Cohn objected: "I can't take the vision of
Dylan as seer, as teenage messiah, as everything else he's been worshipped as. The way
I see him, he's a minor talent with a major gift for self-hype."[318] Similarly, Australian
critic Jack Marx credited Dylan with changing the persona of the rock star: "What
cannot be disputed is that Dylan invented the arrogant, faux-cerebral posturing that has
been the dominant style in rock since, with everyone from Mick Jagger to Eminem
educating themselves from the Dylan handbook."[319]
If Dylan’s legacy in the 1960s was seen as bringing intellectual ambition to popular
music, as Dylan advances into his sixties, he is today described as a figure who has
greatly expanded the folk culture from which he initially emerged. As J. Hoberman
wrote in The Village Voice, "Elvis might never have been born, but someone else would
surely have brought the world rock 'n' roll. No such logic accounts for Bob Dylan. No
iron law of history demanded that a would-be Elvis from Hibbing, Minnesota, would
swerve through the Greenwich Village folk revival to become the world's first and
greatest rock 'n' roll beatnik bard and then—having achieved fame and adoration
beyond reckoning—vanish into a folk tradition of his own making."[320]
[edit] Discography
Main article: Bob Dylan discography
[edit] Awards
Further information: List of Bob Dylan awards
[edit] Notes
1. ^ a b An interview with Bobby Vee suggests the young Zimmerman may have
been eccentric in spelling his early pseudonym: "[Dylan] was in the
Fargo/Moorhead area ... Bill [Velline] was in a record shop in Fargo, Sam's
Record Land, and this guy came up to him and introduced himself as Elston
Gunnn--with three n's, G-U-N-N-N." Bobby Vee Interview, July 1999,
Goldmine Reproduced online:"Early alias for Robert Zimmerman". Expecting
Rain. 1999-08-11. http://expectingrain.com/dok/who/g/gunnnelston.html.
Retrieved 2008-09-11.
2. ^ Siegel, Ed (2007-11-04). "Attempts to grasp Dylan". New York Times.
http://www.nytimes.com/2007/12/04/opinion/04iht-edsiegal.1.8582053.html.
3. ^ Dylan sang Blowin’ In The Wind at the Washington D.C. concert, January 20,
1986, which marked the inauguration of Martin Luther King Day. Gray, 2006,
The Bob Dylan Encyclopedia, pp. 63–64.
4. ^ "Dylan 'reveals origin of anthem'". BBC News. 2004-04-11.
http://news.bbc.co.uk/1/hi/entertainment/music/3618291.stm. Retrieved 2009-
02-06.
5. ^ Browne, David (2001-09-10). "Love and Theft review". Entertainment Weekly.
http://www.ew.com/ew/article/0,,173933~4~~lovetheft,00.html. Retrieved 2008-
09-07.
6. ^ a b Gates, David (1997-10-06). "Dylan Revisited". Newsweek.
http://www.newsweek.com/id/97107/output/print. Retrieved 2008-10-13.
7. ^ "Dylan Way Opens in Duluth". Northlands News Centre. 2008-05-15.
http://www.northlandsnewscenter.com/news/range11/18967444.html. Retrieved
2009-01-29.
8. ^ "The Pulitzer Prize Winners 2008: Special Citation". Pulitzer. 2008-05-07.
http://www.pulitzer.org/citation/2008,Special+Awards+and+Citations.
9. ^ a b "Bob Dylan’s Holiday LP Christmas in the Heart Due October 13th".
bobdylan.com. 2009-08-25. http://www.bobdylan.com/#/news/13125. Retrieved
2009-08-27.
10. ^ Sounes, Down The Highway: The Life Of Bob Dylan, p. 14, gives his Hebrew
name as Shabtai Zisel ben Avraham
11. ^ A Chabad news service gives the variant Zushe ben Avraham, which may be a
Yiddish variant "Singer/Songwriter Bob Dylan Joins Yom Kippur Services in
Atlanta". Chabad.org News. 2007-09-24.
http://www.chabad.org/news/article_cdo/aid/573406/jewish/SingerSongwriter-
Bob-Dylan-Joins-Yom-Kippur-Services-in-Atlanta.htm. Retrieved 2008-09-11.
12. ^ Williams, Stacey. "Bob Dylan -His Life and Times-". bobdylan.com.
http://www.bobdylan.com/#/music/bob-dylan. Retrieved 2009-10-23. "Bob
Dylan was born in Duluth, Minnesota, on May 24, 1941."
13. ^ Sounes, Down The Highway: The Life Of Bob Dylan, p. 14
14. ^ a b Sounes, Down the Highway: The Life Of Bob Dylan, pp. 12–13.
15. ^ Dylan, Chronicles, Volume One, pp. 92–93.
16. ^ Shelton, No Direction Home, pp. 38–39.
17. ^ a b c d e f g Updated from The Rolling Stone Encyclopedia of Rock & Roll
(Simon & Schuster, 2001). "Bob Dylan: Biography". Rolling Stone.
http://www.rollingstone.com/artists/bobdylan/biography. Retrieved 2008-09-23.
18. ^ Sounes, Down The Highway: The Life Of Bob Dylan, pp. 29–37.
21. ^ Heylin, Bob Dylan: Behind the Shades Revisited, pp. 26–27.
22. ^ a b c d e Biograph, 1985, Liner notes & text by Cameron Crowe.
24. ^ a b This is related in the documentary film No Direction Home, Director:
Martin Scorsese. Broadcast: September 26, 2005, PBS & BBC Two
25. ^ a b Leung, Rebecca (2005-06-12). "" Dylan Looks Back". CBS News.
http://www.cbsnews.com/stories/2004/12/02/60minutes/main658799.shtml
%20". Retrieved 2009-02-25.
27. ^ Dylan, Chronicles, Volume One, p. 98.
30. ^ Robert Shelton, New York Times, 1961-09-21, "Bob Dylan: A Distinctive
Stylist" reproduced online: Robert Shelton (1961-09-21). "Bob Dylan: A
Distinctive Stylist". Bob Dylan Roots.
http://www.bobdylanroots.com/shelton.html. Retrieved 2008-09-11.
31. ^ Richie Unterberger (2003-10-08). "Carolyn Hester Biography". All Music.
http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jifpxqq5ld6e~T1.
32. ^ a b Scaduto, Bob Dylan, p. 110.
34. ^ Gray, The Bob Dylan Encyclopedia, pp. 283–284.
36. ^ a b c Heylin, 1996, Bob Dylan: A Life In Stolen Moments, pp. 35–39.
37. ^ "Dylan in the Madhouse". BBC TV. 2007-10-14.
http://www.bbc.co.uk/bbcfour/music/bobdylan/madhouse.shtml. Retrieved
2009-08-31.
38. ^ Sounes, Howard. Down the Highway: The Life Of Bob Dylan. Doubleday
2001. p159. ISBN 0-552-99929-6
39. ^ Web Guardian newspaper © Guardian News and Media Limited 2009
41. ^ Shelton, No Direction Home, p. 156.
42. ^ The booklet by John Bauldie accompanying Dylan's The Bootleg Series
Volumes 1–3 (Rare & Unreleased) 1961–1991 (1991) says: "Dylan
acknowledged the debt in 1978 to journalist Marc Rowland: Blowin' In The
Wind' has always been a spiritual. I took it off a song called 'No More Auction
Block'—that's a spiritual and 'Blowin' In The Wind follows the same feeling.'"
pp. 6–8.
44. ^ Ricks, Dylan's Visions of Sin, pp. 329–344.
45. ^ Gill, My Back Pages, 23
46. ^ Scaduto, Bob Dylan, p. 35.
47. ^ Mojo magazine, December 1993.
48. ^ Hedin (ed.), 2004, Studio A: The Bob Dylan Reader, p. 259. Reproduced
online:Joyce Carol Oates (2001-05-24). "Dylan at 60". University of San
Francisco. http://www.usfca.edu/~southerr/ondylan.html. Retrieved 2008-09-29.
49. ^ Joan Baez entry, Gray, The Bob Dylan Encyclopedia, pp. 28–31.
50. ^ Meacham, Steve (2007-08-15). "It ain't me babe but I like how it sounds". The
Sydney Morning Herald. http://www.smh.com.au/news/music/bob-dylans-
songs-offer-rich-pickings-for-other-singers/2007/08/14/1186857512999.html.
51. ^ Biograph, 1985, Liner notes & text by Cameron Crowe. Musicians on "Mixed
Up Confusion": George Barnes & Bruce Langhorne (guitars); Dick Wellstood
(piano); Gene Ramey (bass); Herb Lovelle (drums)
52. ^ Dylan had recorded "Talkin' John Birch Society Blues" for his Freewheelin
album, but the song was replaced by later compositions, including "Masters of
War". See Heylin, Bob Dylan: Behind the Shades Revisited, pp. 114–115.
53. ^ Dylan performed "Only a Pawn in Their Game" and "When the Ship Comes
In"; see Heylin, Bob Dylan: A Life In Stolen Moments, p. 49.
54. ^ Gill, My Back Pages, pp. 37–41.
56. ^ a b c d "Bob Dylan Timeline". BBC.
http://www.bbc.co.uk/bbcfour/music/bobdylan/timeline/timeline_html.shtml.
58. ^ Part of Dylan's speech went: "There's no black and white, left and right to me
any more; there's only up and down and down is very close to the ground. And
I'm trying to go up without thinking of anything trivial such as politics."; see,
Shelton, No Direction Home, pp. 200–205.
60. ^ In an interview with Seth Goddard for Life magazine (July 5, 2001) Ginsberg
claimed that Dylan’s technique had been inspired by Jack Kerouac: "(Dylan)
pulled Mexico City Blues from my hand and started reading it and I said, 'What
do you know about that?' He said, 'Somebody handed it to me in '59 in St. Paul
and it blew my mind.' So I said 'Why?' He said, 'It was the first poetry that spoke
to me in my own language.' So those chains of flashing images you get in Dylan,
like 'the motorcycle black Madonna two-wheeled gypsy queen and her silver
studded phantom lover,' they're influenced by Kerouac's chains of flashing
images and spontaneous writing, and that spreads out into the people."
Reproduced online at: "Online Interviews With Allen Ginsberg". University of
Illinois at Urbana Champaign. 2004-10-08.
http://www.english.uiuc.edu/maps/poets/g_l/ginsberg/interviews.htm. Retrieved
2008-09-11.
62. ^ Shelton, No Direction Home, pp. 267–271; pp. 288–291.
65. ^ Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume One,
pp. 220–222.
66. ^ Gill, My Back Pages, pp. 68–69.
67. ^ Marqusee, Wicked Messenger, p. 144.
68. ^ a b Sounes, Down The Highway: The Life Of Bob Dylan, pp. 168–169.
69. ^ Warwick, N., Brown, T. & Kutner, J. (2004). The Complete Book of the
British Charts (Third Edition ed.). Omnibus Press. p. 6. ISBN 9781844490585.
70. ^ "The Byrds chart data". Ultimate Music Database.
http://www.umdmusic.com/default.asp?
Lang=English&Search=Byrds&Where=Bands. Retrieved July 28, 2009.
71. ^ Shelton, 2003, No Direction Home, pp. 276–277.
73. ^ "Exclusive: Dylan at Newport—Who Booed?". Mojo. 2007-10-25.
http://www.mojo4music.com/blog/2007/10/exclusive_dylan_at_newport_who.ht
ml. Retrieved 2008-09-07.
75. ^ Sing Out, September 1965, quoted in Shelton, No Direction Home, p. 313.
76. ^ "You got a lotta nerve/To say you are my friend/When I was down/You just
stood there grinning" Reproduced online:Bob Dylan. "Positively 4th Street".
bobdylan.com. http://www.bobdylan.com/#/songs/positively-4th-street.
77. ^ Sounes, Down The Highway: The Life Of Bob Dylan, p. 186.
78. ^ a b "The RS 500 Greatest Songs of All Time". Rolling Stone. 2004-12-09.
http://www.rollingstone.com/news/coverstory/500songs. Retrieved 2008-09-07.
79. ^ Springsteen’s Speech during Dylan’s induction into the Rock and Roll Hall of
Fame, January 20, 1988 Quoted in Bauldie, Wanted Man, p. 191.
80. ^ Gill, 1999, My Back Pages, pp. 87–88.
81. ^ Gill, My Back Pages, p. 89.
82. ^ Palmer, Robert (1987-11-01). "Recordings; Robbie Robertson Waltzes Back
Into Rock". The New York Times. http://query.nytimes.com/gst/fullpage.html?
res=9B0DE2DA103DF932A35752C1A961948260. Retrieved 2008-09-27.
85. ^ "The closest I ever got to the sound I hear in my mind was on individual bands
in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's
metallic and bright gold, with whatever that conjures up." Dylan Interview,
Playboy, March 1978; see Cott, Dylan on Dylan: The Essential Interviews, p.
204. Reproduced online:Ron Rosenbaum (1978-02.28). "Playboy interview with
Bob Dylan, March 1978". interferenza.com.
http://www.interferenza.com/bcs/interw/play78.htm. Retrieved 2008-09-30.
87. ^ a b Sounes, Down The Highway: The Life Of Bob Dylan, p. 193.
90. ^ Rolling Stone review of live album of concert said, "This isn't rock & roll; it's
war." Fricke, David (1998-10-06). "Bob Dylan: Live 1966". Rolling Stone.
http://www.rollingstone.com/artists/bobdylan/albums/album/310484/review/621
0173/live_1966_the_royal_albert_hall_concert. Retrieved 2008-10-04.
91. ^ Dylan's dialogue with the Manchester audience is recorded (with subtitles) in
Martin Scorsese's documentary No Direction Home
93. ^ a b c Heylin, Bob Dylan: Behind the Shades Revisited, pp. 267.
94. ^ a b c Sounes, Down The Highway: The Life Of Bob Dylan, pp. 217–219.
95. ^ a b "The Bob Dylan Motorcycle-Crash Mystery". American Heritage. 2006-07-
29. http://www.americanheritage.com/email/articles/web/20060729-bob-dylan-
motorcycle-woodstock-methamphetamine-robert-shelton-howard-sounes-ed-
thaler.shtml. Retrieved 2008-09-07.
96. ^ Cott, Dylan on Dylan: The Essential Interviews, p. 300.
97. ^ Heylin, Bob Dylan: Behind the Shades Revisited, pp. 268.
99. ^ Sounes, Down The Highway: The Life Of Bob Dylan, p. 222–225.
100. ^ Marcus, The Old, Weird America, pp. 236–265.
101. ^ Helm, Levon and Davis, This Wheel's on Fire, p. 164; p. 174.
102. ^ "Bob Dylan's 1967 recording sessions". Bjorner's Still On the Road.
http://www.bjorner.com/DSN01620%201967.htm#DSN01640. Retrieved 2008-
11-10.
103. ^ "Charlie McCoy's Bio". www.charliemccoy.com.
http://www.charliemccoy.com/bio.html. Retrieved 2008-09-25.
104. ^ Wadey, Paul (2004-09-23). "Kenny Buttrey :'Transcendental' drummer
for artists from Elvis Presley to Bob Dylan and Neil Young". The Independent.
http://www.independent.co.uk/news/obituaries/kenny-buttrey-550523.html.
105. ^ Harris, Craig. "Pete Drake: Biography". Country Music Television.
http://www.cmt.com/artists/az/drake_pete/bio.jhtml. Retrieved 2008-09-25.
111. ^ Vites, Paolo. "Bob Dylan's Invisible Republic Interview with Greil
Marcus (Jam magazine)". interferenza.com.
http://www.interferenza.com/bcs/itgrailuk.htm. Retrieved 2008-09-24.
112. ^ Male, Andrew (2007-11-26). "Bob Dylan—Disc of the Day: Self
Portrait". Mojo. http://www.mojo4music.com/blog/2007/11/bob_dylan.html.
114. ^ Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume
One, pp. 391–392.
116. ^ Gray, The Bob Dylan Encyclopedia, ´pp. 342–343.
117. ^ C. P. Lee wrote: "In Garrett's ghost-written memoir, The Authentic Life
of Billy The Kid, published within a year of Billy's death, he wrote that 'Billy's
partner doubtless had a name which was his legal property, but he was so given
to changing it that it is impossible to fix on the right one. Billy always called
him Alias.'" Lee, Like a Bullet of Light: The Films of Bob Dylan, pp. 66–67.
118. ^ "Bob Dylan cover versions". Bjorner.com. 2002-04-16.
http://www.bjorner.com/Covers.htm. Retrieved 2008-11-10.
119. ^ Artists to have covered the song include Bryan Ferry, Wyclef Jean and
Guns 'n' Roses. "Dylan's Legacy Keeps Growing, Cover By Cover". NPR
Music. 2007-06-26. http://www.npr.org/templates/story/story.php?
storyId=11376880. Retrieved 2008-10-01.
120. ^ a b Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 273–
274.
121. ^ Ricks, Dylan's Visions of Sin, p. 453.
122. ^ Heylin, Bob Dylan: Behind the Shades Revisited, p. 354.
123. ^ Dylan's comment in booklet notes to Biograph, 1985, CBS Records.
128. ^ Landau, Jon (1975-03-13). "Blood On the Tracks review". Rolling
Stone.
1560/blood_on_the_tracks. Retrieved 2008-09-27.
129. ^ "Bob Dylan". Salon.com. May 5, 2001.
http://archive.salon.com/people/bc/2001/05/22/dylan/index3.html. Retrieved
2008-09-07.
130. ^ Hedin, Studio A: The Bob Dylan Reader, p. 109.
131. ^ "Log of every performance of "Hurricane"". Bjorner's Still on the
Road. August 20, 2006. http://www.bjorner.com/sixh.htm#_Toc481036436.
132. ^ Kokay, Les via Olof Björner (2000). "Songs of the Underground: a
collector’s guide to the Rolling Thunder Revue 1975-1976".
http://www.bjorner.com/Underground.htm. Retrieved 2007-02-18.
133. ^ Sloman, Larry (2002). On The Road with Bob Dylan. Three Rivers
Press. ISBN 1400045967.
134. ^ Gray, The Bob Dylan Encyclopedia, p. 579.
135. ^ Shepard, Rolling Thunder Logbook, pp. 2–49.
136. ^ Heylin, Bob Dylan: Behind the Shades Revisited, pp. 386–401,
138. ^ Erlewine, Stephen (2002-12-12). "Bob Dylan Live 1975—The Rolling
Thunder Revue". allmusic. http://www.allmusic.com/cg/amg.dll?
p=amg&sql=10:3kq2g4sztv3z. Retrieved 2008-09-25.
139. ^ Janet Maslin (1978-01-26). "Renaldo and Clara Film by Bob Dylan".
The New York Times.
http://web.archive.org/web/20071011074451rn_1/pqasb.pqarchiver.com/nytime
s/access/120958866.html?
did=120958866&FMT=ABS&FMTS=AI&date=Jan+26,+1978&author=By+JA
NET+MASLIN&pub=New+York+Times++(1857-
Current+file)&desc='Renaldo+and+Clara,'+Film+by+Bob+Dylan. Retrieved
2008-09-11.
141. ^ Lee, Like a Bullet of Light: The Films of Bob Dylan, pp. 115–116.
142. ^ "Reviews of The Last Waltz". Metacritic.com. 2007-10-08.
http://www.metacritic.com/video/titles/lastwaltz?q=the%20last%20waltz.
143. ^ Bream, Jon (1991-05-22). "50 fascinating facts for Bob Dylan's 50th
birthday". Star Tribune.
http://www.startribune.com/templates/Print_This_Story?sid=11474676.
148. ^ Dylan Interview with Karen Hughes, (The Dominion, Wellington, New
Zealand), May 21, 1980; reprinted in Cott (ed.), Dylan on Dylan: The Essential
Interviews, pp. 275–278; reproduced online:Karen Hughes (1980-05-21). "Karen
Hughes Interview, Dayton, Ohio, May 21, 1980". interferenza.com.
http://www.interferenza.com/bcs/interw/80-may21.htm. Retrieved 2008-09-11.
150. ^ Loder, Kurt (1980-09-18). "Bob Dylan's Saved". Rolling Stone.
4002/saved. Retrieved 2008-09-15.
151. ^ Bjorner (2001-06-08). "Omaha, Nebraska, January 25, 1981". Bjorner's
Still On The Road. http://www.bjorner.com/DSN05347%201980%20Second
%20Gospel%20Tour.htm#DSN05410. Retrieved 2008-09-11.
153. ^ "First Exhibition of John Lennon's Lyrics "Serve Yourself"—Reply
song to Bob Dylan". John Lennon Museum. 2005-07-20.
http://www.taisei.co.jp/museum/news/news/050720_e.html. Retrieved 2008-09-
11.
154. ^ Stephen, Holden (1981-10-29). "Rock: Dylan, in Jersey, Revises Old
Standbys". The New York Times. p. C19.
156. ^ Gray, Song & Dance Man III: The Art of Bob Dylan, pp. 11–14.
159. ^ a b Sounes, 2001, Down The Highway: The Life Of Bob Dylan, p. 362.
162. ^ Gray, 2006, The Bob Dylan Encyclopedia, p. 63
163. ^ DeCurtis, Anthony (1986-09-11). "Knocked Out Loaded". Rolling
Stone.
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166. ^ Stephen Thomas Erlewine (1989-07-27). "Dylan & The Dead".
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169. ^ Springsteen, Bruce (1988-01-20). "Speech at the Rock and Roll Hall of
Fame induction dinner, New York City.". Bartleby.com.
http://bartelby.org/66/81/55081.html. Retrieved 2008-09-11.
170. ^ a b Sounes, Down The Highway: The Life Of Bob Dylan, p. 385.
171. ^ "Hot Mainstream Rock Tracks: "Silvio"". Billboard.
http://www.billboard.com/bbcom/esearch/chart_display.jsp?
cfi=376&cfgn=Singles&cfn=Hot+Mainstream+Rock+Tracks&ci=3007394&cdi
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172. ^ Heylin, Bob Dylan: Behind the Shades Revisited, pp. 638-640.
173. ^ DeCurtis, Anthony (1989-09-21). "Bob Dylan: Oh Mercy". Rolling
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693/oh_mercy. Retrieved 2008-09-07.
176. ^ Scott Marshall wrote: "When Dylan sings that 'The sun is going down
upon the sacred cow', it's safe to assume that the sacred cow here is the biblical
metaphor for all false gods. For Dylan, the world will eventually know that there
is only one God." Marshall, Restless Pilgrim, p. 103.
179. ^ "Grammy Lifetime Achievement Award". Grammy.com.
http://www.grammy.com/Recording_Academy/Awards/Lifetime_Awards/.
180. ^ a b Heylin, Bob Dylan: Behind the Shades Revisited, pp. 664-665.
Heylin quotes the speech: "My daddy once said to me, he said, 'Son, it is
possible for you to become so defiled in this world that your own mother and
father will abandon you. If that happens, God will believe in your ability to
mend your own ways.' "
184. ^ Drozdowski, Ted (2008-01-02). "How Dylan's Time Out of Mind
Survived Stormy Studio Sessions". Gibson Guitars. http://www.gibson.com/en-
us/Lifestyle/Features/_97%20Flashback_%20How%20Bob%20Dylan_s/.
187. ^ Greg Kot (2001-01-22). "Time Out of Mind". Rolling Stone.
http://www.rollingstone.com/reviews/album/189525/time_out_of_mind.
188. ^ "Remarks by the President at Kennedy Center Honors Reception".
Clinton White House. 1997-12-08.
http://clinton4.nara.gov/textonly/WH/New/html/19971208-2814.html. Retrieved
2008-09-07.
189. ^ "Column, tower, and dome, and spire/ Shine like obelisks of fire/
Pointing with inconstant motion/ From the altar of dark ocean/ To the sapphire-
tinted skies” from Lines Written Among the Euganean Hills by Percy Bysshe
Shelley, October, 1818. [1]
190. ^ "Dylan Wins Oscar". Rolling Stone. 2001-03-26.
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2009-06-16.
191. ^ Cashmere, Paul (2007-08-20). "Dylan Tours Australia with Oscar".
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193. ^ "Love and Theft". MetaCritic.com.
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%20Dylan. Retrieved 2008-09-07.
194. ^ "Love and Theft". Entertainment Weekly. 2001-10-01.
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09-07.
195. ^ A. O. Scott (2003-07-24). "Times They Are Surreal in Bob Dylan
Tale". The New York Times. http://query.nytimes.com/gst/fullpage.html?
res=9D04E3DF153FF937A15754C0A9659C8B63. Retrieved 2008-10-04.
196. ^ Todd McCarthy (2003-02-02). "Masked and Anonymous".
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197. ^ "Masked & Anonymous". The New Yorker. 2003-07-24.
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198. ^ Motion, Andrew. "Masked and Anonymous". Sony Classics.
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199. ^ Maslin, Janet (2004-10-05). "So You Thought You Knew Dylan?
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ex=1154664000&en=4ff016533525f29f&ei=5070. Retrieved 2008-09-07.
201. ^ "Reviews of No Direction Home". Metacritic.com. 2005-10-31.
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10-13.
202. ^ It was shown on September 26-27, 2005, on BBC Two in the UK and
PBS in the US."No Direction Home: Bob Dylan A Martin Scorsese Picture".
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203. ^ "George Foster Peabody Award Winners" (PDF). Peabody. 2006.
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205. ^ "XM Theme Time Radio Hour". XM Satellite Radio.
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207. ^ Sawyer, Miranda (2006-12-31). "The Great Sound of Radio Bob". The
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208. ^ Watson, Tom (2007-02-16). "Dylan Spinnin' Those Coool Records".
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cool-records/. Retrieved 2007-02-18.
209. ^ Weeks, Linton (2007-11-11). "The Joys of Dylan the DJ". The
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210. ^ Hinckley, David (2009-04-19). "Bob Dylan’s Theme Time Radio
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211. ^ Jonathan Lethem (2006-08-21). "The Genius of Bob Dylan". Rolling
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212. ^ Petridis, Alex (2006-08-28). "Bob Dylan's Modern Times". The
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215. ^ "Modern Times, Album of the Year, 2006". Rolling Stone. 2006-12-16.
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216. ^ "Modern Times, Album of the Year, 2006". Uncut. 2006-12-16.
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218. ^ Hernandez, Eugene (2006-09-01). "Haynes' Dylan Stories Stir
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221. ^ A. O. Scott (2007-11-07). "I'm Not There". The New York Times.
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222. ^ Greil Marcus wrote: "There is nothing like 'I'm Not There' in the rest of
the basement recordings, or anywhere else in Bob Dylan’s career. Very quickly
the listener is drawn into the sickly embrace of the music, its wash of half-heard,
half-formed words and the increasing bitterness and despair behind them. Words
are floated together in a dyslexia that is music itself – a dyslexia that seems to
prove the claims of music over words, to see just how little words can achieve.";
see Marcus, The Old, Weird America, pp. 198–204.
223. ^ "Dylan covered by... very long list.". Uncut. 2007-10-01.
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225. ^ Walker, Tim (2007-10-27). "Mark Ronson: Born Entertainer". The
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entertainer-398023.html. Retrieved 2008-09-07.
226. ^ "What's Bob Dylan Doing In A Victoria's Secret Ad?". Slate. 2004-04-
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227. ^ "Dylan, Cadillac". XM Radio. 2007-10-22.
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228. ^ Dylan also devoted an hour of his Theme Time Radio Hour to the
theme of 'the Cadillac'. He first sang about the car in his 1963 nuclear war
fantasy, "Talkin’ World War III Blues", when he described it as a "good car to
drive—after a war".
229. ^ Kreps, Daniel (January 30, 2009). "Bob Dylan Teams Up With
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up-with-william-for-pepsi-super-bowl-commercial/. Retrieved 2009-02-02.
230. ^ Kissel, Rick (February 3, 2009). "Super Bowl ratings hit new high".
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232. ^ http://vodpod.com/watch/1328618-2009-super-bowl-commercials-
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233. ^ a b Macintyre, James (2007-08-10). "Dylan's drawings to go on display
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picassos-460955.html. Retrieved 2008-09-16.
234. ^ "The Drawn Blank Series". Prestel Verlag. 2007-10-31.
http://www.kohlibri.de/xtcommerce/product_info.php/info/p1555_Bob-Dylan--
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235. ^ Pessl, Marsha (June 1, 2008). "When I Paint My Masterpiece". The
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236. ^ Jackson, Alan (2008-06-06). "Bob Dylan: He's got everything he
needs, he's an artist, he don't look back". The Times.
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icle4074327.ece. Retrieved 2008-09-16.
237. ^ Chris Francescani of ABC News commented: "If indeed intended as an
endorsement of America's first black major party presidential candidate, the
statements were extraordinary for Dylan—from a cultural if not necessarily
political standpoint. Even at the height of his fame in the 1960s, when mass
movements like the civil rights brigades and the anti-war establishment literally
begged Dylan to lead them, the artist recoiled from taking sides."Francescani,
Chris (2008-06-06). "Has Bob Dylan Endorsed Obama?". abc News.
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238. ^ Gundersen, Edna (2008-07-29). "Dylan Reveals Many Facets on 'Tell
Tale Signs'". USA Today. http://www.usatoday.com/life/music/news/2008-07-
28-dylan-telltale-signs_N.htm.
239. ^ Cairns, Dan (2008-10-05). "Tell Tale Signs". The Sunday Times.
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ews/article4859960.ece. Retrieved 2008-10-06.
240. ^ Michael Gray expressed his opinion in his Bob Dylan Encyclopedia
blog "Tell Tale Signs Pt. 3, Money Doesn't Talk...". Bob Dylan Encyclopedia
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signs-pt-3-money-doesnt-talk.html. Retrieved 2008-09-06.
241. ^ "Reviews of Tell Tale Signs". Metacritic.com.
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242. ^ Jones, Allan (2008-09-30). "Album Review: Bob Dylan — The
Bootleg Series. Vol. 8". Uncut.
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243. ^ a b Juarez, Vanessa (2007-04-17). "Bob Dylan, Norah Jones put tunes to
Hank Williams' lyrics". Entertainment Weekly.
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244. ^ Michaels, Sean (2008-02-16). "Dylan gets Jack White to bring Hank
Williams to life". The Guardian.
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245. ^ "Together Through Life". Amazon. 2009-03-14.
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ie=UTF8&s=music&qid=1237033626&sr=1-2. Retrieved 2009-03-14.
246. ^ Fricke, David (2009-03-04). "Dylan Records Surprise 'Modern Times'
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247. ^ Flanagan, Bill (2009-03-16). "Bob Dylan talks about the new album
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248. ^ "Bob Dylan Rep Confirms Robert Hunter Co-Wrote “Together
Through Life” Lyrics". Rolling Stone. 2009-04-15.
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04-16.
249. ^ "Together Through Life". Metacritic. 2009-04-29.
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250. ^ Fricke, David (2009-04-13). "Together Through Life". Rolling Stone.
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251. ^ Gill, Andy (2009-04-24). "Bob Dylan's Together Through Life".
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252. ^ a b Caulfield, Keith (2009-05-06). "Bob Dylan Bows Atop Billboard
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billboard-200-1003969664.story. Retrieved 2009-05-07.
253. ^ "Dylan is in chart seventh heaven". BBC News. 2009-05-03.
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254. ^ "Bob Dylan’s Holiday LP Christmas in the Heart Due October 13th".
Rolling Stone. 2009-08-25.
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255. ^ Carroll, B. Jill (2001). The savage side: reclaiming violent models of
God. Lanham, Md: Rowman & Littlefield. p. 374. ISBN 0-7425-1281-9.
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%22America%27s+Second+Harvest
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256. ^ "Christmas In the Heart". Metacritic. 2009-10-16.
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257. ^ "A Hard Reindeer’s A-Gonna Fall". The New Yorker. 2009-09-21.
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gonna-fall.html. Retrieved 2009-10-13.
258. ^ Gundersen, Edna (2009-10-13). "Bob Dylan takes the Christmas spirit
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259. ^ Morris, Christopher (2009-09-15). "Dylan paintings heading to
Denmark". Variety. http://www.variety.com/article/VR1118008661.html?
categoryid=16&cs=1. Retrieved 2009-09-18.
260. ^ Heylin, Bob Dylan: A Life In Stolen Moments, p. 297.
261. ^ Muir, Razor's Edge, pp. 7–10.
262. ^ "Bjorner's Still On The Road: New York; November 21, 2008".
bjorner.com. 2008-12-18. http://www.bjorner.com/DSN30690%20-
%202008%20Canada%20Fall%20Tour.htm#DSN30890. Retrieved 2009-05-02.
263. ^ Mark Ellen argues with Andy Kershaw about the merits of Dylan's live
performances from mid-2000s, first broadcast on BBC Radio Four, December 5,
2005, reproduced: "That Dylan Argument In Full". The Word.
http://www.wordmagazine.co.uk/content/1037-dylan-argument-full. Retrieved
2008-09-07.
264. ^ Muir, Razor's Edge, pp. 187–197.
265. ^ Williams, Richard (2009-04-28). "Bob Dylan at Roundhouse, London".
The Guardian. http://www.guardian.co.uk/music/2009/apr/28/bob-dylan-review.
266. ^ Gill, Andy (2009-04-27). "Dylan's times ain't a-changin'". The
Independent. http://www.independent.co.uk/arts-
entertainment/music/reviews/bob-dylan-o2-arena-london-1674751.html.
267. ^ McCormick, Neil (2009-04-27). "Bob Dylan - live review". The
Telegraph. http://www.telegraph.co.uk/culture/music/bob-dylan/5229391/Bob-
Dylan-The-Roundhouse.html. Retrieved 2009-05-02.
268. ^ Lewry, Fraser (2009-04-27). "My night at the Roundhouse with Bob
Dylan". The Word. http://www.wordmagazine.co.uk/content/my-night-
roundhouse-with-bob-dylan. Retrieved 2009-05-02.
269. ^ "Bob Dylan Tour Archive Dates 2009". BobDylan.com.
http://www.bobdylan.com/#/tour/calendar/2009. Retrieved 2009-05-10.
270. ^ "Bob Dylan current tour dates". bobdylan.com. 2009-08-25.
http://www.bobdylan.com/#/tour. Retrieved 2009-08-26.
273. ^ "Dylan's Secret Marriage Uncovered". BBC News. 2001-04-12.
http://newsvote.bbc.co.uk/1/hi/entertainment/music/1273409.stm. Retrieved
2008-09-07.
274. ^ According to Robert Shelton, Dylan's teacher was "Rabbi Reuben
Maier of the only synagogue on the Iron Range, Hibbing's Agudath Achim
Synagogue". See Shelton, No Direction Home, pp. 35–36.
277. ^ a b Loder, Kurt (1984-06-21). "The Rolling Stone Interview: Bob Dylan
(1984)". Rolling Stone.
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bob_dylan_1984/print. Retrieved 2009-07-24.
278. ^ Dylan Interview with Jon Pareles, The New York Times, September 28,
1997; reprinted in Cott, Dylan on Dylan: The Essential Interviews, pp. 391–396.
279. ^ Fishkoff, The Rebbe's Army: Inside the World of Chabad-Lubavitch, p.
167.
280. ^ Shmais, News Service (2005-10-13). "Bob Dylan @ Yom Kippur
davening with Chabad in Long Island". Shmais News Service.
http://www.shmais.com/pages.cfm?page=archivenewsdetail&ID=24447.
281. ^ Sheva, Arutz (2007-09-24). "Day of Atonement Draws Dylan to the
Torah". Arutz Sheva—Israel National News.
http://www.israelnationalnews.com/News/Flash.aspx/133709. Retrieved 2008-
09-11.
282. ^ Itzkoff, Dave (2009-08-26). "Sleigh, Lady, Sleigh: Bob Dylan to
Release Christmas Album". The New York Times.
http://artsbeat.blogs.nytimes.com/2009/08/26/sleigh-lady-sleigh-bob-dylan-to-
release-christmas-album/. Retrieved 2009-08-27.
283. ^ Cocks, Jay (1999-06-14). "The Time 100: Bob Dylan". Time.
http://www.time.com/time/time100/artists/profile/dylan.html. Retrieved 2008-
10-05.
284. ^ Robertson, Robbie (2004-04-15). "The Immortals—The Greatest
Artists of All Time: 2) Bob Dylan". Rolling Stone.
http://www.rollingstone.com/news/story/5940049/2_bob_dylan. Retrieved 2008-
09-07.
285. ^ Duffy, Jonathan (2005-09-23). "Bob Dylan—why the fuss?". BBC.
http://news.bbc.co.uk/2/hi/uk_news/magazine/4274190.stm. Retrieved 2008-10-
05.
288. ^ "Bob Dylan". Britannica Online.
http://www.britannica.com/EBchecked/topic/175077/Bob-Dylan. Retrieved
2008-10-05.
289. ^ Fong-Torres, The Rolling Stone Interviews, Vol. 2, p. 424. Reproduced
online:"Rolling Stone interview (1972)". Bob Dylan Roots. 1972-06-06.
http://www.bobdylanroots.com/simon.html. Retrieved 2009-09-08.
290. ^ Marqusee, Wicked Messenger, p. 139.
291. ^ Ricks, Christopher (2003). Dylan's Visions of Sin. Penguin/Viking.
ISBN 0-670-80133-X.
292. ^ MacLeod, Donald (2004-07-13). "Ricks profile: Someone's gotta hold
of his art". The Guardian.
http://www.guardian.co.uk/education/2004/jul/13/academicexperts.highereducat
ionprofile. Retrieved 2008-09-07.
293. ^ Motion, Andrew (2007-09-22). "Andrew Motion explains why Bob
Dylan's lyrics should be studied in schools". The Times.
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/poetry/
article2503109.ece. Retrieved 2008-10-10.
294. ^ "Finally and Formally Launched as a Candidate for the Nobel Prize for
Literature, 1997". expectingrain.com. 2002-05-24.
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295. ^ Ball, Gordon (2007-03-07). "Dylan and the Nobel" (PDF). Oral
Tradition. http://journal.oraltradition.org/files/articles/22i/Ball.pdf. Retrieved
2008-09-07.
296. ^ "Dylan's Words Strike Nobel Debate". CBS News. 2004-10-06.
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297. ^ Borchert, Thomas (2009-09-21). "Clamour grows for Dylan to be
awarded Nobel prize". Monsters & Critics.
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298. ^ "Bob Dylan names Scottish poet Robert Burns as his biggest
inspiration". Daily Mail. http://www.dailymail.co.uk/tvshowbiz/article-
1069069/Bob-Dylan-names-Scottish-poet-Robert-Burns-biggest-
inspiration.html. "Bob Dylan has named his own greatest inspiration as the
Scottish poet Robert Burns. The American singer songwriter was asked to say
which lyric or verse has had the biggest effect on his life. He selected (Burns)
1794 song A Red, Red Rose, which is often published as a poem."
300. ^ a b Bono (2008-11-13). "100 Greatest Singers Of All Time: Bob
Dylan". Rolling Stone.
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301. ^ "100 Greatest Singers Of All Time". Rolling Stone. 2008-11-13.
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2008-11-18.
302. ^ Gundersen, Edna (2001-05-17). "Forever Dylan". USA Today.
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303. ^ "Bob Dylan: His Legacy to Music". BBC News. 2001-05-29.
http://news.bbc.co.uk/1/hi/talking_point/1349116.stm. Retrieved 2008-10-05.
304. ^ Lennon: "In Paris in 1964 was the first time I ever heard Dylan at all.
Paul got the record (The Freewheelin' Bob Dylan) from a French DJ. For three
weeks in Paris we didn't stop playing it. We all went potty about Dylan.":
Beatles, (2000), The Beatles Anthology, pp. 112–114.
305. ^ McCartney: "I'm in awe of Bob ... He hit a period where people went,
'Oh, I don't like him now.' And I said, 'No. It's Bob Dylan.' To me, it's like
Picasso, where people discuss his various periods, 'This was better than this, was
better than this.' But I go, 'No. It's Picasso. It's all good.' "Siegel, Robert (2007-
06-27). "Paul McCartney interview". A.V. Club.
http://www.avclub.com/content/interview/paul_mccartney/2. Retrieved 2008-
10-13.
306. ^ "Bob Dylan, I'll never be Bob Dylan. He's the master. If I'd like to be
anyone, it's him. And he's a great writer, true to his music and done what he
feels is the right thing to do for years and years and years. He's great. He's the
one I look to." Time interview with Neil Young, September 28, 2005.
Reproduced online :Tyrangiel, Josh (2005-09-28). "Resurrection of Neil
Young". Time. http://www.time.com/time/arts/article/0,8599,1110988,00.html.
307. ^ "Bob Dylan & Neil Young". Thrasher's Wheat — A Neil Young
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308. ^ "Bruce Springsteen on Bob Dylan". The Columbia World of
Quotations. Bartleby.com. http://bartelby.org/66/81/55081.html. Retrieved
2008-09-07.
309. ^ Song for Bob Dylan on the album Hunky Dory, David Bowie, 1971
310. ^ In 2007, Ferry released an album of his versions of Dylan songs,
Dylanesque
311. ^ 'Bob Dylan's Blues' by Syd Barrett Paytress, Mark (2001-02-14). "Syd
Barrett song unearthed". Rolling Stone.
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312. ^ Mojo: What, if push comes to shove, is your all-time favourite album?
Nick Cave: "I guess it's Slow Train Coming by Bob Dylan. That's a great record,
full of mean-spirited spirituality. It's a genuinely nasty record, certainly the
nastiest 'Christian' album I've ever come across." Mojo, January 1997
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314. ^ Time Out interview with Patti Smith, May 16, 2007: "The people I
revered in the late ’60s and the early ’70s, their motivation was to do great work
and great work creates revolution. The motivation of Jimi Hendrix, Bob Dylan
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http://www.yusufislam.com/lifeline/5/732059b53c9209c0cc0b34c7549ce4a2.
317. ^ "Tom Waits on his cherished albums of all time". Observer Music
Monthly. http://www.guardian.co.uk/music/2005/mar/20/popandrock1.
318. ^ Cohn, Awopbopaloobop Alopbamboom, pp. 164–165.
319. ^ Marx, Jack (2008-09-02). "Tangled Up In Blah". The Australian.
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ISBN 0340923121.
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Bob Dylan (Born Robert Allen Zimmerman May 24, 1941) Is

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Bob Dylan (Born Robert Allen Zimmerman May 24, 1941) Is

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Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-

Origins and musical beginnings

Zimmerman moved to Minneapolis in September 1959 and enrolled at the University of

[edit] Relocation to New York and record deal

[edit] Protest and Another Side

[edit] Going electric

Main article: Electric Dylan controversy

[edit] Motorcycle accident and reclusion

Columbia Records simultaneously released Dylan, a haphazard collection of studio

[edit] Born-again period

Martin Scorsese's acclaimed[201] film biography No Direction Home was broadcast in

On October 1, 2007, Columbia Records released the triple CD retrospective album

[edit] Together Through Life and Christmas In The Heart (2009)

[edit] Personal life

[edit] Religious beliefs

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