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

8/14/2019 Bob Dylan (Born Robert Allen Zimmerman; May 24, 1941) Is

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Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, musician, poet and painter who has been a major figure inpopular music forfive decades. [2] Much of his most celebrated work dates from the 1960s when he was,at first, an informal chronicler and then an apparently reluctant figurehead of socialunrest. A number of his songs, such as "Blowin' in the Wind" and "The Times They Are

a-Changin'," became anthems for both the civil rights[3]

and theanti-war[4]

movements.Dylan's early lyrics incorporated political, social and philosophical as well as literaryinfluences. They defied existing pop music conventions and appealed hugely to the then

burgeoning counterculture. While expanding and personalizing genres, he has exploredmany traditions of American song, from folk,blues andcountry togospel, rock and rollandrockabilly toEnglish, Scottish and Irish folk music, and evenjazz and swing.[5]

Dylan performs with guitar, piano and harmonica. Backed by a changing line-up ofmusicians, 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 beencentral to his career, but his greatest contribution is generally considered to be his

songwriting.[6]

He has received numerous awards over the years including Grammy,Golden Globe andAcademy Awards; he has been inducted into the Rock and Roll Hall of Fame,NashvilleSongwriters Hall of Fame and Songwriters Hall of Fame. In 2008 a Bob Dylan Pathwaywas opened in the singer's honor in his birthplace ofDuluth, Minnesota.[7] ThePulitzerPrize jury in 2008 awarded him a special citationfor what they called his profoundimpact on popular music and American culture, "marked by lyrical compositions ofextraordinary poetic power."[8]

Dylan released his most recent studio album, Christmas in the Heart, on October 13,2009. The album comprised traditional Christmas songs, including "Here Comes SantaClaus" and "Hark! The Herald Angels Sing". All Dylan's royalties from the sale of thisalbum will benefit the charity Feeding America in the USA, and similar charities inoverseas markets

Origins and musical beginnings

Robert Allen Zimmerman (Hebrew name Shabtai Zisel ben Avraham)[10][11] was born inSt. Mary's Hospital on May 24, 1941, in Duluth, Minnesota,[12][13] and raised there and inHibbing, Minnesota, on the Mesabi Iron Range west ofLake Superior. His paternal

grandparents, Zigman and Anna Zimmerman, emigrated from Odessa in the RussianEmpire (now Ukraine) to the United States following the antisemiticpogroms of 1905.[14] His mother's grandparents, Benjamin and Lybba Edelstein, were Lithuanian Jewswho arrived in the United States in 1902.[14] In his autobiography Chronicles: VolumeOne, Dylan writes that his paternal grandmother's maiden name wasKyrgyz and herfamily originated from Istanbul.[15]

Dylans parents, Abram Zimmerman and Beatrice "Beatey" Stone, were part of thearea's small but close-knit Jewish community. Robert Zimmerman lived in Duluth untilage six, when his father was stricken with polio and the family returned to his mother'shome town, Hibbing, where Zimmerman spent the rest of his childhood. Robert

Zimmerman spent much of his youth listening to the radiofirst toblues and countrystations broadcasting fromShreveport, Louisiana and, later, to early rock and roll.[16]He
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formed several bands in high school: The Shadow Blasters was short-lived, but his next,The Golden Chords,[17]lasted longer and played covers of popular songs. Their

performance ofDanny and the Juniors' "Rock and Roll Is Here to Stay" at their highschool talent show was so loud that the principal cut the microphone off. [18] In 1959 hesaw Buddy Holly in the Winter Dance Party tour and later recalled how he made eye

contact with him. In his 1959 school yearbook, Robert Zimmerman listed as hisambition "To joinLittle Richard."[19] The same year, using the name Elston Gunnn (sic),he performed two dates withBobby Vee, playing piano and providing handclaps.[1][20][21]

Zimmerman moved toMinneapolis in September 1959 and enrolled at the University ofMinnesota. His early focus on rock and roll gave way to an interest in American folkmusic. In 1985 Dylan explained the attraction that folk music had exerted on him: "Thething 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 lifein a realistic way. I knew that when I got into folk music, it was more of a serious typeof thing. The songs are filled with more despair, more sadness, more triumph, more

faith in the supernatural, much deeper feelings."[22] He soon began to perform at the 10O'clock Scholar, a coffee house a few blocks from campus, and became activelyinvolved in the localDinkytownfolk music circuit.[23][24]

During his Dinkytown days, Zimmerman began introducing himself as "Bob Dylan."[17]

In a 2004 interview, Dylan explained: "You're born, you know, the wrong names,wrong parents. I mean, that happens. You call yourself what you want to call yourself.This is the land of the free."[25] In his autobiography, Chronicles: Volume One, Dylanacknowledged that he was familiar with the poetry ofDylan Thomas.[26]

[edit] 1960s

[edit] Relocation to New York and record deal

Dylan dropped out of college at the end of his freshman year. In January 1961, hemoved to New York City, hoping to perform there and visit his musical idol WoodyGuthrie, who was seriously ill with Huntington's Disease in Greystone Park PsychiatricHospital.[27]Guthrie had been a revelation to Dylan and was the biggest influence on hisearly performances. Describing Guthrie's impact on him, Dylan later wrote: "The songsthemselves had the infinite sweep of humanity in them ... [He] was the true voice of theAmerican spirit. I said to myself I was going to be Guthrie's greatest disciple."[28] As

well as visiting Guthrie in the hospital, Dylan befriended Guthrie's acolyte Ramblin'Jack Elliott. Much of Guthrie's repertoire was actually channeled through Elliott, andDylan paid tribute to Elliott in Chronicles (2004).[29]

From February 1961, Dylan played at various clubs aroundGreenwich Village. InSeptember, he eventually gained public recognition when Robert Shelton wrote a

positive review in The New York Times of a show at Gerde's Folk City.[30] The samemonth Dylan played harmonica on folk singerCarolyn Hester's eponymous third album,which brought his talents to the attention of the album's producerJohn Hammond.[31]

Hammond signed Dylan to Columbia Records in October. The performances on his firstColumbia album,Bob Dylan (1962), consisted of familiar folk, blues andgospel

material combined with two original compositions. The album made little impact,selling only 5,000 copies in its first year, just enough to break even.[32] Within Columbia
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ob_Dylan&action=edit&section=4http://en.wikipedia.org/wiki/Woody_Guthriehttp://en.wikipedia.org/wiki/Woody_Guthriehttp://en.wikipedia.org/wiki/Huntington's_Diseasehttp://en.wikipedia.org/wiki/Greystone_Park_Psychiatric_Hospitalhttp://en.wikipedia.org/wiki/Greystone_Park_Psychiatric_Hospitalhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-26%23cite_note-26http://en.wikipedia.org/wiki/Bob_Dylan#cite_note-27%23cite_note-27http://en.wikipedia.org/wiki/Ramblin'_Jack_Elliotthttp://en.wikipedia.org/wiki/Ramblin'_Jack_Elliotthttp://en.wikipedia.org/wiki/Chronicles,_Vol._1http://en.wikipedia.org/wiki/Bob_Dylan#cite_note-28%23cite_note-28http://en.wikipedia.org/wiki/Greenwich_Villagehttp://en.wikipedia.org/wiki/Robert_Shelton_(critic)http://en.wikipedia.org/wiki/The_New_York_Timeshttp://en.wikipedia.org/wiki/Gerde's_Folk_Cityhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-29%23cite_note-29http://en.wikipedia.org/wiki/Carolyn_Hesterhttp://en.wikipedia.org/wiki/John_H._Hammondhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-30%23cite_note-30http://en.wikipedia.org/wiki/Columbia_Recordshttp://en.wikipedia.org/wiki/Bob_Dylan_(album)http://en.wikipedia.org/wiki/Gospel_musichttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-Scaduto110-31%23cite_note-Scaduto110-31


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Records, some referred to the singer as "Hammond's Folly" and suggested dropping hiscontract. Hammond defended Dylan vigorously, and Johnny Cash was also a powerfulally of Dylan.[32] While working for Columbia, Dylan also recorded several songs underthe pseudonym Blind Boy Grunt, forBroadside Magazine, a folk music magazine andrecord labe

Dylan made two important career moves in August 1962. He legally changed his nameto Robert Dylan, and signed a management contract withAlbert Grossman. Grossmanremained Dylan's manager until 1970, and was notable both for his sometimesconfrontational personality, and for the fiercely protective loyalty he displayed towardshis principal client.[34] Dylan would subsequently describe Grossman thus: "He was kindof like aColonel Tom Parkerfigure ... you could smell him coming." [24] Tensions

between Grossman and John Hammond led to Hammond being replaced as the producerof Dylan's second album by the young African American jazz producerTom Wilson.[35]

From December 1962 to January 1963, Dylan made his first trip to the UK. [36]He had

been invited by TV directorPhilip Saville to appear in a drama, The Madhouse onCastle Street, which Saville was directing forBBC Television.[37]At the end of the play,Dylan performedBlowin' in the Wind, one of the first major public performances of thesong[38]While in London, Dylan performed at several London folk clubs, includingLesCousins, The Pinder Of Wakefield,[39] and Bunjies.[36] He also learned new songs fromseveral UK performers, includingMartin Carthy.[36]

By the time Dylan's second album,The Freewheelin' Bob Dylan, was released in May1963, he had begun to make his name as both a singer and a songwriter. Many of thesongs on this album were labeledprotest songs, inspired partly by Guthrie andinfluenced by Pete Seeger's passion for topical songs.[40] "Oxford Town", for example,was a sardonic account ofJames Meredith's ordeal as the first black student to riskenrollment at theUniversity of Mississippi.[41]

His most famous song at this time, "Blowin' in the Wind", partially derived its melodyfrom the traditionalslave song "No More Auction Block", while its lyrics questionedthe social and political status quo.[42]The song was widely recorded and became aninternational hit forPeter, Paul and Mary, setting a precedent for many other artists whowould have hits with Dylan's songs. "A Hard Rain's a-Gonna Fall" was based on thetune of the folk ballad "Lord Randall". With its veiled references to nuclear apocalypse,it gained even more resonance when the Cuban missile crisisdeveloped only a few

weeks after Dylan began performing it.

[43]

Like "Blowin' in the Wind", "A Hard Rain'sa-Gonna Fall" marked an important new direction in modern songwriting, blending astream-of-consciousness, imagist lyrical attack with a traditional folk form

While Dylan's topical songs solidified his early reputation,Freewheelin'also included amixture of love songs and jokey, surreal talking blues. Humor was a large part ofDylan's persona,[46] and the range of material on the album impressed many listeners,includingThe Beatles.George Harrison said, "We just played it, just wore it out. Thecontent of the song lyrics and just the attitudeit was incredibly original andwonderful."[47]

The rough edge of Dylan's singing was unsettling to some early listeners but anattraction to others. Describing the impact that Dylan had on her and her husband,Joyce
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ki/Monto_Water_Ratshttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-38%23cite_note-38http://en.wikipedia.org/wiki/Bunjieshttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-Heylin-p35-35%23cite_note-Heylin-p35-35http://en.wikipedia.org/wiki/Martin_Carthyhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-Heylin-p35-35%23cite_note-Heylin-p35-35http://en.wikipedia.org/wiki/The_Freewheelin'_Bob_Dylanhttp://en.wikipedia.org/wiki/Protest_songhttp://en.wikipedia.org/wiki/Pete_Seegerhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-39%23cite_note-39http://en.wikipedia.org/wiki/James_Meredithhttp://en.wikipedia.org/wiki/University_of_Mississippihttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-40%23cite_note-40http://en.wikipedia.org/wiki/Blowin'_in_the_Windhttp://en.wikipedia.org/wiki/Slavehttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-41%23cite_note-41http://en.wikipedia.org/wiki/Peter,_Paul_and_Maryhttp://en.wikipedia.org/wiki/A_Hard_Rain's_a-Gonna_Fallhttp://en.wikipedia.org/wiki/Lord_Randallhttp://en.wikipedia.org/wiki/Cuban_Missile_Crisishttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-42%23cite_note-42http://en.wikipedia.org/wiki/Stream_of_consciousness_writinghttp://en.wikipedia.org/wiki/Imagisthttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-45%23cite_note-45http://en.wikipedia.org/wiki/The_Beatleshttp://en.wikipedia.org/wiki/George_Harrisonhttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-46%23cite_note-46http://en.wikipedia.org/wiki/Joyce_Carol_Oates


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Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrainedvoice, frankly nasal, as if sandpaper could sing, the effect was dramatic andelectrifying."[48] Many of his most famous early songs first reached the public throughmore immediately palatable versions by other performers, such as Joan Baez, who

became Dylan's advocate, as well as his lover.[17] Baez was influential in bringing Dylan

to national and international prominence by recording several of his early songs andinviting him onstage during her own concerts.[49]

Others who recorded and had hits with Dylan's songs in the early and mid-1960sincludedThe Byrds, Sonny and Cher, The Hollies,Peter, Paul and Mary, ManfredMann, andThe 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 SingsDylan Like Dylan."[50]

"Mixed Up Confusion", recorded during theFreewheelin'sessions with a backing band,

was released as a single and then quickly withdrawn. In contrast to the mostly soloacoustic performances on the album, the single showed a willingness to experiment witharockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artistwith his mind wandering towards Elvis Presley and Sun Records."[51]

[edit] Protest andAnother Side

In May 1963, Dylan's political profile was raised when he walked out ofThe EdSullivan Show. During rehearsals, Dylan had been informed by CBS Television's "headof program practices" that the song he was planning to perform, "Talkin' John BirchSociety Blues", was potentially libelous to the John Birch Society. Rather than complywith the censorship, Dylan refused to appear on the program.[

By this time, Dylan and Baez were both prominent in the civil rights movement, singingtogether at the March on Washington on August 28, 1963.[53]Dylan's third album, TheTimes They Are a-Changin', reflected a more politicized and cynical Dylan.[54] Thesongs often took as their subject matter contemporary, real life stories, with "Only APawn In Their Game" addressing the murder of civil rights workerMedgar Evers; andthe Brechtian "The Lonesome Death of Hattie Carroll" the death of black hotel barmaidHattie Carroll, at the hands of young white socialite William Zantzinger.[55]On a moregeneral theme, "Ballad of Hollis Brown" and "North Country Blues" address the despair

engendered by the breakdown of farming and mining communities. This politicalmaterial was accompanied by two personal love songs, "Boots of Spanish Leather" and"One Too Many Mornings".[56]

By the end of 1963, Dylan felt both manipulated and constrained by the folk and protestmovements.[57] These tensions were publicly displayed when, accepting the "Tom PaineAward" from theNational Emergency Civil Liberties Committee shortly after theassassination ofJohn F. Kennedy, an intoxicated Dylan brashly questioned the role ofthe committee, characterized the members as old and balding, and claimed to seesomething of himself (and of every man) in Kennedy's alleged assassin,Lee HarveyOswald
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ueshttp://en.wikipedia.org/wiki/Bob_Dylan#cite_note-bbctimeline-55%23cite_note-bbctimeline-55http://en.wikipedia.org/wiki/Bob_Dylan#cite_note-56%23cite_note-56http://en.wikipedia.org/wiki/Thomas_Painehttp://en.wikipedia.org/wiki/National_Emergency_Civil_Liberties_Committeehttp://en.wikipedia.org/wiki/John_F._Kennedyhttp://en.wikipedia.org/wiki/Lee_Harvey_Oswaldhttp://en.wikipedia.org/wiki/Lee_Harvey_Oswald


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Another Side of Bob Dylan, recorded on a single June evening in 1964,[17]had a lightermood than its predecessor. The surreal, humorous Dylan reemerged on "I Shall Be Free#10" and "Motorpsycho Nightmare". "Spanish Harlem Incident" and "To Ramona" areromantic and passionate love songs, while "Black Crow Blues" and "I Don't BelieveYou (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 beendescribed as a rejection of the role his reputation had thrust at him.[59] His newestdirection was signaled by two lengthy songs: the impressionistic"Chimes of Freedom",which sets elements of social commentary against a denser metaphorical landscape in astyle later characterized by Allen Ginsberg as "chains of flashing images,"[60]and "MyBack Pages", which attacks the simplistic and arch seriousness of his own earlier topicalsongs and seems to predict the backlash he was about to encounter from his formerchampions as he took a new direction.[61]

In the latter half of 1964 and 1965, Dylans appearance and musical style changedrapidly, as he made his move from leading contemporary songwriter of the folk scene to

folk-rockpop-music star. His scruffy jeans and work shirts were replaced by a CarnabyStreet wardrobe, sunglasses day or night, and pointy "Beatle boots". A London reporterwrote: "Hair that would set the teeth of a comb on edge. A loud shirt that would dim theneon lights ofLeicester Square. He looks like an undernourished cockatoo."[62] Dylanalso began to spar in increasingly surreal ways with his interviewers. Appearing on theLes Crane TV show and asked about a movie he was planning to make, he told Crane itwould be a cowboy horror movie. Asked if he played the cowboy, Dylan replied, "No, I

play my mother."[63]

[edit] Going electric

Main article: Electric Dylan controversy

Dylan's March 1965 albumBringing It All Back Home was yet another stylistic leap,[64]

featuring his first recordings made with electric instruments. The first single,"Subterranean Homesick Blues", owed much to Chuck Berry's "Too Much MonkeyBusiness"[65]and was provided with an earlymusic video courtesy ofD. A.Pennebaker's cinma vrit presentation of Dylan's 1965 tour of England,Dont Look

Back.[66] Its free association lyrics both harked back to the manic energy ofBeat poetryand were a forerunner ofrap andhip-hop.[67]

By contrast, the B side of the album consisted of four long songs on which Dylanaccompanied himself on acoustic guitar and harmonica.[68]"Mr. Tambourine Man"quickly became one of Dylan's best known songs whenThe Byrds recorded an electricguitar version which reached number one in both the U.S. and the U.K. charts.[69][70] "It'sAll Over Now Baby Blue" and "It's Alright Ma (I'm Only Bleeding)" would beacclaimed as two of Dylan's most important compositions.[68][71]

In the summer of 1965, as the headliner at theNewport Folk Festival, Dylan performedhis first electric set since his high school days with apickup group drawn mostly fromthe Paul Butterfield Blues Band, featuring Mike Bloomfield (guitar), Sam Lay (drums)and Jerome Arnold (bass), plus Al Kooper(organ) andBarry Goldberg (piano).[72]

Dylan had appeared at Newport in 1963 and 1964, but in 1965 Dylan, met with a mix ofcheering and booing, left the stage after only three songs. As one version of the legend
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has it, the boos were from the outraged folk fans whom Dylan had alienated byappearing, unexpectedly, with an electric guitar. An alternative account claims audiencemembers were merely upset by poor sound quality and a surprisingly short set.[73]

Dylan's 1965 Newport performance provoked an outraged response from the folk music

establishment.[74]

Ewan MacColl wrote inSing Out!, "Our traditional songs and balladsare the creations of extraordinarily talented artists working inside traditions formulatedover time ... But what of Bobby Dylan? ... a youth of mediocre talent. Only a non-critical audience, nourished on the watery pap of pop music could have fallen for suchtenth-rate drivel."[75] On July 29, just four days after his controversial performance at

Newport, Dylan was back in the studio in New York, recording "Positively 4th Street".The lyrics teemed with images of vengeance and paranoia,[76]and it was widelyinterpreted as Dylan's put-down of former friends from the folk communityfriends hehad known in the clubs along West 4th Street

In July 1965, Dylan released the single "Like a Rolling Stone", which peaked at #2 in

the U.S. and at #4 in the UK charts. At over six minutes in length, the song has beenwidely credited with altering attitudes about what a pop single could convey. BruceSpringsteen, in his speech during Dylan's inauguration into the Rock and Roll Hall ofFame said that on first hearing the single, "that snare shot sounded like somebody'dkicked open the door to your mind".[79] In 2004,Rolling Stone Magazine listed it at #1on its list of "The RS 500 Greatest Songs of All Time". [78] The song also opened Dylan'snext album,Highway 61 Revisited, titled after the road that led from Dylan's Minnesotato the musical hotbed ofNew Orleans.[80] The songs were in the same vein as the hitsingle, flavored by Mike Bloomfield's blues guitar and Al Kooper's organ riffs."Desolation Row" offers the soleacoustic exception, with Dylan making surrealallusions to a variety of figures in Western culture during this long song. Andy Gillwrote, "'Desolation Row' is an 11-minute epic of entropy which takes the form of aFellini-esque parade of grotesques and oddities featuring a huge cast of iconiccharacters, some historical (Einstein,Nero), some biblical (Noah, Cain and Abel), somefictional (Ophelia, Romeo, Cinderella), some literary (T.S. Eliot andEzra Pound), andsome who fit into none of the above categories, notably Dr. Filth and his dubious nurse"[81]

In support of the record, Dylan was booked for two U.S. concerts and set aboutassembling a band. Mike Bloomfield was unwilling to leave the Butterfield Band, soDylan 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 ofRonnie Hawkins's backing bandThe Hawks.[82] On August 28 at Forest Hills TennisStadium, the group was heckled by an audience still annoyed by Dylan's electric sound.The band's reception on September 3 at the Hollywood Bowlwas more favorable.[83]

While Dylan and the Hawks met increasingly receptive audiences on tour, their studioefforts floundered. ProducerBob Johnston persuaded Dylan to record inNashville inFebruary 1966, and surrounded him with a cadre of top-notch session men. At Dylan'sinsistence, Robertson and Kooper came down from New York City to play on thesessions.[84] The Nashville sessions produced the double-albumBlonde on Blonde(1966), featuring what Dylan later called "that thin wild mercury sound".[85]Al Kooper

described the album as "taking two cultures and smashing them together with a huge
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explosion": the musical world of Nashville and the world of the "quintessential NewYork hipster" Bob Dylan.[86]

On November 22, 1965, Dylan secretly married 25-year-old former model SaraLownds.[17][87] Some of Dylans friends (including Ramblin' Jack Elliott) claim that, in

conversation immediately after the event, Dylan denied that he was married.[87]

JournalistNora Ephron first made the news public in theNew York Postin February1966 with the headline Hush! Bob Dylan is wed.[88]

Dylan undertook aworld tourof Australia and Europe in the spring of 1966. Each showwas split into two parts. Dylan performed solo during the first half, accompanyinghimself on acoustic guitarand harmonica. In the second half, backed by the Hawks, he

played high voltage electric music. This contrast provoked many fans, who jeered andslow handclapped.[89] The tour culminated in a famously raucous confrontation betweenDylan and his audience at the ManchesterFree Trade Hall in England.[90] (A recordingof this concert,Bob Dylan Live 1966, was finally released in 1998.) At the climax of the

evening, one fan, angry with Dylan's electric sound, shouted: "Judas!" to which Dylanresponded, "I don't believe you ... You're a liar!". Dylan turned to his band and said"Play it fucking loud!",[91] and they launched into the final song of the night with gusto

"Like a Rolling Stone".

[edit] Motorcycle accident and reclusion

After his European tour, Dylan returned to New York, but the pressures on himcontinued to increase. ABC Televisionhad paid an advance for a TV show they couldscreen.[92]His publisher, Macmillan, was demanding a finished manuscript of the

poem/novel Tarantula. ManagerAlbert Grossman had already scheduled an extensiveconcert tour for that summer and fall.

On July 29, 1966, Dylan crashed his 500ccTriumph Tiger 100motorcycle on a roadnear his home in Woodstock, New York, throwing him to the ground. According tointerviews conducted years later, Dylan had "been up for three days" preceding theaccident.[93] The incident also happened "really early in the morning,"[93] and Dylan hasclaimed he was blinded by the sunwhile approaching the top of a hill: "I went blind fora second and I kind of panicked or something. I stomped down on the brake and the rearwheel locked up on me and I went flyin'." [93]

Though the extent of his injuries were never fully disclosed, Dylan said that he brokeseveral vertebrae in his neck.[94]Mystery still surrounds the circumstances of theaccident[95] since no ambulance was called to the scene and Dylan was not hospitalized.[94] Dylan later expressed concern about where his career and private life were headed upuntil the point of the crash: "When I had that motorcycle accident ... I woke up andcaught my senses, I realized that I was just workin' for all these leeches. And I didn'twant to do that. Plus, I had a family and I just wanted to see my kids." [96]Many

biographers believe that the crash offered Dylan the much-needed chance to escapefrom the pressures that had built up around him.[94][97]In the wake of his accident, Dylanwithdrew from the public and, apart from a few select appearances, did not tour againfor eight years.[95]
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Once Dylan was well enough to resume creative work, he began editing film footage ofhis 1966 tour forEat the Document, a rarely exhibited follow-up toDont Look Back. Arough-cut was shown to ABC Television and was promptly rejected asincomprehensible to a mainstream audience.[98]In 1967 he began recording music withthe Hawks at his home and in the basement of the Hawks' nearby house, called "Big

Pink".[99]

These songs, initially compiled as demos for other artists to record, providedhit singles forJulie Driscoll ("This Wheel's on Fire"), The Byrds("You Ain't Goin'

Nowhere", "Nothing Was Delivered"), and Manfred Mann (Quinn the Eskimo ("TheMighty 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 hisband in 1967 appeared on variousbootleg recordings, culminating in a five-CD bootlegset titled The Genuine Basement Tapes, containing 107 songs and alternate takes.[100]Inthe coming months, the Hawks recorded the album Music from Big Pinkusing songsthey first worked on in their basement in Woodstock, and renamed themselvesTheBand,[101] thus beginning a long and successful recording and performing career of theirown.

In October and November 1967, Dylan returned toNashville.[102] Back in the recordingstudio after a 19-month break, he was accompanied only byCharlie McCoy on bass,[103]

Kenny Buttrey on drums,[104] andPete Drake on steel guitar.[105] The result wasJohnWesley Harding, a quiet, contemplative record of shorter songs, set in a landscape thatdrew on both the American West and the Bible. The sparse structure andinstrumentation, coupled with lyrics that took theJudeo-Christian tradition seriously,marked a departure not only from Dylan's own work but from the escalating psychedelicfervor of the 1960s musical culture.[106] It included "All Along the Watchtower", withlyrics derived from the Book of Isaiah (21:59). The song was later recorded by JimiHendrix, whose version Dylan himself would later acknowledge as definitive. [22]

Woody Guthrie died on October 3, 1967, and Dylan made his first live appearance intwenty months at a Guthrie memorial concert held at Carnegie Hallon January 20,1968. That May Dylan had suffered the loss of his father Abraham Zimmerman whohad suffered a heart attackon the 29th May

Dylan's next release,Nashville Skyline (1969), was virtually a mainstream countryrecord featuring instrumental backing byNashville musicians, a mellow-voiced Dylan,a duet withJohnny Cash, and the hit single "Lay Lady Lay", which had been originallywritten for the Midnight Cowboysoundtrack, but was not submitted in time to make the

final cut.

[109]

In May 1969, Dylan appeared on the first episode ofJohnny Cash's newtelevision show, duetting with Cash on "Girl from the North Country", "I Threw It AllAway" and "Living the Blues". Dylan next travelled to England to top the bill at the Isleof Wight rock festival on August 31, 1969, after rejecting overtures to appear at theWoodstock Festival far closer to his home.[110]

[edit] 1970s

In the early 1970s critics charged Dylan's output was of varied and unpredictablequality.Rolling Stone magazine writer and Dylan loyalist Greil Marcus notoriouslyasked "What is this shit?" upon first listening to 1970's Self Portrait.[111][112] In general,

Self Portrait, a double LP including few original songs, was poorly received.[17] Laterthat year, Dylan releasedNew Morning, which some considered a return to form.[113] In
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November 1968, Dylan had co-written "I'd Have You Anytime" with George Harrison;[114] Harrison recorded both "I'd Have You Anytime" and Dylan's "If Not For You" forhis 1970 solo triple albumAll Things Must Pass. Dylan's surprise appearance atHarrison's 1971 Concert for Bangladeshattracted much media coverage, reflecting thatDylan's live appearances had become rare.[115]

Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock Studios, asmall studio in New York's Greenwich Village. These sessions resulted in one single,"Watching The River Flow", and a new recording of "When I Paint My Masterpiece" .[56]

On November 4, 1971 Dylan recorded "George Jackson" which he released a weeklater.[56] For many, the single was a surprising return to protest material, mourning thekilling ofBlack PantherGeorge Jackson in San Quentin Prison that summer.[116]

In 1972 Dylan signed onto Sam Peckinpah's filmPat Garrett and Billy the Kid,providing songs and backing music for the movie, and playing the role of "Alias", amember of Billy's gang who had some basis in history.[117] Despite the film's failure at

the box office, the song "Knockin' on Heaven's Door" has proven its durability as one ofDylan's most extensively covered songs

Dylan began 1973 by signing with a new record label, David Geffen'sAsylum Records,when his contract with Columbia Records expired. On his next album,Planet Waves, heused The Band as backing group, while rehearsing for a major tour. The album includedtwo versions of "Forever Young", which became one of his most popular songs.[120]

Christopher Ricks has connected the chorus of this song with John Keats's "Ode on aGrecian Urn", which contains the line "For ever panting, and for ever young."[121] Asone critic described it, the song projected "something hymnal and heartfelt that spoke ofthe father in Dylan",[122]and Dylan himself commented: "I wrote it thinking about one ofmy boys and not wanting to be too sentimental." [123] BiographerHoward Sounes notedthat Jakob Dylan believed the song was about him.[120]

Columbia Records simultaneously releasedDylan, a haphazard collection of studioouttakes (almost exclusively cover songs), which was widely interpreted as a churlishresponse to Dylan's signing with a rival record label.[124] In January 1974 Dylan andTheBand embarked on their high-profile, coast-to-coastNorth American tour. A live doublealbum of the tour,Before the Flood, was released on Asylum Records.

After the tour, Dylan and his wife became publicly estranged. He filled a small red

notebook with songs about relationships and ruptures, and quickly recorded a newalbum entitledBlood on the Tracks in September 1974.[125] Dylan delayed the album'srelease, however, and re-recorded half of the songs atSound 80Studios in Minneapoliswith production assistance from his brotherDavid Zimmerman.[126] During this time,Dylan returned to Columbia Records which eventually reissued his Asylum albums.

Released in early 1975,Blood on the Tracks received mixed reviews. In theNME,NickKent described "the accompaniments [as] often so trashy they sound like mere practisetakes."[127] InRolling Stone, reviewerJon Landauwrote that "the record has been madewith typical shoddiness."[128] However, over the years critics have come to see it as oneof 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 flawlessalbum and his best produced; the songs, each of them, are constructed in disciplined
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Bob Dylan (Born Robert Allen Zimmerman; May 24, 1941) Is

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