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    • Bob Dylan

    array(1) { [0]=> array(4) { ["title"]=> string(9) "Bob Dylan" ["timestamp"]=> string(20) "2010-09-05T22:11:00Z" ["text"]=> string(149048) "{{otheruse|this=the musician|use1= his debut album|page1=Bob Dylan (album)}} {{Infobox musical artist |Name = Bob Dylan |Img = Paparazzo_Presents_Bob_Dylan_.jpg |Img_capt = On keyboards at the [[New Orleans Jazz and Heritage Festival]], April 28, 2006 |Img_size = |Landscape = |Background = solo_singer |Birth_name = Robert Allen Zimmerman |Alias = Elston Gunnn, Zimbo,Williamson, N. ''The Rough Guide to Bob Dylan'' (1st ed, 2004), p. 7 Zimmy,Kamp, D.; Daly, S. "The Rock Snob's Dictionary" (2005), p. 148 Blind Boy Grunt,{{cite web| url = http://www.answers.com/topic/blind-boy-grunt| title = Blind Boy Grunt| author = Unterberger, Richie| accessdate = 2010-06-24| publisher = Answers.com}} Bobby the Hobo,Williamson, N. ''The Rough Guide to Bob Dylan'' (1st ed, 2004), p. 35 Bob Landy, Robert Milkwood Thomas, [[Traveling Wilburys|Lucky Wilbury/Boo Wilbury]], Sergei Petrov,Dylan co-wrote the movie ''[[Masked & Anonymous]]'' under the pseudonym Seregei Petrov. Gray, ''The Bob Dylan Encyclopedia'', p. 453. Jack FrostDylan produced the albums ''"[[Love and Theft]]"'' and ''[[Modern Times (Bob Dylan album)|Modern Times]]'' under the pseudonym Jack Frost. Gray, ''The Bob Dylan Encyclopedia'', p. 556. |Origin = |Genre = [[Rock music|Rock]], [[folk rock]], [[Folk music|folk]], [[blues]], [[Country music|country]], [[Gospel music|gospel]] |Born = {{birth date and age|mf=yes|1941|5|24}}
    [[Duluth, Minnesota]], [[United States|U.S.]] |Instrument = [[Singing|Vocals]], [[guitar]], [[bass guitar|bass]], [[harmonica]], [[Keyboard instrument|keyboard]], [[piano]] |Occupation = [[Singer-songwriter]] |Years_active = 1959–present |Label = [[Columbia Records|Columbia]], [[Asylum Records|Asylum]] |Associated_acts = [[The Band]]
    [[Traveling Wilburys]]
    [[Grateful Dead]] |URL = [http://www.bobdylan.com/ bobdylan.com] }} '''Bob Dylan''' (born '''Robert Allen Zimmerman'''; May 24, 1941) is an American [[singer-songwriter]] and musician. He has been a major figure in [[popular music]] for five decades. Much of his most celebrated work dates from the [[1960s in music|1960s]] when he was at first an informal chronicler, and later 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' (song)|The Times They Are a-Changin']]" became anthems for the [[American Civil Rights Movement (1955-1968)|civil rights]]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. and [[Opposition to the Vietnam War|anti-war]]{{cite news | url = http://news.bbc.co.uk/1/hi/entertainment/music/3618291.stm | title = Dylan 'reveals origin of anthem' | accessdate = February 6, 2009| publisher = BBC News | date = April 11, 2004 }} movements. His early lyrics incorporated a variety of political, social and philosophical, as well as literary influences. They defied existing pop music conventions and appealed hugely to the then burgeoning [[counterculture]]. Initially inspired by the songs of [[Woody Guthrie]] and [[Robert Johnson]], along with [[Little Richard]] as a high school student,{{cite book|last=Shelton|first=Robert |title=No Direction Home: The Life and Music of Bob Dylan|publisher=Da Capo Press|year=2003|pages=39|isbn=0-306-81287-8}} Dylan has both amplified and personalized musical [[Music genre|genres]], exploring numerous distinct traditions in American song—from [[folk music|folk]], [[blues]] and [[American country music|country]] to [[gospel music|gospel]], [[rock and roll]], and [[rockabilly]], to [[Folk Music of England|English]], [[Music of Scotland|Scottish]], and [[Folk music of Ireland|Irish folk music]], embracing even [[jazz]] and [[swing (genre)|swing]].{{cite web|last=Browne|first=David|authorlink=David Browne| url = http://www.ew.com/ew/article/0,,173933~4~~lovetheft,00.html | title = ''Love and Theft'' review| accessdate=September 7, 2008| work=[[Entertainment Weekly]] | date = September 10, 2001 }} Dylan performs with guitar, keyboards, 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.{{cite web| url = http://www.newsweek.com/1997/10/05/dylan-revisited.html| title = Dylan Revisited| author = Gates, David| date = October 6, 1997| accessdate = June 8, 2010| work= Newsweek}} He has [[List of Bob Dylan awards|received numerous awards]] over the years including [[Grammy]], [[Golden Globe]], and [[Academy Award]]s; 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|Duluth]], Minnesota.{{cite web| url = http://www.northlandsnewscenter.com/news/range11/18967444.html| title = Dylan Way Opens in Duluth| date = May 15, 2008| accessdate = January 29, 2009| publisher = Northlands News Centre}} The [[Pulitzer Prize]] jury in 2008 awarded him a [[Pulitzer Prize Special Citations and Awards|special citation]] for what they called his profound impact on popular music and American culture, "marked by lyrical compositions of extraordinary poetic power."{{cite web | url = http://www.pulitzer.org/citation/2008,Special+Awards+and+Citations | title = The Pulitzer Prize Winners 2008: Special Citation |accessdate=September 6, 2008| publisher = [[Pulitzer Prize|Pulitzer]] | date = May 7, 2008 }} ==Life and career== ===Origins and musical beginnings=== Robert Allen Zimmerman ([[Hebrew]] name Shabtai Zisel ben Avraham)Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 14, gives his Hebrew name as Shabtai Zisel ben AvrahamA [[Chabad]] news service gives the variant Zushe ben Avraham, which may be a [[Yiddish]] variant {{cite web | url = http://www.chabad.org/news/article_cdo/aid/573406/jewish/SingerSongwriter-Bob-Dylan-Joins-Yom-Kippur-Services-in-Atlanta.htm | title = Singer/Songwriter Bob Dylan Joins Yom Kippur Services in Atlanta | date = September 24, 2007 | accessdate = September 11, 2008 | publisher = Chabad.org News }} was born in St. Mary's Hospital on May 24, 1941, in [[Duluth, Minnesota|Duluth]], Minnesota,{{cite web | url = http://www.bobdylan.com/#/music/bob-dylan | title = ''Bob Dylan'' -His Life and Times- |author=Williams, Stacey |accessdate=October 23, 2009|language=| publisher = bobdylan.com | date = |quote=Bob Dylan was born in Duluth, Minnesota, on May 24, 1941.}}Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 14 and raised in [[Hibbing, Minnesota|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 anti-Semitic [[pogrom]]s of 1905.Sounes, ''Down the Highway: The Life Of Bob Dylan'', pp. 12–13. His mother's maternal grandparents, Benjamin and Lybba Edelstein, were [[Lithuanian Jews]] who arrived in the United States in 1902. In his autobiography ''[[Chronicles: Volume One]]'', Dylan writes that his paternal grandmother's maiden name was [[Kyrgyz]] and her family originated from [[Istanbul]].Dylan, ''Chronicles, Volume One'', pp. 92–93. Dylan’s parents, Abram Zimmerman and Beatrice "Beatty" 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, Minnesota|Hibbing]], where Zimmerman spent the rest of his childhood. Robert Zimmerman spent much of his youth listening to the radio—first to [[blues]] and [[American country music|country]] stations broadcasting from [[Shreveport, Louisiana]] and, later, to early [[rock and roll]].Shelton, ''No Direction Home'', pp. 38–39. He formed several bands in high school: The Shadow Blasters was short-lived, but his next, The Golden Chords, lasted longer and played [[Cover version|covers]] of popular songs.Heylin, 1996, ''Bob Dylan: A Life In Stolen Moments'', pp. 4–5. 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 29–37. In his 1959 school yearbook, Robert Zimmerman listed as his ambition "To follow [[Little Richard]]."Shelton, ''No Direction Home'', pp. 39–43. The same year, using the name Elston Gunnn (sic), he performed two dates with [[Bobby Vee]], playing piano and providing handclaps.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 (magazine)|Goldmine]] Reproduced online:{{cite web | url = http://expectingrain.com/dok/who/g/gunnnelston.html | title = Early alias for Robert Zimmerman | date = August 11, 1999 | accessdate = September 11, 2008 | publisher = Expecting Rain }}Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 41–42.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 26–27. Zimmerman moved to [[Minneapolis, Minnesota|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."[[Biograph (album)|''Biograph'']], 1985, Liner notes & text by [[Cameron Crowe]]. 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, USA|Dinkytown]] [[folk music]] circuit.Shelton, ''No Direction Home'', pp. 65–82.This is related in the documentary film ''[[No Direction Home]]'', Director: [[Martin Scorsese]]. Broadcast: September 26, 2005, [[PBS]] & [[BBC Two]] During his Dinkytown days, Zimmerman began introducing himself as "Bob Dylan".Heylin, 1996, ''Bob Dylan: A Life In Stolen Moments'', p. 7. In his autobiography, Dylan acknowledged that he had been influenced by the poetry of [[Dylan Thomas]].Dylan, ''Chronicles, Volume One'', pp. 78–79. Explaining his change of name in a 2004 interview, Dylan remarked: "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." ===1960s=== ====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]].Dylan, ''Chronicles, Volume One'', p. 98. 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."Dylan, ''Chronicles, Volume One'', pp. 244–246. 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, Vol. 1|Chronicles]]'' (2004).Dylan, ''Chronicles, Volume One'', pp. 250–252. From February 1961, Dylan played at various clubs around [[Greenwich Village]]. In September, he eventually gained public recognition when [[Robert Shelton (critic)|Robert Shelton]] wrote a positive review in ''The New York Times'' of a show at [[Gerde's Folk City]].Robert Shelton, ''New York Times'', September 21, 1961, "Bob Dylan: A Distinctive Stylist" reproduced online: {{cite web | url = http://www.bobdylanroots.com/shelton.html | title = Bob Dylan: A Distinctive Stylist | author = Robert Shelton | date = September 21, 1961 | accessdate = September 11, 2008 | publisher = Bob Dylan Roots }} 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 H. Hammond|John Hammond]].{{cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jifpxqq5ld6e~T1 | title = Carolyn Hester Biography | author = Richie Unterberger | date = October 8, 2003 | accessdate = September 11, 2008 | publisher = All Music }} Hammond signed Dylan to [[Columbia Records]] in October. The performances on his first Columbia album, ''[[Bob Dylan (album)|Bob Dylan]]'' (1962), consisted of familiar folk, blues and [[gospel music|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.Scaduto, ''Bob Dylan'', p. 110. Within Columbia Records, some referred to the singer as "Hammond's Folly" and suggested dropping his contract. Hammond defended Dylan vigorously. While working for Columbia, Dylan also recorded several songs under the pseudonym Blind Boy Grunt, for ''[[Broadside Magazine]]'', a folk music magazine and record label.Shelton, ''No Direction Home'', pp. 157–158. [[File:Joan Baez Bob Dylan.jpg|thumb|280px|With [[Joan Baez]] during the civil rights "[[March on Washington]]", August 28, 1963]] Dylan made two important career moves in August 1962. He legally changed his name to Bob 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.Gray, ''The Bob Dylan Encyclopedia'', pp. 283–284. Dylan subsequently said of Grossman, "He was kind of like a [[Colonel Tom Parker]] figure ... you could smell him coming." Tensions between Grossman and [[John H. Hammond|John Hammond]] led to Hammond being replaced as the producer of Dylan's second album by the young [[African American]] jazz producer [[Tom Wilson (producer)|Tom Wilson]].Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 115–116. From December 1962 to January 1963, Dylan made his first trip to the [[United Kingdom]].Heylin, 1996, ''Bob Dylan: A Life In Stolen Moments'', pp. 35–39. 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]].{{cite web| url = http://www.bbc.co.uk/bbcfour/music/bobdylan/madhouse.shtml| title = Dylan in the Madhouse| date = October 14, 2007| accessdate = August 31, 2009| publisher = BBC TV}} At the end of the play, Dylan performed ''Blowin' in the Wind'', one of the first major public performances of the songSounes, Howard. Down the Highway: The Life Of Bob Dylan. Doubleday 2001. p159. ISBN 0-552-99929-6. While in London, Dylan performed at several London folk clubs, including [[Les Cousins (music club)|Les Cousins]], [[Monto Water Rats|The Pinder Of Wakefield]],[http://www.guardian.co.uk/music/2007/sep/17/popandrock.folk Web ''Guardian'' newspaper © Guardian News and Media Limited 2009] and [[Bunjies]]. He also learned new songs from several UK performers, including [[Martin Carthy]]. 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 song]]s, inspired partly by Guthrie and influenced by [[Pete Seeger]]'s passion for topical songs.Shelton, ''No Direction Home'', pp. 138–142. "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]].Shelton, ''No Direction Home'', p. 156. [[File:Bob Dylan in November 1963.jpg|thumb|left|180px|Bob Dylan in November 1963]] 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.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. The song was widely recorded and became an international hit for [[Peter, Paul and Mary]], setting a precedent for many other artists who had 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|Cuban missile crisis]] developed only a few weeks after Dylan began performing it.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 101–103. 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 writing|stream-of-consciousness]], [[imagist]] lyrical attack with a traditional folk form.Ricks, ''Dylan's Visions of Sin'', pp. 329–344. {{Listen |filename=Bob_Dylan_-_Blowin'_in_the_Wind.ogg |title="Blowin' in the Wind" |description=''[[Blowin' in the Wind]]'' was, according to critic Andy Gill, "the song with which Dylan's name is most inextricably linked, and safeguarded his reputation as a civil libertarian through any number of changes in style and attitude."Gill, ''My Back Pages'', 23 |format=[[Ogg]]}} 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,Scaduto, ''Bob Dylan'', p. 35. 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."''Mojo'' magazine, December 1993. 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."Hedin (ed.), 2004, ''Studio A: The Bob Dylan Reader'', p. 259. Reproduced online:{{cite web | url = http://www.usfca.edu/~southerr/ondylan.html | title = Dylan at 60 | author = Joyce Carol Oates | date = May 24, 2001 | accessdate = September 29, 2008 | publisher = University of San Francisco}} 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.Sounes, 2001, ''Down The Highway: The Life Of Bob Dylan'', pp. 136–138. 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.Joan Baez entry, Gray, ''The Bob Dylan Encyclopedia'', pp. 28–31. 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]], [[The Association]], [[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."{{cite web | url = http://www.smh.com.au/news/music/bob-dylans-songs-offer-rich-pickings-for-other-singers/2007/08/14/1186857512999.html | title = It ain't me babe but I like how it sounds | date = August 15, 2007 | accessdate = September 24, 2008 | last = Meacham | first = Steve | work= [[The Sydney Morning Herald]]}} "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]]."[[Biograph (album)|''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) ====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 Paranoid Blues]]", was potentially libelous to the [[John Birch Society]]. Rather than comply with the censorship, Dylan refused to appear on the program.Dylan had recorded "Talkin' John Birch Society Blues" for his [[The Freewheelin' Bob Dylan|''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. {{Listen |filename = Bob_Dylan_-_The_Times_They_Are_a-Changin'.ogg |title = "The Times They Are a-Changin'" |description= Dylan said of "The Times They Are a-Changin'": "This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time." |format = [[Ogg]]}} By this time, Dylan and Baez were both prominent in the [[civil rights movement]], singing together at the [[March on Washington for Jobs and Freedom|March on Washington]] on August 28, 1963.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. Dylan's third album, ''[[The Times They Are a-Changin']]'', reflected a more politicized and cynical Dylan.Gill, ''My Back Pages'', pp. 37–41. 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 [[Bertolt Brecht|Brechtian]] "[[The Lonesome Death of Hattie Carroll]]" the death of black hotel barmaid Hattie Carroll, at the hands of young white socialite [[William Zantzinger]].Ricks, ''Dylan's Visions of Sin'', pp. 221–233. 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". By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements.Shelton, ''No Direction Home'', pp. 200–205. These tensions were publicly displayed when, accepting the "[[Thomas Paine|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]].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. [[File:Bob Dylan in November 1963-5.jpg|thumb|left|220px|''Bobby'' Dylan, as the college yearbook lists him: [[St. Lawrence University]], upstate New York, November 1963]] ''[[Another Side of Bob Dylan]]'', recorded on a single June evening in 1964,Heylin, 1996, ''Bob Dylan: A Life In Stolen Moments'', p. 60. 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.Shelton, ''No Direction Home'', p. 222. His newest direction was signaled by two lengthy songs: the [[impressionism|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,"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: {{cite web | url = http://www.english.uiuc.edu/maps/poets/g_l/ginsberg/interviews.htm | title = Online Interviews With Allen Ginsberg | date = October 8, 2004 | accessdate = September 11, 2008 | publisher = University of Illinois at Urbana Champaign }} 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.Shelton, ''No Direction Home'', pp. 219–222. 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]]."Shelton, ''No Direction Home'', pp. 267–271; pp. 288–291. 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."Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 178–181. ====Going electric==== {{Main|Electric Dylan controversy}} Dylan's April 1965 album ''[[Bringing It All Back Home]]'' was yet another stylistic leap,Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 181–182. featuring his first recordings made with electric instruments. The first single, "[[Subterranean Homesick Blues]]", owed much to [[Chuck Berry]]'s "[[Too Much Monkey Business]]"Heylin, 2009, ''Revolution In The Air, The Songs of Bob Dylan: Volume One'', pp. 220–222. 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]]''.Gill, ''My Back Pages'', pp. 68–69. Its free association lyrics both harked back to the manic energy of [[Beat poetry]] and were a forerunner of [[rapping|rap]] and [[hip-hop]].Marqusee, ''Wicked Messenger'', p. 144. By contrast, the [[A-side and B-side|B side]] of the album consisted of four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 168–169. "[[Mr. Tambourine Man]]" quickly became one of Dylan's best known songs when [[The Byrds]] recorded an electric version that reached number one in both the U.S. and the U.K. charts.{{cite book|author=Warwick, N., Brown, T. & Kutner, J.|year=2004|title=The Complete Book of the British Charts|edition=Third Edition|page=6|publisher=Omnibus Press|isbn=9781844490585}}{{cite book|author=Whitburn, J.|page=130|year=2008|title=Top Pop Singles 1955-2006|publisher=Record Research Inc|isbn=0-89820-172-1}} "[[It's All Over Now Baby Blue]]" and "[[It's Alright Ma (I'm Only Bleeding)]]" were acclaimed as two of Dylan's most important compositions.Shelton, 2003, ''No Direction Home'', pp. 276–277. 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|Paul Butterfield Blues Band]], featuring [[Mike Bloomfield]] (guitar), Sam Lay (drums) and Jerome Arnold (bass), plus [[Al Kooper]] (organ) and [[Barry Goldberg]] (piano).Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 208–216. 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. One version of the legend has it that the boos were from the outraged folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. [[Murray Lerner]], who filmed the performance, said: "I absolutely think that they were booing Dylan going electric."{{cite web|url=http://www.mojo4music.com/blog/2007/10/exclusive_dylan_at_newport_who.html| title = Exclusive: Dylan at Newport—Who Booed?| work=[[Mojo (magazine)|Mojo]] | date = October 25, 2007| accessdate = September 7, 2008}} An alternative account claims audience members were merely upset by poor sound quality and a surprisingly short set. This account is supported by Kooper and one of the directors of the festival, who reports his audio recording of the concert prove that the only boos were in reaction to the emcee's announcement that there was only enough time for a short set.{{cite news|author=CP Staff|page=3|url=http://blogs.citypages.com/gimmenoise/2010/04/al_kooper_talks.php?page=3|title= Al Kooper talks Dylan, Conan, Hendrix, and lifetime in the music business|publisher=Village Voice Media|work=City Pages|date=April 28, 2010|accessdate=May 1, 2010}}{{cite web|url=http://buffaloreport.com/020826dylan.html|author=Jackson, Bruce|date=August 26, 2002|accessdate=May 8, 2010|title=The myth of Newport '65: It wasn't Bob Dylan they were booing|publisher=Buffalo Report}} Nevertheless, Dylan's 1965 Newport performance provoked a hostile response from the folk music establishment.Shelton, ''No Direction Home'', pp. 305–314. [[Irwin Silber]], the editor of ''[[Sing Out!]]'', published an "Open Letter to Bob Dylan" in his journal: "I saw at Newport how you had somehow lost contact with people. Some of the paraphernalia of fame were getting in your way."''Sing Out'', November 1965, quoted in Shelton, ''No Direction Home'', p. 313. 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,"You got a lotta nerve/To say you are my friend/When I was down/You just stood there grinning" Reproduced online:{{cite web | url = http://www.bobdylan.com/#/songs/positively-4th-street | title = Positively 4th Street| author = Bob Dylan| accessdate = September 30, 2008| publisher = bobdylan.com}} 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 186. ====''Highway 61 Revisited'' and ''Blonde on Blonde''==== [[File:Bob Dylan Acoustic '66.jpg|thumb|left|Dylan on tour in 1966.]] {{listen|filename=Bob Dylan - Like a Rolling Stone.ogg |title="Like A Rolling Stone"|description=Dylan's 1965 hit single, which appeared on the album ''Highway 61 Revisited''. In 2004, it was labelled the Greatest Song of All Time by ''Rolling Stone'' magazine.|format=[[Ogg]]}} 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".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. In 2004, ''[[Rolling Stone Magazine]]'' listed it as number one on its list of "[[The 500 Greatest Songs of All Time]]".{{cite web| url = http://www.rocklistmusic.co.uk/rstone.html#500Songs| title = The Rolling Stone 500 Greatest Songs of All Time| accessdate = 2010-05-02| publisher = Rock List Music}} 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, Louisiana|New Orleans]].Gill, 1999, ''My Back Pages'', pp. 87–88. 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 guitar|acoustic]] exception, with Dylan making surreal allusions to a variety of figures in Western culture during this epic song, which was described by Andy Gill as "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."Gill, ''My Back Pages'', p. 89. 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]] (later to become [[The Band]]).{{cite web | url = http://query.nytimes.com/gst/fullpage.html?res=9B0DE2DA103DF932A35752C1A961948260 | title = Recordings; Robbie Robertson Waltzes Back Into Rock | date = November 1, 1987 | accessdate = September 27, 2008 | last = Palmer | first = Robert | publisher = The New York Times}} 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 189–90. While Dylan and the Hawks met increasingly receptive audiences on tour, their studio efforts floundered. Producer [[Bob Johnston]] persuaded Dylan to record in [[Nashville, Tennessee|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.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 238–243. The Nashville sessions produced the double-album ''[[Blonde on Blonde]]'' (1966), featuring what Dylan later called "that thin wild mercury sound"."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:{{cite web | url = http://www.interferenza.com/bcs/interw/play78.htm | title = ''Playboy'' interview with Bob Dylan, March 1978 | author = Ron Rosenbaum | date = 1978-02.28 | accessdate = September 30, 2008 | publisher = interferenza.com }} [[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.Gill, ''My Back Pages'', p. 95. On November 22, 1965, Dylan secretly married 25-year-old former model [[Sara Dylan|Sara Lownds]].Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 193. Some of Dylan’s friends (including [[Ramblin' Jack Elliott]]) claim that, in conversation immediately after the event, Dylan denied that he was married. Journalist [[Nora Ephron]] first made the news public in the ''[[New York Post]]'' in February 1966 with the headline "Hush! Bob Dylan is wed."Shelton, ''No Direction Home'', p. 325. [[Image:Bob Dylan and the Band Tour 1966.jpg|thumb|right|Dylan singing "[[Tell Me, Momma]]", during his 1966 world tour.]] Dylan undertook a [[Bob Dylan World Tour 1966|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 [[Steel-string guitar|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 [[Applause#Slow handclaps|slow handclapped]].Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 244–261. The tour culminated in a famously raucous confrontation between Dylan and his audience at the Manchester [[Free Trade Hall]] in England.{{cite web| url = http://www.nme.com/reviews/bob-dylan/199| title = Live 1966| date = 1998-09-06| accessdate = 2010-05-02| publisher = nme.com}} A recording of this concert was finally given an official release in 1998, on the album ''[[The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert|The Bootleg Series Vol. 4: Bob Dylan Live 1966]]''. At the climax of the evening, a member of the audience, [[John Cordwell]], who was angry with Dylan's electric sound, shouted: "[[Judas Iscariot|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!"Dylan's dialogue with the Manchester audience is recorded (with subtitles) in Martin Scorsese's documentary ''[[No Direction Home]]'' and they launched into the final song of the night with gusto—"Like a Rolling Stone." ====Motorcycle accident and reclusion==== After his European tour, Dylan returned to New York, but the pressures on him increased. [[American Broadcasting Company|ABC Television]] had paid an advance for a TV show they could screen.Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 215. His publisher, [[Macmillan Publishers|Macmillan]], was demanding a finished manuscript of the poem/novel ''[[Tarantula (book)|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 Engineering Co Ltd|Triumph]] Tiger 100 [[motorcycle]] on a road near his home in [[Woodstock, New York|Woodstock]], New York, throwing him to the ground. Though the extent of his injuries were never fully disclosed, Dylan said that he broke several [[vertebrae]] in his neck.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 217–219. Mystery still surrounds the circumstances of the accident{{cite web| url = http://www.americanheritage.com/email/articles/web/20060729-bob-dylan-motorcycle-woodstock-methamphetamine-robert-shelton-howard-sounes-ed-thaler.shtml| title = The Bob Dylan Motorcycle-Crash Mystery | accessdate = September 7, 2008| publisher = ''[[American Heritage (magazine)|American Heritage]]''| date = July 29, 2006}} since no ambulance was called to the scene and Dylan was not hospitalized. 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."Cott, ''Dylan on Dylan: The Essential Interviews'', p. 300. Many biographers believe that the crash offered Dylan the much-needed chance to escape from the pressures that had built up around him.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 268. 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. 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 [[American Broadcasting Company|ABC Television]] and was promptly rejected as incomprehensible to a mainstream audience.Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 216. In 1967 he began recording music with the Hawks at his home and in the basement of the Hawks' nearby house, called "Big Pink".Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 222–225. These songs, initially compiled as demos for other artists to record, provided hit singles for [[Julie Driscoll]] ("[[This Wheel's on Fire (song)|This Wheel's on Fire]]"), [[The Byrds]] ("[[You Ain't Goin' Nowhere]]", "Nothing Was Delivered"), and [[Manfred Mann]] ([[Quinn the Eskimo]] ("[[Quinn the Eskimo (The Mighty Quinn)|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 recording]]s, culminating in a five-CD bootleg set titled ''The Genuine Basement Tapes'', containing [[List of Basement Tapes songs|107 songs and alternate takes]].Marcus, ''The Old, Weird America'', pp. 236–265. 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]],Helm, Levon and Davis, ''This Wheel's on Fire'', p. 164; p. 174. thus beginning a long and successful recording and performing career of their own. In October and November 1967, Dylan returned to [[Nashville, Tennessee|Nashville]].{{cite web| title = Bob Dylan's 1967 recording sessions| url = http://www.bjorner.com/DSN01620%201967.htm#DSN01640| accessdate = November 10, 2008| publisher = Bjorner's Still On the Road}} Back in the recording studio after a 19-month break, he was accompanied only by [[Charlie McCoy]] on bass,{{cite web | url = http://www.charliemccoy.com/bio.html | title = Charlie McCoy's Bio | accessdate = September 25, 2008 | publisher = www.charliemccoy.com}} [[Kenny Buttrey]] on drums,{{cite web | url = http://www.independent.co.uk/news/obituaries/kenny-buttrey-550523.html | title = Kenny Buttrey :'Transcendental' drummer for artists from Elvis Presley to Bob Dylan and Neil Young | date = September 23, 2004 | accessdate = September 25, 2008 | last = Wadey | first = Paul | publisher = ''[[The Independent]]'' | location=London}} and [[Pete Drake]] on steel guitar.{{cite web | url = http://www.cmt.com/artists/az/drake_pete/bio.jhtml | title = Pete Drake: Biography | accessdate = September 25, 2008 | last = Harris | first = Craig | publisher = [[Country Music Television]]}} The result was ''[[John Wesley Harding (album)|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.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 282–288. 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 later acknowledged as definitive. [[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, where he was backed by The Band. {{Listen |filename = Lay_Lady_Lay.ogg |title = "Lay Lady Lay" |description= "[[Lay Lady Lay]]," on the country album ''[[Nashville Skyline]]'', has been one of Dylan's biggest hits, reaching #7 in the U.S.A.Shelton, ''No Direction Home'', p. 463. |format = [[Ogg]]}} Dylan's next release, ''[[Nashville Skyline]]'' (1969), was virtually a mainstream country record featuring instrumental backing by [[Nashville, Tennessee|Nashville]] musicians, a mellow-voiced Dylan, a duet with [[Johnny Cash]], and the hit single "[[Lay Lady Lay]]," which he originally wrote for the ''[[Midnight Cowboy]]'' [[soundtrack]], but did not submit in time to make the final cut.Gill, ''My Back Pages'', p. 140. 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 248–253. ===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 (Bob Dylan album)|Self Portrait]]''.{{cite web | url = http://www.interferenza.com/bcs/itgrailuk.htm | title = Bob Dylan's ''Invisible Republic'' Interview with Greil Marcus (''Jam'' magazine) | last = Vites | first = Paolo | accessdate = September 24, 2008 | publisher = interferenza.com}}{{cite web | url = http://www.mojo4music.com/blog/2007/11/bob_dylan.html | title = Bob Dylan—Disc of the Day: ''Self Portrait'' | last = Male | first = Andrew | date = November 26, 2007 | accessdate = September 24, 2008 | publisher = [[Mojo (magazine)|Mojo]]}} In general, ''Self Portrait'', a double LP including few original songs, was poorly received.{{cite web| url = http://www.robertchristgau.com/get_artist.php?name=Bob+Dylan| title = Self Portrait| author = Christgau, Robert| accessdate = 2010-05-02| publisher = robertchristgau.com}} Later that year, Dylan released ''[[New Morning]]'', which some considered a return to form.Shelton, ''No Direction Home'', p. 482. In November 1968, Dylan had co-written "I'd Have You Anytime" with [[George Harrison]];Heylin, 2009, ''Revolution In The Air, The Songs of Bob Dylan: Volume One'', pp. 391–392. 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 ''[[The Concert for Bangladesh|Concert for Bangladesh]]'' attracted much media coverage, reflecting that Dylan's live appearances had become rare.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 328–331. 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".{{cite web | url = http://www.bbc.co.uk/bbcfour/music/bobdylan/timeline/timeline_html.shtml | title = Bob Dylan Timeline | accessdate = September 25, 2008 | publisher = BBC}} On November 4, 1971 Dylan recorded "[[George Jackson (song)|George Jackson]]," which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of [[Black Panthers|Black Panther]] [[George Jackson (Black Panther)|George Jackson]] in [[San Quentin Prison]] that summer.Gray, ''The Bob Dylan Encyclopedia'', ´pp. 342–343. In 1972, Dylan signed onto [[Sam Peckinpah]]'s film ''[[Pat Garrett and Billy the Kid]]'', providing [[Pat Garrett and Billy the Kid (album)|songs and backing music]] for the movie, and playing the role of "Alias," a member of Billy's of some historical basis.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. Despite the film's failure at the box office, the song "[[Knockin' on Heaven's Door (song)|Knockin' on Heaven's Door]]" has proven its durability as one of Dylan's most extensively covered songs.{{cite web | url = http://www.bjorner.com/Covers.htm | title = Bob Dylan cover versions | date = April 16, 2002 | accessdate = November 10, 2008 | publisher = Bjorner.com}}Artists to have covered the song include [[Bryan Ferry]], [[Wyclef Jean]] and [[Guns 'n' Roses]]. {{cite web | url = http://www.npr.org/templates/story/story.php?storyId=11376880 | title = Dylan's Legacy Keeps Growing, Cover By Cover | date = June 26, 2007 | accessdate = October 1, 2008 | publisher = [[NPR Music]]}} ====Return to touring==== [[File:Bob Dylan and The Band - 1974.jpg|300px|right|thumbnail|Bob Dylan and [[The Band]] touring in Chicago, 1974]] 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.Sounes, 2001, ''Down The Highway: The Life Of Bob Dylan'', pp. 273–274. [[Christopher Ricks]] has connected the chorus of this song with [[John Keats]]'s "[[Ode on a Grecian Urn]]," which contains the line "...forever panting, and for ever young."Ricks, ''Dylan's Visions of Sin'', p. 453. As one critic described it, the song projected "something hymnal and heartfelt that spoke of the father in Dylan",Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 354. and Dylan himself commented: "I wrote it thinking about one of my boys and not wanting to be too sentimental."Dylan's comment in booklet notes to ''[[Biograph (album)|Biograph]]'', 1985, CBS Records. Biographer [[Howard Sounes]] noted that [[Jakob Dylan]] believed the song was about him. Columbia Records simultaneously released ''[[Dylan (1973 album)|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.Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 358. In January 1974 Dylan and [[The Band]] embarked on their high-profile, coast-to-coast [[Bob Dylan and The Band 1974 Tour|North American tour]]. A live double album of the tour, ''[[Before the Flood]]'', was released on [[Asylum Records]]. {{Listen |filename = Tangled_Up_In_Blue.ogg |title = "Tangled Up in Blue" |description= Dylan said of the opening song from ''[[Blood on the Tracks]]'': "I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you're never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn't matter." |format = [[Ogg]]}} 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.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 368–383. 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 (producer)|David Zimmerman]].Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 369–387. 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."Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 383. In ''Rolling Stone'', reviewer [[Jon Landau]] wrote that "the record has been made with typical shoddiness." 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."{{cite news | title = Bob Dylan | publisher = [[Salon.com]] | date = May 5, 2001 | url = http://archive.salon.com/people/bc/2001/05/22/dylan/index3.html | accessdate = September 7, 2008 }} Novelist [[Rick Moody]] called it "the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape."Hedin, ''Studio A: The Bob Dylan Reader'', p. 109. [[File:Ginsberg-dylan.jpg|270px|thumb|left|Bob Dylan photographed by [[Elsa Dorfman]] with [[Allen Ginsberg]], on the [[Rolling Thunder Revue]] in 1975]] That summer Dylan wrote a lengthy ballad championing the cause of boxer [[Rubin Carter|Rubin "Hurricane" Carter]], who had been imprisoned for a triple murder committed in [[Paterson, New Jersey]] in 1966. After visiting Carter in jail, Dylan wrote "[[Hurricane (song)|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 Hot 100|Billboard Chart]], and performed at every 1975 date of Dylan's next tour, the [[Rolling Thunder Revue]].{{cite news | title = Log of every performance of "Hurricane" | publisher = Bjorner's Still on the Road | date = August 20, 2006 | url = http://www.bjorner.com/sixh.htm#_Toc481036436 | accessdate = September 7, 2008 }} The tour was a varied evening of entertainment featuring about one hundred performers and supporters drawn from the resurgent Greenwich Village folk scene, including [[T-Bone Burnett]], [[Ramblin' Jack Elliott]], [[Joni Mitchell]].{{cite web|author= Kokay, Les via Olof Björner|title=''Songs of the Underground: a collector’s guide to the Rolling Thunder Revue 1975-1976''|year= 2000|url= http://www.bjorner.com/Underground.htm|accessdate= February 18, 2007}}{{cite book| author= Sloman, Larry|title= On The Road with Bob Dylan|publisher= Three Rivers Press|isbn= 1400045967|year= 2002}} [[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.Gray, ''The Bob Dylan Encyclopedia'', p. 579. [[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.Shepard, ''Rolling Thunder Logbook'', pp. 2–49. Running through late 1975 and again through early 1976, the tour encompassed the release of the album ''[[Desire (Bob Dylan album)|Desire]]'', with many of Dylan's new songs featuring an almost [[travel literature|travelogue]]-like narrative style, showing the influence of his new collaborator, playwright [[Jacques Levy]].Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 386–401,Gray, ''The Bob Dylan Encyclopedia'', p. 408. The spring 1976 half of the tour was documented by a TV concert special, ''Hard Rain'', and the LP ''[[Hard Rain (album)|Hard Rain]]''; no concert album from the better-received and better-known opening half of the tour was released until 2002's ''[[The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue|Live 1975]]''.{{cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3kq2g4sztv3z| title = Bob Dylan Live 1975—The Rolling Thunder Revue| author = Erlewine, Stephen| date = December 12, 2002| accessdate = September 25, 2008 | publisher = allmusic}} 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.{{cite web | url = http://web.archive.org/web/20071011074451rn_1/pqasb.pqarchiver.com/nytimes/access/120958866.html?did=120958866&FMT=ABS&FMTS=AI&date=Jan+26,+1978&author=By+JANET+MASLIN&pub=New+York+Times++(1857-Current+file)&desc='Renaldo+and+Clara,'+Film+by+Bob+Dylan | title = ''Renaldo and Clara'' Film by Bob Dylan | author = Janet Maslin | date = January 26, 1978 | accessdate = September 11, 2008 | publisher = ''The New York Times'' }}Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 313. Later in that year, Dylan allowed a two-hour edit, dominated by the concert performances, to be more widely released.Lee, ''Like a Bullet of Light: The Films of Bob Dylan'', pp. 115–116. 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.{{cite web | url = http://www.metacritic.com/video/titles/lastwaltz?q=the%20last%20waltz | title = Reviews of ''The Last Waltz'' | date = October 8, 2007 | accessdate = September 11, 2008 | publisher = Metacritic.com }} In 1976, Dylan also wrote and duetted on the song "Sign Language" for [[Eric Clapton]]'s ''[[No Reason To Cry]]''{{cite web | url = http://www.startribune.com/templates/Print_This_Story?sid=11474676 | title = 50 fascinating facts for Bob Dylan's 50th birthday | date = May 22, 1991 | accessdate = September 28, 2008 | last = Bream | first = Jon | publisher = ''[[Star Tribune]]''}}. In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and the US, to a total audience of two million people. For the tour, Dylan assembled an eight piece band, and was also accompanied by three backing singers. Concerts in Tokyo in February and March were recorded and released as the live double album, ''[[Bob Dylan At Budokan]]''.Sounes, 2001, ''Down The Highway: The Life Of Bob Dylan'', pp. 314–316. Reviews were mixed. [[Robert Christgau]] awarded the album a C+ rating, giving the album a derisory review,{{cite web| url = http://www.robertchristgau.com/get_artist.php?name=Bob+Dylan| title = Robert Christgau: Bob Dylan | author = Christgau, Robert| accessdate = 2010-08-04| publisher = Robertchristgau.com}} while [[Janet Maslin]] defended it in ''Rolling Stone'', writing: "These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals."{{cite web| url = http://www.rollingstone.com/music/reviews/album/3045/22175| title = Bob Dylan at Budokan| author = Maslin, Janet| date = 1979-07-12| accessdate = 2010-08-04| publisher = rollingstone.com}} When Dylan brought the tour to the US in September 1978, he was dismayed the press described the look and sound of the show as a 'Las Vegas Tour'.{{harvnb|Heylin|2000|p=483}} The 1978 tour grossed more than $20 million, and Dylan acknowledged to the ''Los Angeles Times'' that he had some debts to pay off because "I had a couple of bad years. I put a lot of money into the movie, built a big house ... and it costs a lot to get divorced in California." In April and May 1978, Dylan went into the studio in [[Santa Monica]], California to record an album of new material with the same large band and backing vocalists: ''[[Street-Legal (album)|Street-Legal]]''.Sounes, 2001, ''Down The Highway: The Life Of Bob Dylan'', pp. 318–319. It was described by Michael Gray as, "after ''Blood On The Tracks'', arguably Dylan’s best record of the 1970s: a crucial album documenting a crucial period in Dylan’s own life".Gray, ''The Bob Dylan Encyclopedia'', p. 643. However, it suffered from poor sound recording and mixing (attributed to Dylan’s studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs’ strengths.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 480–481. ====Born-again period==== {{further|[[Slow Train Coming#Conversion to Christianity|Slow Train Coming]]}} {{Listen |filename = Gotta_Serve_Somebody.ogg |title = "Gotta Serve Somebody" |description=Dylan took five months off at the beginning of 1979 to attend Bible school. His subsequent album ''[[Slow Train Coming]]'' reached #3 on the U.S. [[Billboard 200]] chart and included this [[Grammy Award|Grammy]]-winning song. |format = [[Ogg]]}} In the late 1970s, Dylan became a [[Born again (Christianity)|born-again Christian]]Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 323–337.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 490–526.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:{{cite web | url = http://www.interferenza.com/bcs/interw/80-may21.htm | title = Karen Hughes Interview, Dayton, Ohio, May 21, 1980 | author = Karen Hughes | date = May 21, 1980 | accessdate = September 11, 2008 | publisher = interferenza.com }} 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."Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 501–503. The album won Dylan a [[Grammy Award]] as "Best Male Vocalist" for the song "[[Gotta Serve Somebody]]". The second evangelical album, ''[[Saved (album)|Saved]]'' (1980), received mixed reviews, and was described by Dylan critic Michael Gray as "the nearest thing to a follow-up album Dylan has ever made, ''Slow Train Coming II'' and inferior."Gray, 2000, ''Song & Dance Man III'', p. 11. 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: {{blockquote|''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.''{{cite web | url = http://www.bjorner.com/DSN05347%201980%20Second%20Gospel%20Tour.htm#DSN05410 | title = Omaha, Nebraska, January 25, 1980 | author = Bjorner | date = June 8, 2001 | accessdate = September 11, 2008 | publisher = Bjorner's Still On The Road }} }} Dylan's embrace of Christianity was unpopular with some of his fans and fellow musicians.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 334–336. Shortly before [[death of John Lennon|his murder]], [[John Lennon]] recorded "Serve Yourself" in response to Dylan's "Gotta Serve Somebody".{{cite web | url = http://www.taisei.co.jp/museum/news/news/050720_e.html | title = First Exhibition of John Lennon's Lyrics "Serve Yourself"—Reply song to Bob Dylan | date = July 20, 2005 | accessdate = September 11, 2008 | publisher = John Lennon Museum}} 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."{{cite news|title=Rock: Dylan, in Jersey, Revises Old Standbys |work=The New York Times | first = Stephen | last = Holden |date= October 29, 1981 | page=C19|url=http://www.nytimes.com/1981/10/29/arts/rock-dylan-in-jersey-revises-old-standbys.html|accessdate=May 12, 2010 }} ===1980s=== [[File:Bob Dylan Barcelona.jpg|thumb|right|230px|Dylan in [[Barcelona, Spain|Barcelona]], Spain, 1984
    Photo: F. Antolín Hernandez]] 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 (Bob Dylan song)|Every Grain of Sand]]" reminded some critics of [[William Blake]]’s verses.Gray, ''The Bob Dylan Encyclopedia'', pp. 215–221. 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 (author)|Michael Gray]] condemned Dylan's 1980s albums both for showing an extraordinary carelessness in the studio and for failing to release his best songs.Gray, ''Song & Dance Man III: The Art of Bob Dylan'', pp. 11–14. 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 (song)|Blind Willie McTell]]" (a tribute to the dead blues singer and an evocation of [[African American history]]),Gray, ''The Bob Dylan Encyclopedia'', pp. 56–59. "Foot of Pride" and "Lord Protect My Child".Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 354–356. 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]]''.Sounes, 2001, ''Down The Highway: The Life Of Bob Dylan'', p. 362. [[Arthur Baker (musician)|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".Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 362. 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."Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 367. 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 365–367. In April 1986, Dylan made a brief foray into the world of [[rap music]] when he added vocals to the opening verse of "Street Rock", a song featured on [[Kurtis Blow]]'s album ''Kingdom Blow''.Gray, 2006, ''The Bob Dylan Encyclopedia'', p. 63 Dylan's next studio album, ''[[Knocked Out Loaded]]'', was released in July 1986 and contained three cover songs (by Little [[Junior Parker]], [[Kris Kristofferson]] and the traditional gospel hymn "[[Precious Memories]]"), plus three collaborations with other writers ([[Tom Petty]], [[Sam Shepard]] and [[Carole Bayer Sager]]), and two solo compositions by Dylan. One reviewer commented that "the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating."{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:aifrxqt5ld0e| title = Knocked Out Loaded| author = Erlewine, Stephen Thomas| accessdate = 2010-05-02| publisher = allmusic}} It was the first Dylan album since ''[[The Freewheelin' Bob Dylan|Freewheelin']]'' (1963) to fail to make the Top 50.Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 595. Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, '[[Brownsville Girl]]', a work of genius.Gray, ''The Bob Dylan Encyclopedia'', pp. 95–100. 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 [[Grateful Dead|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."{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:czex97l7krkt | title = Dylan & The Dead| author = Stephen Thomas Erlewine| date = July 27, 1989| accessdate = September 10, 2009| publisher = allmusic.com}} 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 continued to tour with this small but constantly evolving band for the next 20 years. [[File:Bob Dylan in Toronto2.jpg|thumb|260px|left|Dylan in Toronto April 18, 1980
    Photo: Jean-Luc Ourlin]] 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 (singer)|Fiona]]) leaves him for a jaded English synth-pop sensation (played by [[Rupert Everett]]).Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 376–383. 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.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 599–604. Dylan was inducted into the [[Rock and Roll Hall of Fame]] in January 1988, with [[Bruce Springsteen]]'s introductory speech declaring, "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.Speech on Bob Dylan's induction to the Rock'n'Roll Hall of Fame, January 20, 1988, reprinted in Bauldie (ed.), ''Wanted Man: In Search of Bob Dylan'', pp. 191–193. When Dylan released the album ''[[Down in the Groove]]'' in May 1988, it was even more unsuccessful in its sales than his previous studio album.Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 385. Michael Gray wrote: "The very title undercuts any idea that inspired work may lie within. Here was a further devaluing of the notion of a new Bob Dylan album as something significant."Gray, 2000, ''Song & Dance Man III'', p. 13. The critical and commercial disappointment of that album was swiftly followed by the success of the [[Traveling Wilburys]]. Dylan co-founded the band with [[George Harrison]], [[Jeff Lynne]], [[Roy Orbison]], and [[Tom Petty]], and in the fall of 1988 their multi-platinum ''[[Traveling Wilburys Vol. 1]]'' reached number three on the US album chart, featuring songs that were described as most Dylan's most accessible compositions in years.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 627-628. 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]]''.Heylin, ''Bob Dylan: Behind the Shades Revisited'', pp. 638-640. Dylan finished the decade on a critical high note with ''[[Oh Mercy]]'' produced by [[Daniel Lanois]]. Dylan critic Michael Gray wrote that the album was: "Attentively written, vocally distinctive, musically warm, and uncompromisingly professional, this cohesive whole is the nearest thing to a great Bob Dylan album in the 1980s."Dylan, ''Chronicles, Volume One'', pp. 145–221. The track "Most of the Time", a lost love composition, was later prominently featured in the film ''[[High Fidelity (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.Ricks, ''Dylan's Visions of Sin'', pp. 413–20. The religious imagery of "Ring Them Bells" struck some critics as a re-affirmation of faith.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. ===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.Gray, ''The Bob Dylan Encyclopedia'', p. 174. [[Sidemen]] on the album included [[George Harrison]], [[Slash (musician)|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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 391. In 1991, Dylan was honored by the recording industry with a [[Grammy Lifetime Achievement Award]].{{cite web| url = http://www.grammy.com/Recording_Academy/Awards/Lifetime_Awards/| title = Grammy Lifetime Achievement Award| accessdate = September 25, 2008| publisher = Grammy.com}} The event coincided with the start of the [[Gulf War]] against [[Saddam Hussein]], and Dylan performed his song "[[Masters of War]]". Dylan then made a short speech that startled some of the audience.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.' " 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",Gray, ''The Bob Dylan Encyclopedia'', p. 423. penned by a 19th century teacher and sung by Dylan with a haunting reverence. 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.Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 408–409. The album produced from it, ''[[MTV Unplugged (Bob Dylan album)|MTV Unplugged]]'', included "John Brown", an unreleased 1963 song detailing the ravages of both war and [[jingoism]]. [[File:B dylan 1996.jpg|thumb|left|270px|Dylan performs at a 1996 concert in [[Stockholm]]]] With a collection of songs reportedly written while snowed-in on his Minnesota ranch,Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 693. 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.{{cite web | url = http://www.gibson.com/en-us/Lifestyle/Features/_97%20Flashback_%20How%20Bob%20Dylan_s/ | title = How Dylan's ''Time Out of Mind'' Survived Stormy Studio Sessions | author = Drozdowski, Ted | date = January 2, 2008 | accessdate = September 11, 2008 | publisher = Gibson Guitars }} 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 Presley|Elvis]] soon."Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 420. 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]]".Sounes, ''Down The Highway: The Life Of Bob Dylan'', p. 426. 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. One critic wrote: "the songs themselves are uniformly powerful, adding up to Dylan's best overall collection in years."{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:k9fpxqejldte| title = Time Out of Mind| author = Erlewine, Stephen Thomas| accessdate = 2010-05-01| publisher = allmusic}} This collection of complex songs won him his first solo "Album of the Year" [[Grammy Award]].Dylan had been one of several artists who had won "Album of the Year" in 1971 for ''[[The Concert for Bangladesh (album)|The Concert for Bangladesh]]''{{cite web | url = http://rateyourmusic.com/list/obelisk/grammy_award__winners__album_of_the_year| title = Grammy Award® Winners: Album of the Year| accessdate = 2010-05-01| publisher = rateyourmusic.com }} 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."{{cite news| url = http://clinton4.nara.gov/textonly/WH/New/html/19971208-2814.html | title = Remarks by the President at Kennedy Center Honors Reception| accessdate = September 7, 2008 | publisher = Clinton White House| date = December 8, 1997}} ===2000s=== {{Listen |filename = Things_Have_Changed.ogg |title = "Things Have Changed" |description= Dylan's [[Academy Award|Oscar]] winning song was featured in the movie ''[[Wonder Boys (film)|Wonder Boys]]''. The line "sapphire-tinted skies" echoes the verse of [[Percy Bysshe Shelley|Shelley]]"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. [http://www.english.upenn.edu/Projects/knarf/PShelley/euganean.html] while "forty miles of bad road" echoes [[Duane Eddy|Duane Eddy's]] hit single. |format = [[Ogg]]}} Dylan commenced the new millennium by winning his first [[Academy Award|Oscar]]; his song "[[Things Have Changed]]", penned for the film ''[[Wonder Boys (film)|Wonder Boys]]'', won an [[Academy Award for Best Song|Academy Award]] in March 2001.{{cite web| url = http://www.popculturemadness.com/Trivia/Oscars/Top-2000-O.html| title = 2000 Oscars - Winners and Nominees| accessdate = 2010-05-01| publisher = pcm.com}} The Oscar (by some reports a facsimile) tours with him, presiding over shows perched atop an amplifier.{{cite web | url = http://dir.salon.com/story/books/review/2004/10/08/dylan/index.html?pn=1 | title = Dylan Tours Australia with Oscar | author = Cashmere, Paul | date = August 20, 2007 | accessdate = September 11, 2008 | publisher = Undercover.com.au}} ''[["Love and Theft"]]'' was released on September 11, 2001. Recorded with his touring band, Dylan produced the album himself under the [[pseudonym]] Jack Frost.Gray, ''The Bob Dylan Encyclopedia'', pp. 556–557. The album was critically well-received and earned nominations for several Grammy awards.{{cite web | url = http://www.metacritic.com/music/artists/dylanbob/loveandtheft?q=Bob%20Dylan | title = ''Love and Theft'' | publisher = MetaCritic.com| accessdate = September 7, 2008}} Critics noted that Dylan was widening his musical palette to include [[rockabilly]], Western swing, jazz, and even lounge ballads.{{cite news | url = http://www.ew.com/ew/article/0,,173933~4~~lovetheft,00.html | title = ''Love and Theft''| accessdate = September 7, 2008 | publisher = ''Entertainment Weekly''| date = October 1, 2001}} 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";{{cite web| url = http://query.nytimes.com/gst/fullpage.html?res=9D04E3DF153FF937A15754C0A9659C8B63 | title = Times They Are Surreal in Bob Dylan Tale| author = A. O. Scott| date = July 24, 2003| accessdate = October 4, 2008| publisher = The New York Times}}{{cite web | url = http://www.variety.com/index.asp?layout=review&reviewid=VE1117919861&categoryid=31&cs=1 | title = ''Masked and Anonymous'' | author = Todd McCarthy | date = February 2, 2003 | accessdate = October 4, 2008 | publisher = Variety.com}} a few treated it as a serious work of art.{{cite web | title = ''Masked & Anonymous'' | publisher = The New Yorker | date = July 24, 2003 | url = http://www.newyorker.com/arts/reviews/film/masked_and_anonymous_charles | accessdate = February 1, 2007 }}{{cite web | last = Motion | first= Andrew | title = ''Masked and Anonymous'' | publisher = Sony Classics | url = http://www.sonyclassics.com/masked/andrew-motion-essay.html | accessdate = September 7, 2008 }} [[File:Bob Dylan Bologna Nov 05 concert.jpg|thumb|240px|Performing in [[Bologna]], November 2005]]In October 2004, Dylan published the first part of his autobiography, ''[[Chronicles: Volume One]]''. The book confounded expectations.{{cite web | url = http://www.nytimes.com/2004/10/05/books/05masl.html?ex=1154664000&en=4ff016533525f29f&ei=5070 | title = So You Thought You Knew Dylan? Hah!| accessdate = September 7, 2008| last = Maslin| first= Janet| date = October 5, 2004 | publisher = ''The New York Times''| pages = 2}} 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]].Gray, ''The Bob Dylan Encyclopedia'', pp. 136–138. [[Martin Scorsese]]'s acclaimed film biography ''[[No Direction Home]]'' was broadcast in September 2005.{{cite web | url = http://www.metacritic.com/tv/shows/nodirectionhomebobdylan| title = Reviews of ''No Direction Home''| date = October 31, 2005| accessdate = October 13, 2008 | publisher = Metacritic.com }} It was shown on September 26–27, 2005, on [[BBC Two]] in the UK and [[PBS]] in the US.{{cite web| url = http://www.pbs.org/wnet/americanmasters/episodes/bob-dylan/about-the-film/574/ | title = ''No Direction Home'': Bob Dylan A Martin Scorsese Picture| publisher = PBS| accessdate = November 6, 2009}} 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{{cite web | url = http://www.peabody.uga.edu/winners/PeabodyWinnersBook.pdf | format=PDF | title = George Foster Peabody Award Winners| year = 2006 | accessdate = September 7, 2008 | publisher = Peabody}} and a Columbia-duPont Award in January 2007.{{cite web | url = http://www.journalism.columbia.edu/cs/ContentServer/jrn/1175295299814/page/1175295299796/simplepage.htm | title = Past duPont Award Winners| year = 2007| accessdate = September 7, 2008| publisher = The Journalism School, Columbia University}} The [[The Bootleg Series Vol. 7: No Direction Home: The Soundtrack|accompanying soundtrack]] featured unreleased songs from Dylan's early career. ====''Modern Times'' (2006–08)==== [[File:Dylan2 Spectrum.jpg|thumb|300px|left|Dylan, the Spectrum, 2007]] May 3, 2006, was the premiere of Dylan's [[disc jockey|DJ]] career, hosting a weekly radio program, ''[[Theme Time Radio Hour]]'', for [[XM Satellite Radio]], with song selections revolving around a chosen theme.{{cite news| url = http://www.xmradio.com/bobdylan/ | title = XM Theme Time Radio Hour | accessdate = September 7, 2008| publisher = XM Satellite Radio}}{{cite news | url = http://www.notdarkyet.org/themetime.html| title = Theme Time Radio playlists | accessdate = September 7, 2008 | publisher = Not Dark Yet}} Dylan played classic and obscure records from the 1930s to the present day, including contemporary artists as diverse as [[Blur (band)|Blur]], [[Prince (musician)|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.{{cite news | url = http://www.guardian.co.uk/media/2006/dec/31/observerreview.radio | title = The Great Sound of Radio Bob | author = Sawyer, Miranda| accessdate = September 7, 2008| work = [[The Observer]]| date = December 31, 2006 | location=London}}{{cite news | url = http://newcritics.com/blog1/2007/02/16/bob-dylan-spinnin-those-cool-records/ | title = Dylan Spinnin' Those Coool Records | accessdate = February 18, 2007| author = Watson, Tom| publisher = New Critics| date = February 16, 2007}} In April 2009, Dylan broadcast the 100th show in his radio series; the theme was "Goodbye" and the final record played was [[Woody Guthrie|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.{{cite web| url = http://www.nydailynews.com/entertainment/tv/2009/04/20/2009-04-20_bob_dylans_theme_time_radio_hour_his_time_might_be_up.html| title = Bob Dylan’s Theme Time Radio Hour: His time might be up| author = Hinckley, David| date = April 19, 2009| accessdate = May 16, 2009| publisher = New York Daily News}} On August 29, 2006, Dylan released his ''[[Modern Times (Bob Dylan album)|Modern Times]]'' album. Despite some coarsening of Dylan’s voice (a critic for ''[[The Guardian]]'' characterised his singing on the album as "a catarrhal death rattle"{{cite news| url = http://www.guardian.co.uk/music/2006/aug/25/popandrock.shopping3 | author = Petridis, Alex| title = Bob Dylan's ''Modern Times''| accessdate = September 5, 2006| publisher = ''[[The Guardian]]''| date = August 28, 2006 | location=London}}) 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"''.{{cite news| url = http://www.metacritic.com/music/artists/dylanbob/moderntimes | title = ''Modern Times''| accessdate = September 7, 2008| publisher = [[Metacritic]]}} ''Modern Times'' entered the U.S. charts at number one, making it Dylan's first album to reach that position since 1976's ''Desire''.{{cite web | url = http://www.nme.com/news/bob-dylan/24234| title = Dylan gets first US number one for 30 years| date = September 7, 2006 | publisher = ''[[NME]]'' | accessdate = September 11, 2008}} Nominated for three [[Grammy Awards]], ''Modern Times'' won [[Grammy Award for Best Contemporary Folk Album|Best Contemporary Folk/Americana Album]] and Bob Dylan also won [[Grammy Award for Best Rock Vocal Performance, Solo|Best Solo Rock Vocal Performance]] for "Someday Baby". ''Modern Times'' was named Album of the Year, 2006, by ''Rolling Stone'' magazine,{{cite web |title=Rolling Stone Albums of the Year 2006|url=http://www.rocklistmusic.co.uk/rolling.htm#2006 |publisher=Rock List Music |accessdate=October 16, 2009}} and by ''[[Uncut (magazine)|Uncut]]'' in the UK.{{cite news| url = http://www.uncut.co.uk/music/uncut/news/9182| title = ''Modern Times'', Album of the Year, 2006| publisher = ''[[Uncut (magazine)|Uncut]]''| date = December 16, 2006| accessdate = September 11, 2008}} 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.{{cite web| url = http://www.usatoday.com/life/lifestyle/holiday/2006-11-30-box-set-downloads_x.htm | title = Get The Box Set with 'One Push of a Button'| author = Gundersen, Edna| date = December 1, 2006| accessdate = September 25, 2008| publisher = USA Today}} In August 2007, the award-winning film biography of Dylan ''[[I'm Not There]]'', written and directed by [[Todd Haynes]], was released—bearing the tagline "inspired by the music and many lives of Bob Dylan".{{cite news | url = http://news.bbc.co.uk/1/hi/entertainment/6985422.stm | title = Blanchett wins top Venice Award | date = September 9, 2007 | accessdate = September 12, 2008 | publisher = BBC News}}{{cite web | url = http://www.variety.com/review/VE1117934602.html?categoryid=31&cs=1&p=0| title = ''I'm Not There''| author = Todd McCarthy | date = September 4, 2007| accessdate = September 10, 2009| publisher = ''[[Variety (magazine)|Variety]]''}} 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]].{{cite web | url = http://movies.nytimes.com/2007/11/21/movies/21ther.html?ref=movies | title = ''I'm Not There'' | author = A. O. Scott | date = November 7, 2007 | accessdate = September 10, 2009 | publisher = ''The New York Times''}} Dylan's previously unreleased 1967 recording from which the film takes its nameGreil 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 â€“ 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. was released for the first time on the film's [[I'm Not There (soundtrack)|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]], [[Karen O]] [[Willie Nelson]], [[Cat Power]], [[Richie Havens]], and [[Tom Verlaine]].{{cite news | url = http://www.uncut.co.uk/blog/index.php?blog=6&title=bob_dylan_covered_by_vedder_sonic_youth_&more=1&c=1&tb=1&pb=1 | title = Dylan covered by... very long list. | publisher = ''[[Uncut (magazine)|Uncut]]'' | date = October 1, 2007 | accessdate = September 16, 2008}} [[File:Bob Dylan in Toronto.jpg|thumb|left|240px|Bob Dylan performs at Air Canada Centre, Toronto, November 7, 2006]] On October 1, 2007, [[Columbia Records]] released the triple CD retrospective album ''[[Dylan (2007 album)|Dylan]]'', anthologising his entire career under the ''Dylan 07'' logo.{{cite news| url = http://www.dylan07.com/| title = ''Dylan 07''| accessdate = September 7, 2008 | publisher = Sony BMG Music Entertainment| date = August 1, 2007}} 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.{{cite web | url = http://www.independent.co.uk/news/people/mark-ronson-born-entertainer-398023.html | title = Mark Ronson: Born Entertainer| author = Walker, Tim| date = October 27, 2007| accessdate = September 7, 2008 | publisher = ''[[The Independent]]'' | location=London}} 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{{cite web | url = http://www.slate.com/id/2098635/| title = What's Bob Dylan Doing In A Victoria's Secret Ad? | publisher = ''[[Slate (magazine)|Slate]]''| date = April 12, 2004| accessdate = September 16, 2008}}. Three years later, in October 2007, he participated in a multi-media campaign for the 2008 [[Cadillac Escalade]].{{cite web | url = http://www.xmradio.com/dylan-cadillac/index.xmc| title = Dylan, Cadillac| publisher = XM Radio| date = October 22, 2007| accessdate = September 16, 2008}}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". 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]].{{cite web| url = http://www.guardian.co.uk/music/2009/jan/30/bob-dylan-pepsi-advertisement-superbowl| title = Bob Dylan to appear with Will.I.Am in Pepsi advertisement| author = Michaels, Sean| date = 2009-01-30| accessdate = 2010-05-02| publisher = The Guardian}} 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.{{cite web | last=Kissel | first=Rick | title=Super Bowl ratings hit new high | work=Variety| date=February 3, 2009 | url=http://www.variety.com/article/VR1117999515.html?categoryId=1275&cs=1 | accessdate=February 3, 2009}} 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 (Bob Dylan album)|Modern Times]]'', as well as soundtrack contributions and collaborations with [[David Bromberg]] and [[Ralph Stanley]].{{cite web| url = http://www.usatoday.com/life/music/news/2008-07-28-dylan-telltale-signs_N.htm | title = Dylan Reveals Many Facets on 'Tell Tale Signs'| author = Gundersen, Edna| date = July 29, 2008 | publisher = ''[[USA Today]]''}} 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.{{cite web | url = http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4859960.ece | title = Tell Tale Signs| author = Cairns, Dan | date = October 5, 2008| accessdate = October 6, 2008| publisher = ''The Sunday Times'' | location=London}}[[Michael Gray (author)|Michael Gray]] expressed his opinion in his ''Bob Dylan Encyclopedia blog'' {{cite web | url = http://bobdylanencyclopedia.blogspot.com/2008/08/tell-tale-signs-pt-3-money-doesnt-talk.html |title = Tell Tale Signs Pt. 3, Money Doesn't Talk... | date = August 14, 2008 | accessdate = September 6, 2008 | publisher = Bob Dylan Encyclopedia blog }} The release was widely acclaimed by critics.{{cite web| url = http://www.metacritic.com/music/artists/dylanbob/telltalesigns?q=Bob%20Dylan| title = Reviews of ''Tell Tale Signs''| accessdate = October 26, 2008| publisher = Metacritic.com}} The plethora of alternative takes and unreleased material suggested to ''[[Uncut (magazine)|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."{{cite web | url = http://www.uncut.co.uk/music/bob_dylan/reviews/12229| title = Album Review: Bob Dylan â€” The Bootleg Series. Vol. 8| author = Jones, Allan| date = September 30, 2008| accessdate = October 26, 2008 | publisher = ''[[Uncut (magazine)|Uncut]]''}} ====''Together Through Life'', ''Christmas in the Heart'' and 2010 releases==== Bob Dylan released his album ''[[Together Through Life]]'' on April 28, 2009. 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". Nine of the ten songs on the album are credited as co-written by Bob Dylan and [[Robert Hunter (lyricist)|Robert Hunter]].{{cite web | url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jxfyxze0ldte | title = Together Through Life | author = Erlewine, Stephen Thomas | accessdate = 2010-05-01 | publisher = allmusic }} The album received largely favourable reviews,{{cite web | url = http://www.metacritic.com/music/artists/dylanbob/togetherthroughlife| title = Together Through Life | date = April 29, 2009| accessdate = April 29, 2009| publisher = Metacritic}} although several critics described it as a minor addition to Dylan's canon of work. 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."{{cite web| url = http://www.independent.co.uk/arts-entertainment/music/reviews/album-bob-dylan-together-through-life-columbia-1673287.html| title = Bob Dylan's Together Through Life| author = Gill, Andy| date = April 24, 2009| accessdate = April 28, 2009| publisher = Salon.com | location=London}} In its first week of release, the album reached number one in the [[Billboard 200]] chart in the U.S.,{{cite web| url = http://www.billboard.com/bbcom/news/bob-dylan-bows-atop-billboard-200-1003969664.story| title = Bob Dylan Bows Atop Billboard 200| author = Caulfield, Keith| date = May 6, 2009| accessdate = May 7, 2009| publisher = Billboard}} making Bob Dylan (67 years of age) the oldest artist to ever debut at number one on that chart. It also reached number one on the [[UK album chart]], 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.{{cite news| url =http://news.bbc.co.uk/1/hi/entertainment/8031636.stm| title = Dylan is in chart seventh heaven| date = May 3, 2009| accessdate = May 3, 2009| publisher = BBC News}} 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]]".{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0cfixztald0e | title = Christmas In The Heart| author = Erlewine, Stephen Thomas | accessdate = 2010-05-01| publisher = allmusic}} Dylan's royalties from the sale of this album will benefit the charities [[Feeding America]] in the USA, [[Crisis (charity)|Crisis]] in the UK, and the [[World Food Programme]].{{cite web| url = http://www.fundraising.co.uk/news/2009/12/14/cafamerica-distribute-royalities-bob-dylan039s-christmas-album-crisis| title = CAFAmerica to distribute royalities from Bob Dylan's Christmas album to Crisis| date = December 14, 2009| accessdate = December 19, 2009| publisher = UK Fundraising}} The album received generally favourable reviews.{{cite web | url = http://www.metacritic.com/music/artists/dylanbob/christmasintheheart | title = Christmas In the Heart | date = October 16, 2009 | accessdate = October 16, 2009 | publisher = Metacritic}}''[[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."{{cite web| url = http://www.newyorker.com/online/blogs/goingson/2009/09/a-hard-reindeers-a-gonna-fall.html| title = A Hard Reindeer’s A-Gonna Fall| date = September 21, 2009| accessdate = October 13, 2009| publisher = The New Yorker}} 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".{{cite web| url = http://www.usatoday.com/life/music/reviews/2009-10-12-dylan-christmas-album_N.htm| title = Bob Dylan takes the Christmas spirit to 'Heart' | author = Gundersen, Edna| date = October 13, 2009| accessdate = October 13, 2009| publisher = USA Today}} In an interview published by [[Street News Service]], journalist Bill Flanagan asked Dylan why he had performed the songs in a straightforward style, and Dylan responded: "There wasn’t any other way to play it. These songs are part of my life, just like folk songs. You have to play them straight too."{{cite web| url = http://streetnewspapers.wordpress.com/2009/11/23/sns-exclusive-bob-dylan-interview/| title = Exclusive Bob Dylan Interview| author = Flanagan, Bill| date = November 23, 2009| accessdate = June 8, 2010| publisher = North America Street Newspaper Assciation}} In August 2010, ''[[Variety (magazine)|Variety]]'' reported that [[Legacy Recordings|Sony Legacy]] would release on October 19, ''Bob Dylan: The Original Mono Recordings''. This box set will be the first time that Dylan’s eight earliest albums, from ''Bob Dylan'' (1962) to ''John Wesley Harding'' (1967), have been released in their original mono mix in the CD format. The albums will also be released on vinyl.{{cite web| url = http://www.varietysoundcheck.com/2010/08/dylan-albums-in-mono-due-oct-19.html | title = Dylan albums in mono due Oct. 19| author = Morris, Christopher | date = 2010-08-03| accessdate = 2010-08-04| publisher = Variety Sound Check music news}} The albums will be accompanied by new liner notes by Dylan critic [[Greil Marcus]]. ''[[Rolling Stone]]'' reported that, also in October, Dylan will release Volume 9 of his Bootleg Series; this will comprise 47 studio versions of songs recorded from 1962 to 1964, and known to Dylan collectors as the [[M. Witmark & Sons|Witmark]] Demos and the Leeds Demos, after the music publishing companies for whom Dylan made these [[Demo (music)|demo recordings]].{{cite web| url = http://www.rollingstone.com/music/news/17386/185479| title = Bob Dylan's 'Bootleg Series Vol. 9' Due in October| date = 2010-07-28| accessdate = 2010-08-04| publisher = Rolling Stone}} ==Painter== 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.{{cite news | url = http://www.independent.co.uk/arts-entertainment/music/news/dylans-drawings-to-go-on-display--alongside-picassos-460955.html| author = Macintyre, James| title = Dylan's drawings to go on display—alongside Picasso's| publisher = ''[[The Independent]]''| date = August 10, 2007| accessdate = September 16, 2008 | location=London}} This first public exhibition of Dylan's paintings showcased more than 200 watercolors and [[gouache]]s 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.{{cite web | url = http://www.kohlibri.de/xtcommerce/product_info.php/info/p1555_Bob-Dylan--The-Drawn-Blank-Series--Exhibition-catalogue.html | title = The Drawn Blank Series | publisher = Prestel Verlag | date = October 31, 2007 | accessdate = September 16, 2008}}{{cite web | url = http://www.nytimes.com/2008/06/01/books/review/Pessl-t.html?ref=review | last = Pessl | first = Marsha | title = When I Paint My Masterpiece | publisher = [[The New York Times Book Review]] | date = June 1, 2008 | accessdate = April 23, 2009}} In 2010 Dylan's acrylic paintings are shown in an exhibition in [[Statens Museum for Kunst]], the National Gallery of Denmark, until early 2011.[http://www.independent.co.uk/arts-entertainment/art/news/bob-dylan-paintings-at-danish-national-gallery-2068935.html Independent.co] ==Never Ending Tour== {{Main|Never Ending Tour}} [[File:Bibdylan.JPG|thumb|right|280px|Bob Dylan (right on keyboards) at the [[Roskilde Festival]], 2006]] The Never Ending Tour commenced on June 7, 1988,Heylin, ''Bob Dylan: A Life In Stolen Moments'', p. 297. 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.Muir, ''Razor's Edge'', pp. 7–10. By the end of 2009, Dylan and his band had played more than 2200 shows,{{cite web | url = http://www.bjorner.com/DSN31540%20-%202009%20US%20Fall%20Tour.htm#DSN31860| title = Bjorner's Still On The Road: New York; November 19, 2009| date = January 29, 2010| accessdate = May 8, 2010 | publisher = bjorner.com}} anchored by long-time bassist [[Tony Garnier (musician)|Tony Garnier]], multi-instrumentalist [[Larry Campbell (musician)|Larry Campbell]], and filled out with talented sidemen. To the dismay of some of his audience,[[Mark Ellen]] argues with [[Andy Kershaw]] about the merits of Dylan's live performances from mid-2000s, first broadcast on [[Radio Four|BBC Radio Four]], December 5, 2005, reproduced: {{cite web | url = http://www.wordmagazine.co.uk/content/1037-dylan-argument-full| title = That Dylan Argument In Full| accessdate = September 7, 2008| publisher = ''[[The Word (magazine)|The Word]]''}} Dylan's performances remain unpredictable as he alters his arrangements and changes his vocal approach night after night.Muir, ''Razor's Edge'', pp. 187–197. Critical opinion about Dylan’s shows remains divided. Critics such as [[Richard Williams (journalist)|Richard Williams]] and Andy Gill have argued that Dylan has found a successful way to present his rich legacy of material.{{cite web| url = http://www.guardian.co.uk/music/2009/apr/28/bob-dylan-review| title = Bob Dylan at Roundhouse, London| author = Williams, Richard| date = April 28, 2009| accessdate = May 2, 2009| publisher = ''[[The Guardian]]''}}{{cite web| url = http://www.independent.co.uk/arts-entertainment/music/reviews/bob-dylan-o2-arena-london-1674751.html| title = Dylan's times ain't a-changin'| author = Gill, Andy| date = April 27, 2009| accessdate = May 2, 2009| publisher = ''[[The Independent]]'' | location=London}} 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",{{cite web | url = http://www.telegraph.co.uk/culture/music/bob-dylan/5229391/Bob-Dylan-The-Roundhouse.html| title = Bob Dylan - live review| author = McCormick, Neil| date = April 27, 2009| accessdate = May 2, 2009 | publisher = The Telegraph | location=London}} and his lack of interest in bonding with his audience.{{cite web| url = http://www.wordmagazine.co.uk/content/my-night-roundhouse-with-bob-dylan| title = My night at the Roundhouse with Bob Dylan| author = Lewry, Fraser| date = April 27, 2009| accessdate = May 2, 2009 | publisher = ''[[The Word (magazine)|The Word]]''}} Dylan commenced his 2010 tour by playing concerts in Japan and South Korea. He followed this with a set of shows in Europe from May to July, starting in [[Athens]] and ending in [[Limerick]], Ireland. Dylan's website has announced a tour of the US in August and September.{{cite web| url = http://www.bobdylan.com/#/tour| title = 2010 Tour Schedule| date = June 25, 2010| accessdate = June 25, 2010| publisher = bobdylan.com}} ==Personal life== ===Family=== Dylan married [[Sara Dylan|Sara Lownds]] on November 22, 1965. Their first child, [[Jesse Dylan|Jesse Byron Dylan]], was born on January 6, 1966, and they had three more children: Anna Lea, Samuel Isaac Abraham, and [[Jakob Dylan|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 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.Gray, ''The Bob Dylan Encyclopedia'', pp. 198–200. In June 1986, Dylan married his longtime backup singer [[Carolyn Dennis]] (often professionally known as Carol Dennis).Sounes, ''Down The Highway: The Life Of Bob Dylan'', pp. 372–373. 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.{{cite news | url = http://newsvote.bbc.co.uk/1/hi/entertainment/music/1273409.stm| title = Dylan's Secret Marriage Uncovered| accessdate = September 7, 2008| publisher = BBC News| date = April 12, 2001}} Dylan now lives in [[Malibu, California]], when not on the road.{{cite news|last=Adams|first=Guy|title=How did Bob Dylan upset his neighbours? (The answer is blowin' in the wind)|url=http://www.independent.co.uk/news/world/americas/how-did-bob-dylan-upset-his-neighbours-the-answer-is-blowin-in-the-wind-1647347.html|accessdate=14 July 2010|newspaper=[[The Independent]]|date=18 March 2009}} ===Religious beliefs=== [[File:Bob Dylan 1984.jpg|thumb|230px|right|Dylan touring in [[The Netherlands]], in 1984]] Growing up in [[Hibbing, Minnesota]], Dylan and his parents were part of the area's small but close-knit Jewish community, and in May 1954 Dylan had his [[Bar and Bat Mitzvah|Bar Mitzvah]].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. However, for a period during the late 1970s and early 1980s, Bob Dylan publicly converted to Christianity. From January to April 1979, Dylan participated in Bible study classes at the [[Association of Vineyard Churches|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."Heylin, ''Bob Dylan: Behind the Shades Revisited'', p. 494.Gray, ''The Bob Dylan Encyclopedia'', pp. 76–80. By 1984, Dylan was deliberately distancing himself from the "[[Born again (Christianity)|born-again]]" label. He told [[Kurt Loder]] of ''Rolling Stone'' magazine: "I've never said I'm [[Born again (Christianity)|born again]]. That's just a media term. I don't think I've been an [[agnosticism|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." In response to Loder's asking whether he belonged to any Church or synagogue, Dylan laughingly replied, "Not really. Uh, the Church of the Poison Mind."''Rolling Stone'', June 21, 1984, reprinted in Cott (ed.), ''Dylan on Dylan: The Essential Interviews'', p. 288. Since his trilogy of Christian albums, Dylan's faith has been a subject of scrutiny. In 1997 he told [[David Gates (author)|David Gates]] of ''[[Newsweek]]'': {{blockquote|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 (Hank Williams song)|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.}} 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."{{cite news|url=http://www.nytimes.com/1997/09/28/arts/pop-jazz-a-wiser-voice-blowin-in-the-autumn-wind.html?pagewanted=all|title=A Wiser Voice Blowin' In the Autumn Wind|first=Jon|last=Pareles|publisher=[[The New York Times]]|date=September 28, 1997|accessdate=May 12, 2010}} Reprinted in Cott, ''Dylan on Dylan: The Essential Interviews'', pp. 391–396. Dylan has been described, in the last 20 years, as a supporter of the [[Chabad Lubavitch]] movementFishkoff, ''The Rebbe's Army: Inside the World of Chabad-Lubavitch'', p. 167. and has privately participated in Jewish religious events, including the [[bar mitzvah]]s of his sons and attending [[Hadar Hatorah]] a [[Chabad Lubavitch]] [[Yeshiva]]. Subsequently, Jewish news services have reported that Dylan has "shown up" a few times at various [[High Holy Days]] for services at various [[Chabad|Chabad synagogues]].{{cite news | first=News Service | last=Shmais | title = Bob Dylan @ Yom Kippur davening with Chabad in Long Island | publisher = Shmais News Service | date = October 13, 2005 | url = http://www.shmais.com/pages.cfm?page=archivenewsdetail&ID=24447| accessdate = September 11, 2008}} 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 [[Torah_reading#Aliyot|aliyah]].{{cite news | first=Arutz| last=Sheva | title = Day of Atonement Draws Dylan to the Torah | publisher = Arutz Sheva—Israel National News | date = September 24, 2007 | url = http://www.israelnationalnews.com/News/Flash.aspx/133709| accessdate = September 11, 2008}} 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."{{cite web | url = http://www.cbsnews.com/stories/2004/12/02/60minutes/main658799.shtml%20" | title = Dylan Looks Back | author = Leung, Rebecca | date = June 12, 2005 | accessdate = February 25, 2009 | publisher = CBS News }} In a 2009 interview with Bill Flanagan promoting his Christmas LP, ''[[Christmas in the Heart]]'', Flanagan commented on the "heroic performance" Dylan gave of "[[O Little Town of Bethlehem]]" and that Dylan "delivered the song like a true believer". Dylan replied: "Well, I am a true believer." {{cite web | url = http://www.bigissuescotland.com/features/view/187" | title = Bob Dylan: The Inteview | author = Flanagan, Bill (interviewer) | date = November 27th, 2009 | accessdate = November 27th, 2009 | publisher = Big Issue Scotland }} ==Legacy== Bob Dylan is 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".{{cite web| url = http://www.time.com/time/time100/artists/profile/dylan.html| title = The Time 100: Bob Dylan| author = Cocks, Jay| date = June 14, 1999| accessdate = October 5, 2008| publisher = ''Time''}} [[Howard Sounes]], the biographer of Bob Dylan, placed him among the most 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."{{cite web | url = http://news.bbc.co.uk/2/hi/uk_news/magazine/4274190.stm | title = Bob Dylan—why the fuss? | date = September 23, 2005 | accessdate = October 5, 2008 | last = Duffy | first = Jonathan | publisher = BBC}} Initially modelling his style on the songs of [[Woody Guthrie]],Dylan, ''Chronicles, Volume One'', pp. 243–246. and lessons learnt from the blues of [[Robert Johnson (musician)|Robert Johnson]],Dylan, ''Chronicles, Volume One'', pp. 281–288. Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 60s, infusing it "with the intellectualism of classic literature and poetry".{{cite web | url = http://www.britannica.com/EBchecked/topic/175077/Bob-Dylan | title = Bob Dylan | accessdate = October 5, 2008 | publisher = [[Britannica]] Online}} [[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."Fong-Torres, ''The Rolling Stone Interviews, Vol. 2'', p. 424. Reproduced online:{{cite web| url = http://www.bobdylanroots.com/simon.html| title = ''Rolling Stone'' interview (1972) | date = June 6, 1972| accessdate = September 8, 2009| publisher = Bob Dylan Roots}} 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 poetry|symbolist]], [[Modernist poetry in English|modernist]] and [[Beat poetry]], [[surrealism]] and [[Dada]], advertising jargon and social commentary, [[Federico Fellini|Fellini]] and [[Mad magazine|''Mad'' magazine]], he forged a coherent and original artistic voice and vision. The beauty of these albums retains the power to shock and console."Marqusee, ''Wicked Messenger'', p. 139. One legacy of Dylan’s verbal sophistication was the increasing attention paid by literary critics to his lyrics. [[Christopher Ricks|Professor Christopher Ricks]] published a 500 page analysis of Dylan’s work, placing him in the context of [[T. S. Eliot|Eliot]], [[John Keats|Keats]] and [[Alfred Tennyson|Tennyson]],{{cite book|first=Christopher|last=Ricks|title=Dylan's Visions of Sin|publisher=Penguin/Viking|year=2003|isbn=0-670-80133-X}} and claiming that Dylan was a poet worthy of the same close and painstaking analysis.{{cite web | url = http://www.guardian.co.uk/education/2004/jul/13/academicexperts.highereducationprofile | title = Ricks profile: Someone's gotta hold of his art | author = MacLeod, Donald | date = July 13, 2004 | accessdate = September 7, 2008 | publisher = The Guardian | location=London}} Former British [[poet laureate]], [[Andrew Motion]], argued that Bob Dylan’s lyrics should be studied in schools.{{cite web | url = http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/poetry/article2503109.ece| title = Andrew Motion explains why Bob Dylan's lyrics should be studied in schools | author = Motion, Andrew| date = September 22, 2007| accessdate = October 10, 2008| publisher = ''The Times'' | location=London}} Since 1996, academics have lobbied the [[Swedish Academy]] to award Dylan the [[Nobel Prize in Literature]].{{cite web| url = http://www.expectingrain.com/dok/art/nobel/nobelpress.html | title = Finally and Formally Launched as a Candidate for the Nobel Prize for Literature, 1997 |accessdate=September 7, 2008| publisher = expectingrain.com | date = May 24, 2002 }}{{cite web |last=Ball|first=Gordon| url = http://journal.oraltradition.org/files/articles/22i/Ball.pdf |format=PDF| title = Dylan and the Nobel| accessdate = September 7, 2008 | publisher = ''[[Oral Tradition Journal|Oral Tradition]]'' | date = March 7, 2007 }}{{cite web| url = http://www.cbsnews.com/stories/2004/10/06/entertainment/main647862.shtml | title = Dylan's Words Strike Nobel Debate | accessdate = September 7, 2008 | publisher = CBS News | date = October 6, 2004 }}{{cite web| url = http://www.monstersandcritics.com/people/features/article_1502239.php/Clamour-grows-for-singer-Bob-Dylan-to-be-awarded-Nobel-Feature| title = Clamour grows for Dylan to be awarded Nobel prize| author = Borchert, Thomas| date = September 21, 2009| accessdate = September 21, 2009| publisher = Monsters & Critics}} Dylan’s voice was, in some ways, as startling as his lyrics. New York Times critic [[Robert Shelton (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|Dave Van Ronk's]]."Shelton, ''No Direction Home'', pp. 108–111. [[David Bowie]], in his tribute, "[[Song for Bob Dylan]]", described Dylan's singing as "a voice of sand and glue". Dylan's voice continued to develop as he began to work with rock'n'roll backing bands; critic Michael Gray described the sound of Dylan's vocal on his hit single, "Like a Rolling Stone", as "at once young and jeeringly cynical".Gray, 2006, ''The Bob Dylan Encyclopedia'', p. 413. As Dylan's voice aged during the 1980s, for some critics, it became more expressive. Christophe Lebold writes in the journal ''[[Oral Tradition Journal|Oral Tradition]]'', "Dylan’s more recent broken voice enables him to present a world view at the sonic surface of the songs—this voice carries us across the landscape of a broken, fallen world. The anatomy of a broken world in "Everything is Broken" (on the album ''[[Oh Mercy]]'') is but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality."{{cite web | url = http://journal.oraltradition.org/issues/22i/lebold| title = "A Face like a Mask and a Voice that Croaks: An Integrated Poetics of Bob Dylan’s Voice, Personae, and Lyrics" | author = Lebold, Christophe| date = 2007-03-01| accessdate = 2010-05-03| publisher = ''Oral Tradition''}} 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."{{cite web | url = http://www.usatoday.com/life/music/2001-05-18-35-years-of-dylan.htm#more | title = Forever Dylan | date = May 17, 2001 | accessdate = October 5, 2008 | last = Gundersen | first = Edna | publisher = ''USA Today''}} 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."{{cite news| url = http://news.bbc.co.uk/1/hi/talking_point/1349116.stm| title = Bob Dylan: His Legacy to Music| date = May 29, 2001| accessdate = October 5, 2008| publisher = BBC News}} Other major musicians to have acknowledged Dylan's importance include [[John Lennon]],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. [[Paul McCartney]],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.' "{{cite web | url = http://www.avclub.com/content/interview/paul_mccartney/2 | title = Paul McCartney interview| author = Siegel, Robert| date = June 27, 2007| accessdate = October 13, 2008| publisher = A.V. Club}} [[Neil Young]],"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 :{{cite web| url = http://www.time.com/time/arts/article/0,8599,1110988,00.html| title = Resurrection of Neil Young| author = Tyrangiel, Josh| date = September 28, 2005| accessdate = September 15, 2008| publisher = Time}}{{cite web| url = http://www.thrasherswheat.org/jammin/dylan.htm| title = Bob Dylan & Neil Young| accessdate = September 7, 2008| publisher = Thrasher's Wheat â€” A Neil Young Archive}} [[Bruce Springsteen]], [[David Bowie]],[[Song for Bob Dylan]] on the album ''[[Hunky Dory]]'', David Bowie, 1971 [[Bryan Ferry]],In 2007, Ferry released an album of his versions of Dylan songs, ''[[Dylanesque (album)|Dylanesque]]'' [[Nick Cave]],''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 (magazine)|Mojo]]'', January 1997{{cite web| url = http://home.iae.nl/users/maes/cave/vs/dylan.html| title = Nick Cave and Bob Dylan| author = Maes, Maurice| date = December 31, 2001| accessdate = September 15, 2008 | publisher = Nick Cave Colector's Hell}} [[Patti Smith]],''[[Time Out (magazine)|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 or The Who wasn’t marketing, to get rich, or be a celebrity."{{cite web| url = http://www.timeout.com/london/music/features/2920.html | title = Patti Smith: interview| date = May 16, 2007| accessdate = September 8, 2008| publisher = ''[[Time Out (magazine)|Time Out]]''}} [[Syd Barrett]],{{cite web| url = http://www.pink-floyd.org/barrett/sydlyrics.html#misc| title = Bob Dylan Blues| author = Barrett, Syd| accessdate = 2010-05-04| publisher = pink floyd.org}} [[Cat Stevens]]{{cite news|url=http://www.yusufislam.com/lifeline/5/732059b53c9209c0cc0b34c7549ce4a2|title=Yusuf Islam Lifeline 1964|last=Islam|first=Yusuf|coauthors=Cat Stevens|year=2008|publisher=Official Website|accessdate=December 13, 2008}}, and [[Tom Waits]].{{cite news | url= http://www.guardian.co.uk/music/2005/mar/20/popandrock1 | title= Tom Waits on his cherished albums of all time | accessdate= January 8, 2007 | work=[[Observer Music Monthly]] | location=London | date=March 22, 2005}} 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."Cohn, ''Awopbopaloobop Alopbamboom'', pp. 164–165. 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."{{cite web | url = http://www.theaustralian.news.com.au/story/0,25197,24246783-25132,00.html | title = Tangled Up In Blah | author = Marx, Jack | date = September 2, 2008 | accessdate = October 5, 2008 | publisher = ''The Australian'' }} In 2010, [[Joni Mitchell]] described Dylan as a "plagiarist" and a "fake" in an interview in the ''[[Los Angeles Times]]''.{{cite web| url = http://www.latimes.com/entertainment/news/music/la-et-jonimitchell-20100422,0,601452,full.story| title = It's a Joni Mitchell concert| author = Diehl, Matt| date = 2010-04-22| accessdate = 2010-05-02| publisher = L.A.Times}} Mitchell's comments led to discussions of Dylan's use of other people's material, both supporting and criticising Dylan.{{cite web | url = http://www.thedailybeast.com/blogs-and-stories/2010-04-30/is-bob-dylan-a-phony/full/ | title = Is Bob Dylan a Phony?| author = Wilentz, Sean| date = 2010-04-30| accessdate = 2010-05-02 | publisher = The Daily Beast}} 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 Presley|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."{{cite web | url = http://www.villagevoice.com/2007-11-13/film/like-a-complete-unknown-i-m-not-there-and-the-changing-face-of-bob-dylan-on-film/| title = Like A Complete Unknown| author = J. Hoberman| date = November 20, 2007| accessdate = October 5, 2008| publisher = ''The Village Voice''}} ==Notes== In 2010, Dylan's song "Forever Young" was featured as the theme song for the television show [[Parenthood (2010 TV series)]]. The song was placed on the [[Parenthood (television soundtrack)]] for the TV show and Lucy Schwartz recorded a cover of it for the soundtrack too. ==See also== {{Portal|Bob Dylan}} * [[Bob Dylan discography]] * [[List of Bob Dylan awards]] ==Footnotes== {{Reflist|colwidth=30em}} ==References== {{Refbegin}} * {{Cite book|first=Olof|last=Bjorner|title=Olof's Files: A Bob Dylan Performance Guide (Bob Dylan all alone on a shelf)|publisher=Hardinge Simpole|year=2002|isbn=1843820242}} * {{Cite book|first=John (ed.)|last=Bauldie|title=Wanted Man: In Search of Bob Dylan|publisher=Penguin Books|year=1992|isbn= 0140153616}} * {{Cite book|first=The|last=Beatles|title=The Beatles Anthology|publisher=Cassell & Co.|year=2000|isbn= 0304356050}} * {{Cite book|first=Nik|last=Cohn|title=Awopbopaloobop Alopbamboom|publisher=Paladin|year=1970|isbn= 0586080147}} * {{Cite book|first=Jonathan (ed.)|last=Cott |title=Dylan on Dylan: The Essential Interviews|publisher=Hodder & Stoughton|year=2006|isbn= 0340923121}} * {{Cite book|first1=Steven|last1=Daly|first2=David|last2=Kamp|title=The Rock Snob's Dictionary: An Essential Lexicon of Rockological Knowledge|publisher=Broadway Books|year=2005|isbn= 0-7679-1873-8}} * {{Cite book|first=Bob|last=Dylan|title=[[Chronicles: Volume One]]|publisher=Simon and Schuster|year=2004|isbn= 0-7432-2815-4}} * {{Cite book|first= Sue|last= Fishkoff |title= The Rebbe's Army: Inside the World of Chabad-Lubavitch|publisher= Schocken Books|year=2003|isbn= 0805211381}} * {{Cite book|first=Ben (ed.)|last=Fong-Torres |title=The Rolling Stone Interviews, Vol. 2|publisher=Warner Paperback Library|year=1973}} * {{Cite book|first=Andy|last=Gill|title=Classic Bob Dylan: My Back Pages|publisher=Carlton|year=1999|isbn= 1-85868-599-0}} * {{Cite book|first=Michael|last=Gray|title=Song & Dance Man III: The Art of Bob Dylan|publisher=Continuum International|year=2000|isbn=0-8264-5150-0}} * {{Cite book|first=Michael|last=Gray|title=The Bob Dylan Encyclopedia|publisher=Continuum International|year=2006|isbn=0-8264-6933-7}} * Hajdu, David ''Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Farina, and Richard Farina'' Farrar Straus Giroux, 2001, 328 pages. ISBN 0-374-28199-8 * {{Cite book|first=Todd|last=Harvey|title=The Formative Dylan: Transmission & Stylistic Influences, 1961–1963|publisher=The Scarecrow Press|year=2001|isbn= 0-8108-4115-0}} * {{Cite book|first=Benjamin (ed.)|last=Hedin|title=Studio A: The Bob Dylan Reader|publisher=W.W.Norton & Co.|year=2004|isbn= 0-393-32742-6}} * {{Cite book |title= This Wheel's on Fire: Levon Helm and the Story of the Band|last= Helm|first= Levon|authorlink= Levon Helm|coauthors= Stephen Davis|year= 2000|publisher= a capella|isbn= 1-55652-405-6}} * {{Cite book|first=Clinton|last=Heylin|authorlink=Clinton Heylin|title=Saved!: The Gospel Speeches of Bob Dylan |publisher=Hanuman Books|year=1990|isbn=0937815381}} * {{Cite book|first=Clinton|last=Heylin|title=Bob Dylan: A Life In Stolen Moments |publisher=Book Sales|year=1996|isbn=0711956693}} * {{Cite book|first=Clinton|last=Heylin|title=Bob Dylan: Behind the Shades Revisited|publisher=Perennial Currents|year=2003|isbn=0-06-052569-X}} * {{Cite book|first=Clinton|last=Heylin|title=Revolution In The Air: The Songs of Bob Dylan, Volume One: 1957-73 |publisher=Constable|year=2009|isbn=9781849010511}} * {{Cite book|first=C. P.|last=Lee|title=Like a Bullet of Light: The Films of Bob Dylan |publisher=Helter Skelter|year=2000|isbn=1900924064}} * {{Cite book|first=Greil|last=Marcus|title=[[Invisible Republic|The Old, Weird America: The World of Bob Dylan's Basement Tapes]]|publisher=Picador|year=2001|isbn=0-312-42043-9}} * {{Cite book|first=Mike|last=Marqusee|title=Wicked Messenger: Bob Dylan and the 1960s|publisher=Seven Stories Press|year=2005|isbn=1-58322-686-9}} * {{Cite book|first=Scott|last=Marshall|title=Restless Pilgrim: The Spiritual Journey of Bob Dylan|publisher=Relevant Books|year=2002|isbn=0-9714576-2-X}} * {{Cite book|first=Andrew|last=Muir|title=Razor's Edge: Bob Dylan & the Never Ending Tour|publisher=Helter Skelter|year=2001|isbn=1-900924-13-7}} * {{Cite book|first=Christopher|last=Ricks|title=Dylan's Visions of Sin|publisher=Penguin/Viking|year=2003|isbn=0-670-80133-X}} * {{Cite book|first=Anthony|last=Scaduto|title=Bob Dylan|publisher=Helter Skelter, 2001 reprint of 1972 original|isbn=1-900924-23-4}} * [[Robert Shelton (critic)|Robert Shelton]], ''No Direction Home'', Da Capo Press, 2003 reprint of 1986 original, 576 pages. ISBN 0-306-81287-8 * [[Sam Shepard]], ''Rolling Thunder Logbook'', Da Capo, 2004 reissue, 176 pages. ISBN 0-306-81371-8 * {{Cite book|first=Howard|last=Sounes|title=Down The Highway: The Life Of Bob Dylan|publisher=Grove Press|year=2001|isbn=0-8021-1686-8}} * {{Cite book|first=Nigel|last=Williamson|title=The Rough Guide to Bob Dylan|publisher=Rough Guides|year=2004|isbn=1843-5313-99}} {{Refend}} ==External links== {{Sister project links|wikt=no|b=no|q=Bob Dylan|s=no|commons=Bob Dylan|n=no|v=no|species=no}} {{Spoken Wikipedia|Bobdylanpart1.ogg|November 6, 2008}} * [http://www.bobdylan.com/ BobDylan.com] â€” Official web site, including lyrics and touring schedule * [http://www.expectingrain.com/ Expecting Rain] â€” Dylan news and events, updated daily * [http://www.boblinks.com/dates.html BobLinks] â€” Comprehensive log of concerts and set lists with categorized link collection *[http://michel.pomarede.pagesperso-orange.fr/CW&C/ Come Writers And Critics] lists all books, fanzines, magazines... devoted to Bob Dylan * [http://www.bjorner.com/still.htm Bjorner's Still on the Road] â€” Information on all known recording sessions and performances by Bob Dylan * [http://www.rocksourcearchive.com/dylan Rocksource Dylan] Day-by-day Dylan timeline/chronology, searchable by day, month, year, location, venue, song title, artist name and more * {{IMDB name|id=0001168|name=Bob Dylan}} {{Bob Dylan}} {{The Band}} {{Wilburys}} {{1997 Kennedy Center Honorees}} {{Normdaten|PND=118528408|LCCN=n/50/30190|VIAF=111894442}} {{Use mdy dates|date=August 2010}} {{Featured article}} {{Persondata |NAME=Dylan, Bob |ALTERNATIVE NAMES=Zimmerman, Robert Allen (birth name) |SHORT DESCRIPTION=Rock and folk musician |DATE OF BIRTH=May 24, 1941 |PLACE OF BIRTH=[[Duluth, Minnesota]] |DATE OF DEATH= |PLACE OF DEATH= }} {{DEFAULTSORT:Dylan, Bob}} [[Category:1941 births]] [[Category:1960s singers]] [[Category:1970s singers]] [[Category:1980s singers]] [[Category:1990s singers]] [[Category:2000s singers]] [[Category:2010s singers]] [[Category:Living people]] [[Category:Bob Dylan| ]] [[Category:American 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[[fr:Bob Dylan]] [[fy:Bob Dylan]] [[ga:Bob Dylan]] [[gl:Bob Dylan]] [[ko:ë°¥ 딜런]] [[hr:Bob Dylan]] [[io:Bob Dylan]] [[id:Bob Dylan]] [[ia:Bob Dylan]] [[os:Боб Дилан]] [[is:Bob Dylan]] [[it:Bob Dylan]] [[he:בוב דילן]] [[kn:ಬಾಬà³â€Œ ಡೈಲನà³â€Œ]] [[ka:ბáƒáƒ‘ დილáƒáƒœáƒ˜]] [[sw:Bob Dylan]] [[la:Robertus Zimmerman]] [[lv:Bobs Dilans]] [[lb:Bob Dylan]] [[lt:Bob Dylan]] [[li:Bob Dylan]] [[hu:Bob Dylan]] [[mk:Боб Дилан]] [[nl:Bob Dylan]] [[new:बब डिलà¥à¤¯à¤¾à¤¨]] [[ja:ボブ・ディラン]] [[no:Bob Dylan]] [[nn:Bob Dylan]] [[oc:Bob Dylan]] [[uz:Bob Dylan]] [[pl:Bob Dylan]] [[pt:Bob Dylan]] [[ro:Bob Dylan]] [[ru:Боб Дилан]] [[se:Bob Dylan]] [[sco:Bob Dylan]] [[sq:Bob Dylan]] [[scn:Bob Dylan]] [[simple:Bob Dylan]] [[sk:Bob Dylan]] [[sl:Bob Dylan]] [[sr:Боб Дилан]] [[sh:Bob Dylan]] [[fi:Bob Dylan]] [[sv:Bob Dylan]] [[tl:Bob Dylan]] [[ta:பாப௠டிலானà¯]] [[te:బాబౠడైలానà±]] [[th:บ็อบ ดิลลัน]] [[tr:Bob Dylan]] [[uk:Боб Ділан]] [[vi:Bob Dylan]] [[vls:Bob Dylan]] [[war:Bob Dylan]] [[yo:Bob Dylan]] [[zh:é²å‹ƒÂ·è¿ªä¼¦]]" ["html"]=> string(116558) "{{Infobox musical artist|Name = Bob Dylan|Img = Paparazzo_Presents_Bob_Dylan_.jpg|Img_capt = On keyboards at the New Orleans Jazz and Heritage Festival, April 28, 2006|Img_size =|Landscape =|Background = solo_singer|Birth_name = Robert Allen Zimmerman|Alias = Elston Gunnn, Zimbo,Williamson, N. The Rough Guide to Bob Dylan (1st ed, 2004), p. 7 Zimmy,Kamp, D.; Daly, S. "The Rock Snob's Dictionary" (2005), p. 148 Blind Boy Grunt, Bobby the Hobo,Williamson, N. The Rough Guide to Bob Dylan (1st ed, 2004), p. 35 Bob Landy, Robert Milkwood Thomas, Lucky Wilbury/Boo Wilbury, Sergei Petrov,Dylan co-wrote the movie Masked & Anonymous under the pseudonym Seregei Petrov. Gray, The Bob Dylan Encyclopedia, p. 453. Jack FrostDylan produced the albums "Love and Theft" and Modern Times under the pseudonym Jack Frost. Gray, The Bob Dylan Encyclopedia, p. 556.|Origin =|Genre = Rock, folk rock, folk, blues, country, gospel|Born =
    Duluth, Minnesota, U.S.|Instrument = Vocals, guitar, bass, harmonica, keyboard, piano|Occupation = Singer-songwriter|Years_active = 1959–present|Label = Columbia, Asylum|Associated_acts = The Band
    Traveling Wilburys
    Grateful Dead|URL = bobdylan.com}}

    Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter and musician. He has been a major figure in popular music for five decades. Much of his most celebrated work dates from the 1960s when he was at first an informal chronicler, and later 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 the civil rightsDylan 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. and anti-war movements. His early lyrics incorporated a variety of political, social and philosophical, as well as literary influences. They defied existing pop music conventions and appealed hugely to the then burgeoning counterculture. Initially inspired by the songs of Woody Guthrie and Robert Johnson, along with Little Richard as a high school student, Dylan has both amplified and personalized musical genres, exploring numerous distinct traditions in American song—from folk, blues and country to gospel, rock and roll, and rockabilly, to English, Scottish, and Irish folk music, embracing even jazz and swing.

    Dylan performs with guitar, keyboards, 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.

    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. 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."

    Life and career

    Origins and musical beginnings

    Robert Allen Zimmerman (Hebrew name Shabtai Zisel ben Avraham)Sounes, Down The Highway: The Life Of Bob Dylan, p. 14, gives his Hebrew name as Shabtai Zisel ben AvrahamA Chabad news service gives the variant Zushe ben Avraham, which may be a Yiddish variant was born in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota,Sounes, Down The Highway: The Life Of Bob Dylan, p. 14 and raised 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 anti-Semitic pogroms of 1905.Sounes, Down the Highway: The Life Of Bob Dylan, pp. 12–13. His mother's maternal grandparents, Benjamin and Lybba Edelstein, were Lithuanian Jews who arrived in the United States in 1902. In his autobiography Volume One, Dylan writes that his paternal grandmother's maiden name was Kyrgyz and her family originated from Istanbul.Dylan, Chronicles, Volume One, pp. 92–93.

    Dylan’s parents, Abram Zimmerman and Beatrice "Beatty" 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.Shelton, No Direction Home, pp. 38–39. He formed several bands in high school: The Shadow Blasters was short-lived, but his next, The Golden Chords, lasted longer and played covers of popular songs.Heylin, 1996, Bob Dylan: A Life In Stolen Moments, pp. 4–5. 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.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 29–37. In his 1959 school yearbook, Robert Zimmerman listed as his ambition "To follow Little Richard."Shelton, No Direction Home, pp. 39–43. The same year, using the name Elston Gunnn (sic), he performed two dates with Bobby Vee, playing piano and providing handclaps.An interview with Bobby Vee suggests the young Zimmerman may have been eccentric in spelling his early pseudonym: "[1] was in the Fargo/Moorhead area ... Bill [2] 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:{{cite web| url = http://expectingrain.com/dok/who/g/gunnnelston.html| title = Early alias for Robert Zimmerman| date = August 11, 1999| accessdate = September 11, 2008| publisher = Expecting Rain}}Sounes, Down The Highway: The Life Of Bob Dylan, pp. 41–42.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 26–27.

    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."Biograph, 1985, Liner notes & text by Cameron Crowe. 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.Shelton, No Direction Home, pp. 65–82.This is related in the documentary film No Direction Home, Director: Martin Scorsese. Broadcast: September 26, 2005, PBS & BBC Two

    During his Dinkytown days, Zimmerman began introducing himself as "Bob Dylan".Heylin, 1996, Bob Dylan: A Life In Stolen Moments, p. 7. In his autobiography, Dylan acknowledged that he had been influenced by the poetry of Dylan Thomas.Dylan, Chronicles, Volume One, pp. 78–79. Explaining his change of name in a 2004 interview, Dylan remarked: "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."

    1960s

    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.Dylan, Chronicles, Volume One, p. 98. 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 ... [3] was the true voice of the American spirit. I said to myself I was going to be Guthrie's greatest disciple."Dylan, Chronicles, Volume One, pp. 244–246. 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).Dylan, Chronicles, Volume One, pp. 250–252.

    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.Robert Shelton, New York Times, September 21, 1961, "Bob Dylan: A Distinctive Stylist" reproduced online: {{cite web| url = http://www.bobdylanroots.com/shelton.html| title = Bob Dylan: A Distinctive Stylist| author = Robert Shelton| date = September 21, 1961| accessdate = September 11, 2008| publisher = Bob Dylan Roots}} 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.{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jifpxqq5ld6e~T1| title = Carolyn Hester Biography| author = Richie Unterberger| date = October 8, 2003| accessdate = September 11, 2008| publisher = All Music}} 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.Scaduto, Bob Dylan, p. 110. Within Columbia Records, some referred to the singer as "Hammond's Folly" and suggested dropping his contract. Hammond defended Dylan vigorously. While working for Columbia, Dylan also recorded several songs under the pseudonym Blind Boy Grunt, for Broadside Magazine, a folk music magazine and record label.Shelton, No Direction Home, pp. 157–158.thumb|280px|With Baez during the civil rights "March on Washington", August 28, 1963]

    Dylan made two important career moves in August 1962. He legally changed his name to Bob 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.Gray, The Bob Dylan Encyclopedia, pp. 283–284. Dylan subsequently said of Grossman, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming." 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 115–116.

    From December 1962 to January 1963, Dylan made his first trip to the United Kingdom.Heylin, 1996, Bob Dylan: A Life In Stolen Moments, pp. 35–39. 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. At the end of the play, Dylan performed Blowin' in the Wind, one of the first major public performances of the songSounes, Howard. Down the Highway: The Life Of Bob Dylan. Doubleday 2001. p159. ISBN 0-552-99929-6. While in London, Dylan performed at several London folk clubs, including Les Cousins, The Pinder Of Wakefield, Web Guardian newspaper © Guardian News and Media Limited 2009 and Bunjies. He also learned new songs from several UK performers, including Martin Carthy.

    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.Shelton, No Direction Home, pp. 138–142. "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.Shelton, No Direction Home, p. 156.thumb|left|180px|Bob Dylan in November 1963His 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.The booklet by John Bauldie accompanying Dylan's The Bootleg Series Volumes 1–3 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. The song was widely recorded and became an international hit for Peter, Paul and Mary, setting a precedent for many other artists who had 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 101–103.     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.Ricks, Dylan's Visions of Sin, pp. 329–344.    {{Listen|filename=Bob_Dylan_-_Blowin'_in_the_Wind.ogg|title="Blowin' in the Wind"|description=Blowin' in the Wind was, according to critic Andy Gill, "the song with which Dylan's name is most inextricably linked, and safeguarded his reputation as a civil libertarian through any number of changes in style and attitude."Gill, My Back Pages, 23    |format=Ogg}}

    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,Scaduto, Bob Dylan, p. 35. 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."Mojo magazine, December 1993.

    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."Hedin (ed.), 2004, Studio A: The Bob Dylan Reader, p. 259. Reproduced online:{{cite web | url = http://www.usfca.edu/~southerr/ondylan.html| title = Dylan at 60| author = Joyce Carol Oates| date = May 24, 2001| accessdate = September 29, 2008| publisher = University of San Francisco}} 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.Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 136–138. 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.Joan Baez entry, Gray, The Bob Dylan Encyclopedia, pp. 28–31.

    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, The Association, 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."

    "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."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)

    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 Paranoid Blues", was potentially libelous to the John Birch Society. Rather than comply with the censorship, Dylan refused to appear on the program.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.{{Listen
    |filename   = Bob_Dylan_-_The_Times_They_Are_a-Changin'.ogg
|title      = "The Times They Are a-Changin'"
|description= Dylan said of "The Times They Are a-Changin'": "This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time."
|format     = [[Ogg]]}}


    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.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. Dylan's third album, The Times They Are a-Changin', reflected a more politicized and cynical Dylan.Gill, My Back Pages, pp. 37–41. 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.Ricks, Dylan's Visions of Sin, pp. 221–233. 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".

    By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements.Shelton, No Direction Home, pp. 200–205. 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.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. Lawrence University, upstate New York, November 1963]

    Another Side of Bob Dylan, recorded on a single June evening in 1964,Heylin, 1996, Bob Dylan: A Life In Stolen Moments, p. 60. 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 " 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.Shelton, No Direction Home, p. 222. 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,"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: {{cite web| url = http://www.english.uiuc.edu/maps/poets/g_l/ginsberg/interviews.htm| title = Online Interviews With Allen Ginsberg| date = October 8, 2004| accessdate = September 11, 2008| publisher = University of Illinois at Urbana Champaign}} 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.Shelton, No Direction Home, pp. 219–222.

    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."Shelton, No Direction Home, pp. 267–271; pp. 288–291. 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."Heylin, Bob Dylan: Behind the Shades Revisited, pp. 178–181.

    Going electric

    Dylan's April 1965 album Bringing It All Back Home was yet another stylistic leap,Heylin, Bob Dylan: Behind the Shades Revisited, pp. 181–182. featuring his first recordings made with electric instruments. The first single, "Subterranean Homesick Blues", owed much to Chuck Berry's "Too Much Monkey Business"Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume One, pp. 220–222. 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.Gill, My Back Pages, pp. 68–69. Its free association lyrics both harked back to the manic energy of Beat poetry and were a forerunner of rap and hip-hop.Marqusee, Wicked Messenger, p. 144.

    By contrast, the B side of the album consisted of four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 168–169. "Mr. Tambourine Man" quickly became one of Dylan's best known songs when The Byrds recorded an electric version that reached number one in both the U.S. and the U.K. charts. "It's All Over Now Baby Blue" and "It's Alright Ma " were acclaimed as two of Dylan's most important compositions.Shelton, 2003, No Direction Home, pp. 276–277.

    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).Heylin, Bob Dylan: Behind the Shades Revisited, pp. 208–216. 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. One version of the legend has it that the boos were from the outraged folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. Murray Lerner, who filmed the performance, said: "I absolutely think that they were booing Dylan going electric."{{cite web|url=http://www.mojo4music.com/blog/2007/10/exclusive_dylan_at_newport_who.html| title = Exclusive: Dylan at Newport—Who Booed?| work=Mojo| date = October 25, 2007| accessdate = September 7, 2008}} An alternative account claims audience members were merely upset by poor sound quality and a surprisingly short set. This account is supported by Kooper and one of the directors of the festival, who reports his audio recording of the concert prove that the only boos were in reaction to the emcee's announcement that there was only enough time for a short set.{{cite news|author=CP Staff|page=3|url=http://blogs.citypages.com/gimmenoise/2010/04/al_kooper_talks.php?page=3|title=Al Kooper talks Dylan, Conan, Hendrix, and lifetime in the music business|publisher=Village Voice Media|work=City Pages|date=April 28, 2010|accessdate=May 1, 2010}}

    Nevertheless, Dylan's 1965 Newport performance provoked a hostile response from the folk music establishment.Shelton, No Direction Home, pp. 305–314. Irwin Silber, the editor of Sing Out!, published an "Open Letter to Bob Dylan" in his journal: "I saw at Newport how you had somehow lost contact with people. Some of the paraphernalia of fame were getting in your way."Sing Out, November 1965, quoted in Shelton, No Direction Home, p. 313. 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,"You got a lotta nerve/To say you are my friend/When I was down/You just stood there grinning" Reproduced online: 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.Sounes, Down The Highway: The Life Of Bob Dylan, p. 186.

    Highway 61 Revisited and Blonde on Blonde

    thumb|left|Dylan on tour in 1966.

    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".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. In 2004, Rolling Stone Magazine listed it as number one on its list of "The 500 Greatest Songs of All Time". 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.Gill, 1999, My Back Pages, pp. 87–88. 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 epic song, which was described by Andy Gill as "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."Gill, My Back Pages, p. 89.

    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 (later to become The Band). 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.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 189–90.

    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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 238–243. The Nashville sessions produced the double-album Blonde on Blonde (1966), featuring what Dylan later called "that thin wild mercury sound"."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:{{cite web| url = http://www.interferenza.com/bcs/interw/play78.htm| title = Playboy interview with Bob Dylan, March 1978| author = Ron Rosenbaum| date = 1978-02.28| accessdate = September 30, 2008| publisher = interferenza.com}} 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.Gill, My Back Pages, p. 95.

    On November 22, 1965, Dylan secretly married 25-year-old former model Sara Lownds.Sounes, Down The Highway: The Life Of Bob Dylan, p. 193. Some of Dylan’s friends (including Ramblin' Jack Elliott) claim that, in conversation immediately after the event, Dylan denied that he was married. Journalist Nora Ephron first made the news public in the New York Post in February 1966 with the headline "Hush! Bob Dylan is wed."Shelton, No Direction Home, p. 325.", during his 1966 world tour.]]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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 244–261. The tour culminated in a famously raucous confrontation between Dylan and his audience at the Manchester Free Trade Hall in England. A recording of this concert was finally given an official release in 1998, on the album Bob Dylan Live 1966. At the climax of the evening, a member of the audience, John Cordwell, who was 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!"Dylan's dialogue with the Manchester audience is recorded (with subtitles) in Martin Scorsese's documentary No Direction Home and they launched into the final song of the night with gusto—"Like a Rolling Stone."

    Motorcycle accident and reclusion

    After his European tour, Dylan returned to New York, but the pressures on him increased. ABC Television had paid an advance for a TV show they could screen.Sounes, Down The Highway: The Life Of Bob Dylan, p. 215. 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. Though the extent of his injuries were never fully disclosed, Dylan said that he broke several vertebrae in his neck.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 217–219. Mystery still surrounds the circumstances of the accident since no ambulance was called to the scene and Dylan was not hospitalized. 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."Cott, Dylan on Dylan: The Essential Interviews, p. 300. Many biographers believe that the crash offered Dylan the much-needed chance to escape from the pressures that had built up around him.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 268. 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.

    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.Sounes, Down The Highway: The Life Of Bob Dylan, p. 216. In 1967 he began recording music with the Hawks at his home and in the basement of the Hawks' nearby house, called "Big Pink".Sounes, Down The Highway: The Life Of Bob Dylan, p. 222–225. 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.Marcus, The Old, Weird America, pp. 236–265. 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,Helm, Levon and Davis, This Wheel's on Fire, p. 164; p. 174. thus beginning a long and successful recording and performing career of their own.

    In October and November 1967, Dylan returned to Nashville. Back in the recording studio after a 19-month break, he was accompanied only by Charlie McCoy on bass, Kenny Buttrey on drums, and Pete Drake on steel guitar. 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 282–288. 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 later acknowledged as definitive. 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, where he was backed by The Band.{{Listen
    |filename   = Lay_Lady_Lay.ogg
|title      = "Lay Lady Lay"
|description= "[[Lay Lady Lay]]," on the country album ''[[Nashville Skyline]]'', has been one of Dylan's biggest hits, reaching #7 in the U.S.A.Shelton, ''No Direction Home'', p. 463.
|format     = [[Ogg]]}}


    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 he originally wrote for the Midnight Cowboy soundtrack, but did not submit in time to make the final cut.Gill, My Back Pages, p. 140. 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.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 248–253.

    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. In general, Self Portrait, a double LP including few original songs, was poorly received. Later that year, Dylan released New Morning, which some considered a return to form.Shelton, No Direction Home, p. 482. In November 1968, Dylan had co-written "I'd Have You Anytime" with George Harrison;Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume One, pp. 391–392. 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 328–331.

    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". On November 4, 1971 Dylan recorded "George Jackson," which he released a week later. 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.Gray, The Bob Dylan Encyclopedia, ´pp. 342–343.

    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 of some historical basis.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. 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.Artists to have covered the song include Bryan Ferry, Wyclef Jean and Guns 'n' Roses.

    Return to touring

    300px|right|thumbnail|Bob Dylan and Band touring in Chicago, 1974]

    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.Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 273–274. Christopher Ricks has connected the chorus of this song with John Keats's "Ode on a Grecian Urn," which contains the line "...forever panting, and for ever young."Ricks, Dylan's Visions of Sin, p. 453. As one critic described it, the song projected "something hymnal and heartfelt that spoke of the father in Dylan",Heylin, Bob Dylan: Behind the Shades Revisited, p. 354. and Dylan himself commented: "I wrote it thinking about one of my boys and not wanting to be too sentimental."Dylan's comment in booklet notes to Biograph, 1985, CBS Records. Biographer Howard Sounes noted that Jakob Dylan believed the song was about him.

    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.Heylin, Bob Dylan: Behind the Shades Revisited, p. 358. 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.{{Listen
    |filename   = Tangled_Up_In_Blue.ogg
|title      = "Tangled Up in Blue"
|description= Dylan said of the opening song from ''[[Blood on the Tracks]]'': "I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you're never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn't matter."
|format     = [[Ogg]]}}


    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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 368–383. 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 369–387. 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 [4] often so trashy they sound like mere practise takes."Heylin, Bob Dylan: Behind the Shades Revisited, p. 383. In Rolling Stone, reviewer Jon Landau wrote that "the record has been made with typical shoddiness." 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." Novelist Rick Moody called it "the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape."Hedin, Studio A: The Bob Dylan Reader, p. 109.270px|thumb|left|Bob Dylan photographed by Dorfman with Allen Ginsberg, on the Rolling Thunder Revue in 1975]

    That summer Dylan wrote a lengthy ballad championing the cause of boxer Rubin "Hurricane" Carter, who had been imprisoned for a triple murder committed in Paterson, New Jersey in 1966. 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. The tour was a varied evening of entertainment featuring about one hundred performers and supporters drawn from the resurgent Greenwich Village folk scene, including T-Bone Burnett, Ramblin' Jack Elliott, Joni Mitchell. 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.Gray, The Bob Dylan Encyclopedia, p. 579. 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.Shepard, Rolling Thunder Logbook, pp. 2–49.

    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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 386–401,Gray, The Bob Dylan Encyclopedia, p. 408. 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.{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3kq2g4sztv3z| title = Bob Dylan Live 1975—The Rolling Thunder Revue| author = Erlewine, Stephen| date = December 12, 2002| accessdate = September 25, 2008| publisher = allmusic}}

    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.{{cite web| url = http://web.archive.org/web/20071011074451rn_1/pqasb.pqarchiver.com/nytimes/access/120958866.html?did=120958866&FMT=ABS&FMTS=AI&date=Jan+26,+1978&author=By+JANET+MASLIN&pub=New+York+Times++(1857-Current+file)&desc='Renaldo+and+Clara,'+Film+by+Bob+Dylan| title = Renaldo and Clara Film by Bob Dylan| author = Janet Maslin| date = January 26, 1978| accessdate = September 11, 2008| publisher = The New York Times}}Sounes, Down The Highway: The Life Of Bob Dylan, p. 313. Later in that year, Dylan allowed a two-hour edit, dominated by the concert performances, to be more widely released.Lee, Like a Bullet of Light: The Films of Bob Dylan, pp. 115–116.

    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.{{cite web| url = http://www.metacritic.com/video/titles/lastwaltz?q=the%20last%20waltz| title = Reviews of The Last Waltz| date = October 8, 2007| accessdate = September 11, 2008| publisher = Metacritic.com}} In 1976, Dylan also wrote and duetted on the song "Sign Language" for Eric Clapton's No Reason To Cry.

    In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and the US, to a total audience of two million people. For the tour, Dylan assembled an eight piece band, and was also accompanied by three backing singers. Concerts in Tokyo in February and March were recorded and released as the live double album, Bob Dylan At Budokan.Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 314–316. Reviews were mixed. Robert Christgau awarded the album a C+ rating, giving the album a derisory review,{{cite web| url = http://www.robertchristgau.com/get_artist.php?name=Bob+Dylan| title = Robert Christgau: Bob Dylan| author = Christgau, Robert| accessdate = 2010-08-04| publisher = Robertchristgau.com}} while Janet Maslin defended it in Rolling Stone, writing: "These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals." When Dylan brought the tour to the US in September 1978, he was dismayed the press described the look and sound of the show as a 'Las Vegas Tour'. The 1978 tour grossed more than $20 million, and Dylan acknowledged to the Los Angeles Times that he had some debts to pay off because "I had a couple of bad years. I put a lot of money into the movie, built a big house ... and it costs a lot to get divorced in California."

    In April and May 1978, Dylan went into the studio in Santa Monica, California to record an album of new material with the same large band and backing vocalists: Street-Legal.Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 318–319. It was described by Michael Gray as, "after Blood On The Tracks, arguably Dylan’s best record of the 1970s: a crucial album documenting a crucial period in Dylan’s own life".Gray, The Bob Dylan Encyclopedia, p. 643. However, it suffered from poor sound recording and mixing (attributed to Dylan’s studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs’ strengths.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 480–481.

    Born-again period

    {{Listen
    |filename   = Gotta_Serve_Somebody.ogg
|title      = "Gotta Serve Somebody"
|description=Dylan took five months off at the beginning of 1979 to attend Bible school. His subsequent album ''[[Slow Train Coming]]'' reached #3 on the U.S. [[Billboard 200]] chart and included this [[Grammy Award|Grammy]]-winning song.
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    In the late 1970s, Dylan became a born-again ChristianSounes, Down The Highway: The Life Of Bob Dylan, pp. 323–337.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 490–526.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:{{cite web| url = http://www.interferenza.com/bcs/interw/80-may21.htm| title = Karen Hughes Interview, Dayton, Ohio, May 21, 1980| author = Karen Hughes| date = May 21, 1980| accessdate = September 11, 2008| publisher = interferenza.com}} 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."Heylin, Bob Dylan: Behind the Shades Revisited, pp. 501–503. 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, and was described by Dylan critic Michael Gray as "the nearest thing to a follow-up album Dylan has ever made, Slow Train Coming II and inferior."Gray, 2000, Song & Dance Man III, p. 11. 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:{{blockquote|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.{{cite web| url = http://www.bjorner.com/DSN05347%201980%20Second%20Gospel%20Tour.htm#DSN05410| title = Omaha, Nebraska, January 25, 1980| author = Bjorner| date = June 8, 2001| accessdate = September 11, 2008| publisher = Bjorner's Still On The Road}}}}Dylan's embrace of Christianity was unpopular with some of his fans and fellow musicians.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 334–336. Shortly before his murder, John Lennon recorded "Serve Yourself" in response to Dylan's "Gotta Serve Somebody".{{cite web| url = http://www.taisei.co.jp/museum/news/news/050720_e.html| title = First Exhibition of John Lennon's Lyrics "Serve Yourself"—Reply song to Bob Dylan| date = July 20, 2005| accessdate = September 11, 2008| publisher = John Lennon Museum}} 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."

    1980s

    thumb|right|230px|Dylan in Spain|Barcelona, Spain, 1984
    Photo: F. Antolín Hernandez    ]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.Gray, The Bob Dylan Encyclopedia, pp. 215–221.

    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.Gray, Song & Dance Man III: The Art of Bob Dylan, pp. 11–14. 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),Gray, The Bob Dylan Encyclopedia, pp. 56–59. "Foot of Pride" and "Lord Protect My Child".Sounes, Down The Highway: The Life Of Bob Dylan, pp. 354–356. These songs were later released on The Bootleg Series Volumes 1-3 1961-1991.

    Between July 1984 and March 1985, Dylan recorded his next studio album, Empire Burlesque.Sounes, 2001, Down The Highway: The Life Of Bob Dylan, p. 362. 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".Sounes, Down The Highway: The Life Of Bob Dylan, p. 362.

    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."Sounes, Down The Highway: The Life Of Bob Dylan, p. 367. 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.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 365–367.

    In April 1986, Dylan made a brief foray into the world of rap music when he added vocals to the opening verse of "Street Rock", a song featured on Kurtis Blow's album Kingdom Blow.Gray, 2006, The Bob Dylan Encyclopedia, p. 63 Dylan's next studio album, Knocked Out Loaded, was released in July 1986 and contained three cover songs (by Little Junior Parker, Kris Kristofferson and the traditional gospel hymn "Precious Memories"), plus three collaborations with other writers (Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. One reviewer commented that "the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating." It was the first Dylan album since Freewheelin' (1963) to fail to make the Top 50.Heylin, Bob Dylan: Behind the Shades Revisited, p. 595. Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, 'Brownsville Girl', a work of genius.Gray, The Bob Dylan Encyclopedia, pp. 95–100.

    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."{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:czex97l7krkt| title = Dylan & The Dead| author = Stephen Thomas Erlewine| date = July 27, 1989| accessdate = September 10, 2009| publisher = allmusic.com}} 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 continued to tour with this small but constantly evolving band for the next 20 years. Jean-Luc Ourlin

    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).Sounes, Down The Highway: The Life Of Bob Dylan, pp. 376–383. 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 599–604.Dylan was inducted into the Rock and Roll Hall of Fame in January 1988, with Bruce Springsteen's introductory speech declaring, "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.Speech on Bob Dylan's induction to the Rock'n'Roll Hall of Fame, January 20, 1988, reprinted in Bauldie (ed.), Wanted Man: In Search of Bob Dylan, pp. 191–193.

    When Dylan released the album Down in the Groove in May 1988, it was even more unsuccessful in its sales than his previous studio album.Sounes, Down The Highway: The Life Of Bob Dylan, p. 385. Michael Gray wrote: "The very title undercuts any idea that inspired work may lie within. Here was a further devaluing of the notion of a new Bob Dylan album as something significant."Gray, 2000, Song & Dance Man III, p. 13. The critical and commercial disappointment of that album was swiftly followed by the success of the Traveling Wilburys. Dylan co-founded the band with George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty, and in the fall of 1988 their multi-platinum Traveling Wilburys Vol. 1 reached number three on the US album chart, featuring songs that were described as most Dylan's most accessible compositions in years.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 627-628. 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.Heylin, Bob Dylan: Behind the Shades Revisited, pp. 638-640.

    Dylan finished the decade on a critical high note with Oh Mercy produced by Daniel Lanois. Dylan critic Michael Gray wrote that the album was: "Attentively written, vocally distinctive, musically warm, and uncompromisingly professional, this cohesive whole is the nearest thing to a great Bob Dylan album in the 1980s."Dylan, Chronicles, Volume One, pp. 145–221. 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.Ricks, Dylan's Visions of Sin, pp. 413–20. The religious imagery of "Ring Them Bells" struck some critics as a re-affirmation of faith.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.

    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.Gray, The Bob Dylan Encyclopedia, p. 174. 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.Sounes, Down The Highway: The Life Of Bob Dylan, p. 391.

    In 1991, Dylan was honored by the recording industry with a Grammy Lifetime Achievement Award. The event coincided with the start of the Gulf War against Saddam Hussein, and Dylan performed his song "Masters of War". Dylan then made a short speech that startled some of the audience.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.' "

    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",Gray, The Bob Dylan Encyclopedia, p. 423. penned by a 19th century teacher and sung by Dylan with a haunting reverence. 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.Sounes, Down The Highway: The Life Of Bob Dylan, pp. 408–409. The album produced from it, MTV Unplugged, included "John Brown", an unreleased 1963 song detailing the ravages of both war and jingoism.thumb|left|270px|Dylan performs at a 1996 concert in [5]]

    With a collection of songs reportedly written while snowed-in on his Minnesota ranch,Heylin, Bob Dylan: Behind the Shades Revisited, p. 693. 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.{{cite web| url = http://www.gibson.com/en-us/Lifestyle/Features/_97%20Flashback_%20How%20Bob%20Dylan_s/| title = How Dylan's Time Out of Mind Survived Stormy Studio Sessions| author = Drozdowski, Ted| date = January 2, 2008| accessdate = September 11, 2008| publisher = Gibson Guitars}} 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."Sounes, Down The Highway: The Life Of Bob Dylan, p. 420. 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".Sounes, Down The Highway: The Life Of Bob Dylan, p. 426.

    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. One critic wrote: "the songs themselves are uniformly powerful, adding up to Dylan's best overall collection in years." This collection of complex songs won him his first solo "Album of the Year" Grammy Award.Dylan had been one of several artists who had won "Album of the Year" in 1971 for The Concert for Bangladesh{{cite web| url = http://rateyourmusic.com/list/obelisk/grammy_award__winners__album_of_the_year| title = Grammy Award® Winners: Album of the Year| accessdate = 2010-05-01| publisher = rateyourmusic.com }}

    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."{{cite news| url = http://clinton4.nara.gov/textonly/WH/New/html/19971208-2814.html| title = Remarks by the President at Kennedy Center Honors Reception| accessdate = September 7, 2008| publisher = Clinton White House| date = December 8, 1997}}

    2000s

    {{Listen
    |filename   = Things_Have_Changed.ogg
|title      = "Things Have Changed"
|description= Dylan's [[Academy Award|Oscar]] winning song was featured in the movie ''[[Wonder Boys (film)|Wonder Boys]]''. The line "sapphire-tinted skies" echoes the verse of [[Percy Bysshe Shelley|Shelley]]"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. [http://www.english.upenn.edu/Projects/knarf/PShelley/euganean.html] while "forty miles of bad road" echoes [[Duane Eddy|Duane Eddy's]] hit single.
|format     = [[Ogg]]}}


    Dylan commenced the new millennium by winning his first Oscar; his song "Things Have Changed", penned for the film Wonder Boys, won an Academy Award in March 2001. The Oscar (by some reports a facsimile) tours with him, presiding over shows perched atop an amplifier.

    "Love and Theft" was released on September 11, 2001. Recorded with his touring band, Dylan produced the album himself under the pseudonym Jack Frost.Gray, The Bob Dylan Encyclopedia, pp. 556–557. The album was critically well-received and earned nominations for several Grammy awards. Critics noted that Dylan was widening his musical palette to include rockabilly, Western swing, jazz, and even lounge ballads.{{cite news | url = http://www.ew.com/ew/article/0,,173933~4~~lovetheft,00.html | title = Love and Theft| accessdate = September 7, 2008| publisher = Entertainment Weekly| date = October 1, 2001}}

    In 2003, Dylan revisited the evangelical songs from his "born again" period and participated in the CD project 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"; a few treated it as a serious work of art.

    thumb|240px|Performing in November 2005]In October 2004, Dylan published the first part of his autobiography, Volume One. The book confounded expectations.{{cite web | url =http://www.nytimes.com/2004/10/05/books/05masl.html?ex=1154664000&en=4ff016533525f29f&ei=5070 | title = So You Thought You Knew Dylan? Hah!| accessdate = September 7, 2008| last = Maslin| first= Janet| date = October 5, 2004 | publisher = The New York Times| pages = 2}} 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.Gray, The Bob Dylan Encyclopedia, pp. 136–138.

    Martin Scorsese's acclaimed film biography No Direction Home was broadcast in September 2005. It was shown on September 26–27, 2005, on BBC Two in the UK and PBS in the US. 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 and a Columbia-duPont Award in January 2007. The accompanying soundtrack featured unreleased songs from Dylan's early career.

    Modern Times (2006–08)

    thumb|300px|left|Dylan, the Spectrum, 2007May 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. 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. 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.

    On August 29, 2006, Dylan released his Modern Times album. Despite some coarsening of Dylan’s voice (a critic for The Guardian characterised his singing on the album as "a catarrhal death rattle") 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".{{cite news| url = http://www.metacritic.com/music/artists/dylanbob/moderntimes| title = Modern Times| accessdate = September 7, 2008| publisher = Metacritic}} Modern Times entered the U.S. charts at number one, making it Dylan's first album to reach that position since 1976's Desire.{{cite web| url = http://www.nme.com/news/bob-dylan/24234| title = Dylan gets first US number one for 30 years| date = September 7, 2006 | publisher = NME | accessdate = September 11, 2008}}

    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, and by Uncut in the UK. On the same day that Modern Times was released the iTunes Music Store released The Collection, a digital box set containing all of his albums (773 tracks in total), along with 42 rare and unreleased tracks.

    In August 2007, the award-winning film biography of Dylan I'm Not There, written and directed by Todd Haynes, was released—bearing the tagline "inspired by the music and many lives of Bob Dylan".{{cite web | url =http://www.variety.com/review/VE1117934602.html?categoryid=31&cs=1&p=0| title = I'm Not There| author = Todd McCarthy| date = September 4, 2007| accessdate = September 10, 2009| publisher = Variety}} 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. Dylan's previously unreleased 1967 recording from which the film takes its nameGreil 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 â€“ 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. 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, Karen O Willie Nelson, Cat Power, Richie Havens, and Tom Verlaine.{{cite news | url =http://www.uncut.co.uk/blog/index.php?blog=6&title=bob_dylan_covered_by_vedder_sonic_youth_&more=1&c=1&tb=1&pb=1| title = Dylan covered by... very long list. | publisher = Uncut | date = October 1, 2007 | accessdate = September 16, 2008}}

    thumb|left|240px|Bob Dylan performs at Air Canada Centre, Toronto, November 7, 2006

    On October 1, 2007, Columbia Records released the triple CD retrospective album Dylan, anthologising his entire career under the Dylan 07 logo. As part of this campaign, Mark Ronson produced a re-mix of Dylan's 1966 tune "Most Likely You Go Your Way ," which was released as a maxi-single. This was the first time Dylan had sanctioned a re-mix of one of his classic recordings.{{cite web| url = http://www.independent.co.uk/news/people/mark-ronson-born-entertainer-398023.html | title = Mark Ronson: Born Entertainer| author = Walker, Tim| date = October 27, 2007| accessdate = September 7, 2008 | publisher = The Independent | location=London}}

    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{{cite web | url =http://www.slate.com/id/2098635/| title = What's Bob Dylan Doing In A Victoria's Secret Ad? | publisher = Slate| date = April 12, 2004| accessdate = September 16, 2008}}. Three years later, in October 2007, he participated in a multi-media campaign for the 2008 Cadillac Escalade.{{cite web | url =http://www.xmradio.com/dylan-cadillac/index.xmc| title = Dylan, Cadillac| publisher = XM Radio| date = October 22, 2007| accessdate = September 16, 2008}}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". 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. 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.

    In October 2008, Columbia released Volume 8 of Dylan's Bootleg Series, 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. 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.{{cite web | url =http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4859960.ece | title = Tell Tale Signs| author = Cairns, Dan | date = October 5, 2008| accessdate = October 6, 2008| publisher = The Sunday Times | location=London}}Michael Gray expressed his opinion in his Bob Dylan Encyclopedia blog {{cite web | url =http://bobdylanencyclopedia.blogspot.com/2008/08/tell-tale-signs-pt-3-money-doesnt-talk.html |title = Tell Tale Signs Pt. 3, Money Doesn't Talk... | date = August 14, 2008 | accessdate = September 6, 2008 | publisher = Bob Dylan Encyclopedia blog }} The release was widely acclaimed by critics. 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."{{cite web | url =http://www.uncut.co.uk/music/bob_dylan/reviews/12229| title = Album Review: Bob Dylan â€” The Bootleg Series. Vol. 8| author = Jones, Allan| date = September 30, 2008| accessdate = October 26, 2008| publisher = Uncut}}

    Together Through Life, Christmas in the Heart and 2010 releases

    Bob Dylan released his album Together Through Life on April 28, 2009. 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". Nine of the ten songs on the album are credited as co-written by Bob Dylan and Robert Hunter.{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jxfyxze0ldte| title = Together Through Life| author = Erlewine, Stephen Thomas| accessdate = 2010-05-01| publisher = allmusic}}

    The album received largely favourable reviews,{{cite web| url = http://www.metacritic.com/music/artists/dylanbob/togetherthroughlife| title = Together Through Life| date = April 29, 2009| accessdate = April 29, 2009| publisher = Metacritic}} although several critics described it as a minor addition to Dylan's canon of work. 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."

    In its first week of release, the album reached number one in the Billboard 200 chart in the U.S., making Bob Dylan (67 years of age) the oldest artist to ever debut at number one on that chart. It also reached number one on the UK album chart, 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.

    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".{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0cfixztald0e| title = Christmas In The Heart| author = Erlewine, Stephen Thomas| accessdate = 2010-05-01| publisher = allmusic}} Dylan's royalties from the sale of this album will benefit the charities Feeding America in the USA, Crisis in the UK, and the World Food Programme.

    The album received generally favourable reviews.{{cite web| url = http://www.metacritic.com/music/artists/dylanbob/christmasintheheart| title = Christmas In the Heart| date = October 16, 2009| accessdate = October 16, 2009| publisher = Metacritic}}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." 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".{{cite web| url = http://www.usatoday.com/life/music/reviews/2009-10-12-dylan-christmas-album_N.htm| title = Bob Dylan takes the Christmas spirit to 'Heart'| author = Gundersen, Edna| date = October 13, 2009| accessdate = October 13, 2009| publisher = USA Today}}

    In an interview published by Street News Service, journalist Bill Flanagan asked Dylan why he had performed the songs in a straightforward style, and Dylan responded: "There wasn’t any other way to play it. These songs are part of my life, just like folk songs. You have to play them straight too."

    In August 2010, Variety reported that Sony Legacy would release on October 19, Bob Dylan: The Original Mono Recordings. This box set will be the first time that Dylan’s eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), have been released in their original mono mix in the CD format. The albums will also be released on vinyl.{{cite web| url = http://www.varietysoundcheck.com/2010/08/dylan-albums-in-mono-due-oct-19.html| title = Dylan albums in mono due Oct. 19| author = Morris, Christopher| date = 2010-08-03| accessdate = 2010-08-04| publisher = Variety Sound Check music news}} The albums will be accompanied by new liner notes by Dylan critic Greil Marcus. Rolling Stone reported that, also in October, Dylan will release Volume 9 of his Bootleg Series; this will comprise 47 studio versions of songs recorded from 1962 to 1964, and known to Dylan collectors as the Witmark Demos and the Leeds Demos, after the music publishing companies for whom Dylan made these demo recordings.

    Painter

    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.{{cite news | url =http://www.independent.co.uk/arts-entertainment/music/news/dylans-drawings-to-go-on-display--alongside-picassos-460955.html| author = Macintyre, James| title = Dylan's drawings to go on display—alongside Picasso's| publisher = The Independent| date = August 10, 2007| accessdate = September 16, 2008 | location=London}} 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.{{cite web | url =http://www.kohlibri.de/xtcommerce/product_info.php/info/p1555_Bob-Dylan--The-Drawn-Blank-Series--Exhibition-catalogue.html | title = The Drawn Blank Series | publisher = Prestel Verlag | date = October 31, 2007 | accessdate = September 16, 2008}}

    In 2010 Dylan's acrylic paintings are shown in an exhibition in Statens Museum for Kunst, the National Gallery of Denmark, until early 2011. Independent.co

    Never Ending Tour

    thumb|right|280px|Bob Dylan at the Festival, 2006]The Never Ending Tour commenced on June 7, 1988,Heylin, Bob Dylan: A Life In Stolen Moments, p. 297. 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.Muir, Razor's Edge, pp. 7–10. By the end of 2009, Dylan and his band had played more than 2200 shows,{{cite web| url = http://www.bjorner.com/DSN31540%20-%202009%20US%20Fall%20Tour.htm#DSN31860| title = Bjorner's Still On The Road: New York; November 19, 2009| date = January 29, 2010| accessdate = May 8, 2010| publisher = bjorner.com}} anchored by long-time bassist Tony Garnier, multi-instrumentalist Larry Campbell, and filled out with talented sidemen. To the dismay of some of his audience,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: {{cite web| url = http://www.wordmagazine.co.uk/content/1037-dylan-argument-full| title = That Dylan Argument In Full| accessdate = September 7, 2008| publisher = The Word}} Dylan's performances remain unpredictable as he alters his arrangements and changes his vocal approach night after night.Muir, Razor's Edge, pp. 187–197. 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. 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",{{cite web| url = http://www.telegraph.co.uk/culture/music/bob-dylan/5229391/Bob-Dylan-The-Roundhouse.html| title = Bob Dylan - live review| author = McCormick, Neil| date = April 27, 2009| accessdate = May 2, 2009| publisher = The Telegraph | location=London}} and his lack of interest in bonding with his audience.{{cite web| url = http://www.wordmagazine.co.uk/content/my-night-roundhouse-with-bob-dylan| title = My night at the Roundhouse with Bob Dylan| author = Lewry, Fraser| date = April 27, 2009| accessdate = May 2, 2009| publisher = The Word}}

    Dylan commenced his 2010 tour by playing concerts in Japan and South Korea. He followed this with a set of shows in Europe from May to July, starting in Athens and ending in Limerick, Ireland. Dylan's website has announced a tour of the US in August and September.

    Personal life

    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 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.Gray, The Bob Dylan Encyclopedia, pp. 198–200.

    In June 1986, Dylan married his longtime backup singer Carolyn Dennis (often professionally known as Carol Dennis).Sounes, Down The Highway: The Life Of Bob Dylan, pp. 372–373. 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.{{cite news| url = http://newsvote.bbc.co.uk/1/hi/entertainment/music/1273409.stm| title = Dylan's Secret Marriage Uncovered| accessdate = September 7, 2008| publisher = BBC News| date = April 12, 2001}} Dylan now lives in Malibu, California, when not on the road.

    Religious beliefs

    thumb|230px|right|Dylan touring in Netherlands, in 1984]Growing up in Hibbing, Minnesota, 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.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. However, for a period during the late 1970s and early 1980s, 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."Heylin, Bob Dylan: Behind the Shades Revisited, p. 494.Gray, The Bob Dylan Encyclopedia, pp. 76–80.

    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." In response to Loder's asking whether he belonged to any Church or synagogue, Dylan laughingly replied, "Not really. Uh, the Church of the Poison Mind."Rolling Stone, June 21, 1984, reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, p. 288. Since his trilogy of Christian albums, Dylan's faith has been a subject of scrutiny. In 1997 he told David Gates of Newsweek:

    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." Reprinted in Cott, Dylan on Dylan: The Essential Interviews, pp. 391–396.

    Dylan has been described, in the last 20 years, as a supporter of the Chabad Lubavitch movementFishkoff, The Rebbe's Army: Inside the World of Chabad-Lubavitch, p. 167. and has privately participated in Jewish religious events, including the bar mitzvahs of his sons and attending Hadar Hatorah a Chabad Lubavitch Yeshiva. Subsequently, Jewish news services have reported that Dylan has "shown up" a few times at various High Holy Days for services at various Chabad synagogues. 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.

    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."{{cite web| url = http://www.cbsnews.com/stories/2004/12/02/60minutes/main658799.shtml%20"| title = Dylan Looks Back| author = Leung, Rebecca| date = June 12, 2005| accessdate = February 25, 2009| publisher = CBS News}}

    In a 2009 interview with Bill Flanagan promoting his Christmas LP, Christmas in the Heart, Flanagan commented on the "heroic performance" Dylan gave of "O Little Town of Bethlehem" and that Dylan "delivered the song like a true believer". Dylan replied: "Well, I am a true believer." {{cite web| url = http://www.bigissuescotland.com/features/view/187"| title = Bob Dylan: The Inteview| author = Flanagan, Bill (interviewer)| date = November 27th, 2009| accessdate = November 27th, 2009| publisher = Big Issue Scotland}}

    Legacy

    Bob Dylan is one of the most influential figures of the 20th century, musically and culturally. Dylan was included in the The Most Important People of the Century where he was called "master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation". Howard Sounes, the biographer of Bob Dylan, placed him among the most 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."

    Initially modelling his style on the songs of Woody Guthrie,Dylan, Chronicles, Volume One, pp. 243–246. and lessons learnt from the blues of Robert Johnson,Dylan, Chronicles, Volume One, pp. 281–288. Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 60s, infusing it "with the intellectualism of classic literature and poetry". Paul Simon suggested that Dylan's early compositions virtually took over the folk genre: "[6] 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."Fong-Torres, The Rolling Stone Interviews, Vol. 2, p. 424. Reproduced online:{{cite web| url = http://www.bobdylanroots.com/simon.html| title = Rolling Stone interview (1972)| date = June 6, 1972| accessdate = September 8, 2009| publisher = Bob Dylan Roots}}

    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."Marqusee, Wicked Messenger, p. 139.

    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, and claiming that Dylan was a poet worthy of the same close and painstaking analysis. Former British poet laureate, Andrew Motion, argued that Bob Dylan’s lyrics should be studied in schools.{{cite web| url = http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/poetry/article2503109.ece| title = Andrew Motion explains why Bob Dylan's lyrics should be studied in schools | author = Motion, Andrew| date = September 22, 2007| accessdate = October 10, 2008| publisher = The Times | location=London}} Since 1996, academics have lobbied the Swedish Academy to award Dylan the Nobel Prize in Literature.

    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."Shelton, No Direction Home, pp. 108–111. David Bowie, in his tribute, "Song for Bob Dylan", described Dylan's singing as "a voice of sand and glue". Dylan's voice continued to develop as he began to work with rock'n'roll backing bands; critic Michael Gray described the sound of Dylan's vocal on his hit single, "Like a Rolling Stone", as "at once young and jeeringly cynical".Gray, 2006, The Bob Dylan Encyclopedia, p. 413. As Dylan's voice aged during the 1980s, for some critics, it became more expressive. Christophe Lebold writes in the journal Oral Tradition, "Dylan’s more recent broken voice enables him to present a world view at the sonic surface of the songs—this voice carries us across the landscape of a broken, fallen world. The anatomy of a broken world in "Everything is Broken" (on the album Oh Mercy) is but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality."{{cite web| url = http://journal.oraltradition.org/issues/22i/lebold| title = "A Face like a Mask and a Voice that Croaks: An Integrated Poetics of Bob Dylan’s Voice, Personae, and Lyrics"| author = Lebold, Christophe| date = 2007-03-01| accessdate = 2010-05-03| publisher = Oral Tradition}}

    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." 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." Other major musicians to have acknowledged Dylan's importance include John Lennon,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. Paul McCartney,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.' "{{cite web| url = http://www.avclub.com/content/interview/paul_mccartney/2| title = Paul McCartney interview| author = Siegel, Robert| date = June 27, 2007| accessdate = October 13, 2008| publisher = A.V. Club}} Neil Young,"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 : Bruce Springsteen, David Bowie,Song for Bob Dylan on the album Hunky Dory, David Bowie, 1971 Bryan Ferry,In 2007, Ferry released an album of his versions of Dylan songs, Dylanesque Nick Cave,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{{cite web| url = http://home.iae.nl/users/maes/cave/vs/dylan.html| title = Nick Cave and Bob Dylan| author = Maes, Maurice| date = December 31, 2001| accessdate = September 15, 2008| publisher = Nick Cave Colector's Hell}} Patti Smith,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 or The Who wasn’t marketing, to get rich, or be a celebrity."{{cite web| url = http://www.timeout.com/london/music/features/2920.html| title = Patti Smith: interview| date = May 16, 2007| accessdate = September 8, 2008| publisher = Time Out}} Syd Barrett, Cat Stevens, and Tom Waits.{{cite news| url= http://www.guardian.co.uk/music/2005/mar/20/popandrock1 | title= Tom Waits on his cherished albums of all time| accessdate= January 8, 2007 | work=Observer Music Monthly | location=London | date=March 22, 2005}}

    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."Cohn, Awopbopaloobop Alopbamboom, pp. 164–165. 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."{{cite web | url = http://www.theaustralian.news.com.au/story/0,25197,24246783-25132,00.html| title = Tangled Up In Blah | author = Marx, Jack | date = September 2, 2008 | accessdate = October 5, 2008 | publisher = The Australian }} In 2010, Joni Mitchell described Dylan as a "plagiarist" and a "fake" in an interview in the Los Angeles Times. Mitchell's comments led to discussions of Dylan's use of other people's material, both supporting and criticising Dylan.{{cite web| url = http://www.thedailybeast.com/blogs-and-stories/2010-04-30/is-bob-dylan-a-phony/full/| title = Is Bob Dylan a Phony?| author = Wilentz, Sean| date = 2010-04-30| accessdate = 2010-05-02| publisher = The Daily Beast}}

    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."{{cite web| url = http://www.villagevoice.com/2007-11-13/film/like-a-complete-unknown-i-m-not-there-and-the-changing-face-of-bob-dylan-on-film/| title = Like A Complete Unknown| author = J. Hoberman| date = November 20, 2007| accessdate = October 5, 2008| publisher = The Village Voice}}

    Notes

    In 2010, Dylan's song "Forever Young" was featured as the theme song for the television show Parenthood . The song was placed on the Parenthood for the TV show and Lucy Schwartz recorded a cover of it for the soundtrack too.

    See also

    • Bob Dylan discography
    • List of Bob Dylan awards


    Footnotes

    References

    • Hajdu, David Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Farina, and Richard Farina Farrar Straus Giroux, 2001, 328 pages. ISBN 0-374-28199-8
    • Robert Shelton, No Direction Home, Da Capo Press, 2003 reprint of 1986 original, 576 pages. ISBN 0-306-81287-8
    • Sam Shepard, Rolling Thunder Logbook, Da Capo, 2004 reissue, 176 pages. ISBN 0-306-81371-8


    External links

    • BobDylan.com â€” Official web site, including lyrics and touring schedule
    • Expecting Rain â€” Dylan news and events, updated daily
    • BobLinks â€” Comprehensive log of concerts and set lists with categorized link collection
    • Come Writers And Critics lists all books, fanzines, magazines... devoted to Bob Dylan
    • Bjorner's Still on the Road â€” Information on all known recording sessions and performances by Bob Dylan
    • Rocksource Dylan Day-by-day Dylan timeline/chronology, searchable by day, month, year, location, venue, song title, artist name and more


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