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Bob Dylan brought the folk traditions of artists such as Woody Guthrie and Pete Seeger to both the mainstream and beatnik culture of America, and into the rock and roll era. His writing provided a more thoughtful counterpart to The Beatles and the other musicians of the era, who were always more commercially successful, fusing popular music with an intellectuality and social conscience. His lyrics were the first to be analysed and seriously regarded as literature and his words today represent part of the Western Canon, cited by presidents, scholars and musicians in equal measure (Rolling Stone 2001). For five decades he has been writing and performing, and his works are hugely varied in musical and lyrical content, from blues-influenced anti-war sing-alongs to ecclesiastical-funk in the rather forgettable born-again Christian years. His lyrics’ social commentary – particularly in his earlier years – truly fulfils the role of folk-music in spreading tales and ideas by oral means, which will always be a refreshing memory of when the large proportion of popular songs didn’t seem to revolve around either fellatio or handguns. Biography Ethnic/Racial Roots and Early Years Bob Dylan was born Robert Zimmerman into a Jewish family in Minnesota, where he grew up in the earliest years of rock and roll, and popular music as a whole.
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Highway 61 Revisited (1965) Dylan’s sixth studio album, ‘Highway 61…’ was the first he recorded with a full backing band, and represented a return his rock and roll roots. A departure from the often light-hearted grassroots folk songs of his earlier career, the album is emotionally intense and far more serious. Offending many of his folk fans, Dylan was booed off during his second performance of the album by the crowd Folk Festival in England, whose rage was directed symbolically at his electric guitar, seen as a particular betrayal. The album’s best-known song ‘Like A Rolling Stone’ was in 2004 named the ‘Greatest Song of All-Time’ by Rolling Stone magazine. Desire (1976) One of his most commercially successful albums, and the most acclaimed in the on-off period of the 70s and 80s, Desire was the most folk-influenced of the era for Dylan. The album was recorded with somewhat of a bordello of travelling musicians, with whom Dylan had toured and written with for the past year or so. The album’s opening track, Hurricane is one of his later protest songs, and – of the 4 songs over seven minutes on the album – an almost epic ballad, and his best example of classic folk storytelling. Modern Times (2006) His second album of the new millennium, Modern Times is a blues-rock orientated album, a genre not explored extensively in his earlier career.
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It also contains an extensive lyrics library which I used in analyzing ‘Like A Rolling Stone’ and many audio and video files of recordings and performances. http://folkmusic. com – This extensive catalog of articles has a particularly good section on protest songs, and the significance of folk music in the anti-war and civil rights movements. The article entitled ‘Who’s The Next Bob Dylan’ also provided me with some new names in folk music to pursue Citations Romanowski et al. The Rolling Stone Encyclopedia of Rock & Roll – (Simon & Schuster, 2001) A Tribute to Bob Dylan – Life in Hibbing. org – (Copyright 2002) Shelton. No Direction Home – (Penguin, 1987) Heylin. Bob Dylan: Behind the Shades Revisited – (Harper, 2003) Wikipedia – Modern Times (album).
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Works Cited Dylan, Bob.Moreover, in the latter part of the song, Bob Dylan gave a great amount of effort in creating a beautiful lyrical stanza which encourages the people never to give up and continue looking for the silver lining in their current social instability.“The Life of Bob Dylan.“Bob Dylan: A Biography.Aside from the song “Blowin’ in the Wind,” Bob Dylan also created another politically inclined song entitled “The Times They Are A-Changin” (Mason n. p).
Bob Dylan was also a major player in the anti-war protests, sparked by the Vietnam War.Jann Wenner in Rolling Stone Magazine said, “Dylan created so many images and expectations that he narrowed his room for maneuverability and finally became unsure of his own instincts,”(Wenner,”The Rolling Interview: Bob Dylan.”) There are also arguments of Bob Dylan’s role as an artist.During an interview with the Los Angeles Free Press in 1965, Bob Dylan said, “All I can do is be me, whoever that is,” (Dylan) which perfectly describes the sentiment you get from his works.“Bob Dylan.” Encyclopedia of World Biography.Wenner, Jann S. “The Rolling Stone Interview: Bob Dylan.” Rolling Stone 29 Nov. 1969: 32-35.
Besides the Band, many guests performed that night, including Paul Butterfield, Eric Clapton, Neil Diamond, Bob Dylan, Ronnie Hawkins, Dr. John, Joni Mitchell, Van Morrison, Ringo Starr, Muddy Waters, Ron Wood and Neil Young.Hudson, who had received a classical training, could therefore tell everyone that he was a music teacher, not just a rock musician.Apparently Bob Dylan held him in low esteem as well: an unconfirmed rumor is that when Diamond walked off the stage, he said to Dylan, "You'll have to be good to come after me", to which Dylan allegedly replied, "Whoa do I have to do?New additions include Caldonia by Muddy Waters, the concert version of The Weight, all of Oxen 1 and 2, and completed performances by Joni Mitchell and Bob D...
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