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Dylan's second album established him as a voice of social conscience in the post war era, linking his star image to protest and moral authority. Its wide circulation amplified the perception of authenticity and positioned him as a generational spokesperson.

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This album cemented Dylan’s role as a protest icon. Its direct songwriting reinforced his moral authority and public persona as a socially engaged artist, intensifying audience and media expectations of him as a generational spokesperson.

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With more introspective and personal lyrics, Dylan began expanding his star image beyond protest songs. This album showcased poetic experimentation, hinting at the enigmatic, reflective persona that would later define his enduring appeal.

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This album marked Dylan's transition to electric rock, blending acoustic folk with electric instruments. It exemplifies the productive contradictions in his image: challenging folk purists while reinforcing his identity as an avant-garde poet-musician.

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The album solidified Dylan’s electric rock identity and lyrical experimentation. Its surreal, poetic narratives reinforced his avant-garde, unpredictable persona, positioning him as a boundary-pushing artist whose star image thrives on contradiction.

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Released after Dylan’s retreat from touring, this quieter, introspective album repositioned him as a reflective, almost mystical figure. The album contributed to his star image as an evolving artist, balancing fame with artistic withdrawal.

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Adopting a country style and smooth vocal delivery, Dylan rebranded himself visually and sonically. This album reinforced his ability to reinvent his image.

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Often considered Dylan’s masterpiece, this double album combined surreal lyrics with rock sophistication. It reinforced his literary reputation, advancing a star image of enigmatic brilliance and cementing his status as both pop musician and cultural icon.

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A return to personal, confessional songwriting, this album emphasized vulnerability and introspection. It enhanced Dylan’s star image as an authentic, emotionally resonant storyteller whose lyrical honesty engages audiences across decades.

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Dylan’s debut is a modest, mostly-acoustic record of folk and blues covers with a few early originals. Its raw production and youthful voice introduce his musical roots and interpretive skill rather than auteur status, providing the foundational folk credibility that his later, more authorial star image would build from.

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1965 Newport Folk Festival (electric set)

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1965 Newport Folk Festival (electric set)

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Bob Dylan - Like A Rolling Stone (Live at Newport 1965)

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Recurrent accusations of plagiarism (notably on Love and Theft (2001) and Modern Times (2006)).

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Recurrent accusations of plagiarism (notably on Love and Theft (2001) and Modern Times (2006)).

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Bob Dylan has responded to suggestions he has plagiarised artists in his work and failed to credit his sources properly.
"Wussies and pussies complain about that stuff," the veteran musician told Rolling Stone magazine.

"In folk and jazz, quotation is a rich and enriching tradition. It's true for everybody but me. There are different rules for me."

Dylan's 35th studio album, Tempest, was released this week.

Earlier this year the 71-year-old received the Medal of Freedom, America's highest civilian honour, from President Obama.

The singer was accused of borrowing from Henry Timrod, a 19th Century poet who died in 1867, on his 2006 album Modern Times.

Another album, 2001's Love and Theft, was claimed to have passages similar to lines from Confessions of a Yakuza, the memoir of a Japanese gangster by author Junichi Saga.

"As far as Henry Timrod is concerned, have you even heard of him? Who's been reading him lately? And who's pushed him to the forefront?" he told Rolling Stone.

"If you think it's so easy to quote him and it can help your work, do it yourself and see how far you can get."

"These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history!" he continued, referring to the controversy over his 1965 album Bringing It All Back Home.

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Veteran musician Bob Dylan responds to critics who have accused him of borrowing from other artists and failing to credit his sources.

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Nobel panel gives up knockin’ on Dylan’s door

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Nobel Prize for Literature Controversy (2016)

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Nobel Prize for Literature Controversy (2016)

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After Bob Dylan won the 2016 Nobel Prize in Literature, the Swedish Academy couldn’t reach him. Despite calls and messages, Dylan stayed silent, fueling intrigue over whether the elusive musician would acknowledge the honour or remain characteristically enigmatic about the award.

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Was Bob Dylan At His Best When He Was Christian?

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Bob Dylan is releasing, “Trouble No More,” a new collection of music from his born-again Christian phase. Listening to it is a revelation.

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Between 1962 and 1964, Bob Dylan emerged as a prominent figure in the American folk revival. His socially conscious lyrics, distinctive voice, and authentic persona positioned him as a moral and poetic voice of his generation, gaining widespread recognition.

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2. The Electric Era Controversy (1965-66)

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2. The Electric Era Controversy (1965-66)

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Between 1965 and 1966, Bob Dylan transformed the folk scene by embracing electric instrumentation. His bold shift challenged audience expectations and established him as a rebellious innovator, blending poetic lyricism with rock energy, and cementing his reputation as a pioneering and unpredictable artist.

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BBC television play (The Madhouse on Castle Street)

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BBC television play (The Madhouse on Castle Street)

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In December 1962, Dylan traveled to the United Kingdom and appeared in a BBC television play titled The Madhouse on Castle Street. Although the footage was later wiped from the BBC's archives, Dylan performed songs during the production. This included one of the first-ever public performances of "Blowin' in the Wind".

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Bob Dylan & Joan Baez - With God On Our Side (Live At Newport Folk Festival - 1963)

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Bob Dylan & Joan Baez - With God On Our Side (Live At Newport Folk Festival - 1963)

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Bob Dylan & Joan Baez - With God On Our Side (Live At Newport Folk Festival - 1963) - 4K Restoration

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Born in Duluth, Minnesota, on May 24, 1941, most of Dylan’s childhood was spent in the iron-mining town of Hibbing. Dylan taught himself piano and guitar and played in several bands, attending the University of Minnesota for one year in 1959. He moved to New York in 1961 — heavily influenced by Woody Guthrie and other American folk artists — and began to play at various clubs in the folk music scene of Greenwich Village. Signed to Columbia Records by renowned A&R executive John Hammond in 1961.

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Bob Dylan is one of our culture's most influential and groundbreaking artists. In the decades since he first burst into the public's consciousness via New York City's Greenwich Village folk music scene in the early 1960s, Bob Dylan has sold more than 125 million records around the world and amassed a singular body of work that includes some of the greatest and most popular songs the world has ever known.

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From 'The Freewheelin' Bob Dylan' (1963)

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Don't Think Twice It's Alright (Live 1965)

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Don't Think Twice It's Alright (Live 1965)

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Bob Dylan - Don't Think Twice It's alright (live 1965)

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The documetary, filled with sarcasm and tension, helped cement his image as a genius— dismissive of authority and uninterested in conventional fame

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Bob Dylan’s Pat Garrett and Billy The Kid soundtrack (1973) blends folk and Western motifs, reflecting themes of morality. Featuring the hit “Knockin’ on Heaven’s Door,” it marked Dylan’s cinematic debut and deepened his image as an American storyteller and cultural mythmaker.

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A four-hour film directed by Bob, blending concert from the Rolling Thunder Revue and with fictional vignettes. Mixing reality, dream, and performance, the film explores love, identity, and celebrity. Though initially panned for its length and obscurity, it’s now valued as an experimental piece of Dylan’s artistry and the spirit of the 1970s.

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A non-traditional biopic where six actors (including Cate Blanchett and Heath Ledger) portray aspects of Dylan’s persona. Bob Dylan does not appear, but the film’s fragmented portrayal mirrors his own resistance to fixed identity.

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A Complete Unknown (2024) is a Bob Dylan biopic directed by James Mangold, with Timothée Chalamet playing Dylan between 1961 and 1965. It culminates in his controversial electric set at Newport Folk Festival, exploring his evolution from folk to rock.

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Did Bob Dylan really crash or just burn out?

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Did Bob Dylan really crash or just burn out?

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Dylan’s absence turned him into a recluse, feeding public fascination and solidifying his enigmatic persona.

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Did Bob Dylan Really Crash or Just Burn Out?

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Motorcycle crashes are always teachable moments. But some end up changing the course of musical history. Like Bob Dylan’s in 1966.

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In July 1966, Dylan suffered a motorcycle accident near his home in Woodstock, New York. The crash forced him to withdraw from touring and public life for over a year, allowing him to focus on recording, family, and personal reflection.

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The Basement Tapes (1967, Released 1975)

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The Basement Tapes (1967, Released 1975)

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The Basement Tapes capture Bob Dylan’s retreat from fame after his crash. Recorded with The Band, their raw sound rejects commercialism and redefines Dylan as an authentic, reclusive craftsman surrounded by American musical tradition.

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Critics and radio stations misinterpreted the song as a drug anthem, though Dylan insisted it was about social persecution and hypocrisy, not literal drug use.

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Bob Dylan - Rainy Day Women #12 & 35 (Live at Farm Aid 1986)

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Met with a single moment of silence, an audience member shouted "Judas!" as an insult for 'betraying' the folk community. Dylan's response was a 'f*****g loud' version of Like A Rolling Stone

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ByChris LongArts and entertainment reporter

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Bob Dylan and the Manchester Free Trade Hall ‘Judas’ show

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Fifty years ago, Bob Dylan bit back at a show in Manchester, after a heckler labelled him “Judas”.

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Jimi Hendrix - All Along The Watchtower (1968)

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Jimi Hendrix - All Along The Watchtower (1968)

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Jimi Hendrix’s electrifying cover of Dylan’s "All Along The Watchtower" transformed the song into a rock classic.

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Girl From The North Country Duet with Johnny Cash (1969)

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Girl From The North Country Duet with Johnny Cash (1969)

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4. The 1970s and Introduction to Christianity?

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4. The 1970s and Introduction to Christianity?

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In his later career, Bob Dylan continued recording acclaimed albums, touring extensively, and receiving major honors including the Nobel Prize in Literature. His enduring influence reshaped songwriting and popular culture, cementing his legacy as one of the greatest artists in history.

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Dylan fans are notoriously obsessive. A new book explores their “fan extremism”.

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In his AARP interview, Dylan discusses his album Shadows In The Night, his admiration for Sinatra, and his belief that romance endures. He gives the album away to readers, praises “Love Sick” as his best heartbreak song, and critiques modern vice.

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Playboy Interviews Collection (1966, 1978)

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Playboy Interviews Collection (1966, 1978)

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“If I wasn’t Bob Dylan, I’d probably think that Bob Dylan has a lot of answers myself.”

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It was in March 1966 that PLAYBOY published the first full-length interview with Bob Dylan. In the intervening years, he has talked to journalists only rarely, and, shortly before completing his first feature film, he agreed to talk with us. We asked writer Ron Rosenbaum, who grew up listening to Dylan songs, to check in with the elusive artist. His report:

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San Francisco Press Conference (Dec 1965)

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San Francisco Press Conference (Dec 1965)

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"I think of myself more as a song and dance man". - in response to claims of being labeled a protest singer.

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"I’m just as good as anybody else, and a lot better than most." Bob Dylan (1966)

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Academy Award (Oscar) for Best Original Song — “Things Have Changed” (2001)

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Academy Award (Oscar) for Best Original Song — “Things Have Changed” (2001)

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Best Rock Vocal Performance, Male — “Gotta Serve Somebody” (1980)

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Best Rock Vocal Performance, Male — “Gotta Serve Somebody” (1980)

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Album of the Year — Time Out of Mind (1997)

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Album of the Year — Time Out of Mind (1997)

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Bob Dylan’s film work spans acting, directing, and soundtrack contributions. His projects blend surreal storytelling, music, and performance, reflecting his artistic experimentation beyond songwriting.

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I'm Not There (2007) and A Complete Unknown (2024) explore Bob Dylan’s elusive identity. The former uses multiple actors to reflect his shifting persona, while the latter follows Timothée Chalamet embodying Dylan, emphasizing his music, mystique, and artistic transformation.

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Songwriters Hall of Fame induction (1982)

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Songwriters Hall of Fame induction (1982)

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Bob Dylan was inducted into the Songwriters Hall of Fame in 1982. The honor recognized his profound influence on modern songwriting, celebrating his poetic lyrics, innovative storytelling, and enduring impact on generations of musicians across folk, rock, and popular music.

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The Songwriters Hall of Fame is dedicated and committed to honor and preserve the contributions and legacies of songwriters of all genres of music, while…

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Honorary Doctorate of Music from Princeton University (1970)

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Honorary Doctorate of Music from Princeton University (1970)

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In 1970, Bob Dylan received an honorary Doctorate of Music from Princeton University. The university praised his lyrical compositions of extraordinary power, recognizing his cultural impact. Dylan accepted the award reluctantly, revealing his complex feelings toward fame and formal recognition.

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Golden Globe Award — “Things Have Changed” (2001)

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Golden Globe Award — “Things Have Changed” (2001)

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Timothée Chalamet: Becoming Bob Dylan | Apple Music

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Timothée Chalamet: Becoming Bob Dylan | Apple Music

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"Bob wouldn't let himself be boxed in, which for me as a young artist, is the most inspiring."

"Playing Bob Dylan was ‘the greatest education a young artist could receive."

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The song’s poetic yet accessible lyrics captured the spirit of the civil rights movement establishing Dylan as a leading figure in the folk revivall. It transformed his public image from a Greenwich Village outcast into a national symbol of social conscience and protest.

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This Is The Movie I'm Proudest Of In My Career - Timothée Chalamet On "A Complete Unknown"

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This Is The Movie I'm Proudest Of In My Career - Timothée Chalamet On "A Complete Unknown"

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This Is The Movie I'm Proudest Of In My Career - Timothée Chalamet On "A Complete Unknown"

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How ‘I’m Not There’ captures the spirit of Bob Dylan

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How ‘I’m Not There’ captures the spirit of Bob Dylan

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How ‘I’m Not There’ captures the spirit of Bob Dylan

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Allen Ginsberg and Bob Dylan on Renaldo and Clara - The Allen Ginsberg Project

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Allen Ginsberg and Bob Dylan on Renaldo and Clara - The Allen Ginsberg Project

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Previously Unseen Bob Dylan Press Conference Uncut Interview 1986 Hearts Of Fire

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Previously Unseen Bob Dylan Press Conference Uncut Interview 1986 Hearts Of Fire

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Bob Dylan's band and the actors talking about Masked and Anonymous

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Bob Dylan's band and the actors talking about Masked and Anonymous

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Bob Dylan’s 1975–76 Rolling Thunder Revue was a free-spirited concert tour featuring artists like Joan Baez and Joni Mitchell. Mixing music, poetry, and performance, it captured 1970s counterculture through intimate shows, collaboration, and artistic experimentation.

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'Life isn't about finding yourself or finding anything," says Bob Dylan. "It's about creating yourself." At 78, the musician moves into a new phase of self-creation with this intriguing, fascinating, perplexing, sometimes exasperating film directed by Martin Scorsese - which is to say Scorsese has supervised a witty curatorial edit of archive film material, and in effect collaborated with Dylan in another artistic act of self-reshaping.

The film is about Dylan's Rolling Thunder Revue show of US and Canada in 1975 - a 57-date tour in which the troubadour appeared in whiteface makeup, with an extraordinary changing list of support acts that included Joan Baez, Joni Mitchell, Roger McGuinn, Ronee Blakley, "Ramblin'" Jack Elliott, Bob Neuwirth and the violinist Scarlet Rivera. And these weren't massive arenas he was playing, they were little halls and venues, with publicity sometimes limited to flyers handed out on the day to astonished denizens of the little towns in which the Ken Kesey-style tour bus would cheerfully roll up with the grinning Dylan at the wheel. Try to imagine it happening now.

What was it like for Dylan to be spearheading this event, a kind of musical rumour meandering through an America that was just recovering from the mortification of Watergate and gearing itself up as best it could for its bicentennial celebrations? "It was so long ago I wasn't even born," says the wry Dylan now with a shrug, and his interviewee appearances are all very funny, that voice as dry as prairie grass.

The film does not quite wish to tell you what it was like in any obvious way. There is something weird and mischievous going on. The concert footage and backstage scenes appear to be drawn from the same trove of archive material that formed the basis of Bob Dylan's lengthy and ill-fated 1978 film about the tour, Renaldo and Clara, which he co-wrote with the late Sam Shepard - who is interviewed here. Like that film, the Rolling Thunder Revue does have some personae who may not be, strictly speaking, factual. The footage is attributed to a certain dyspeptic film-maker who is actually the performance artist and comedian Martin Von Haselberg, husband of Bette Midler. A certain politician is interviewed and you may think: "Wait, that guy looks like the actor Michael Murphy." It is the actor Michael Murphy. Could it be that this is all a modern commedia dell'arte in which, with Scorsese's discreet assistance, Dylan is retreating behind masks, masks that might allow him to tell a higher truth?

Possibly. Scorsese drops further hints with clips from films concerned in various ways with theatrical performance: Georges Méliès's The Vanishing Lady (1893), Marcel Carné's Children of Paradise (1945) and Tony Gatlif's Latcho Drom (1993). Sometimes the creative semi-remembering is a bit opaque, and there were times when I could have done with some more straightforward documentary realism. But it's churlish to complain when this is all so gripping, both as a time capsule and as a showcase for Dylan's unique presence and glorious performances from Baez, Mitchell and also from Patti Smith who was not actually a member of the Rolling Thunder tour but is shown performing before it got started.

Allen Ginsberg is another intensely 70s figure shown here on tour, at once egotistical and yet deferring utterly to Dylan's majestic importance. There is a great interview with Sharon Stone, who appears to have gone briefly on tour with Rolling Thunder as a young woman and is (delicately) interviewed about her experiences - including bursting into tears when she discovered that Bob Dylan's Just Like a Woman was not, despite what he'd caddishly told Stone, based on her. Could it be that she was not the only young female fellow traveller on whom Bob used that line?

The emotional centre of the film is Dylan's protest song Hurricane, about the boxer Rubin "Hurricane" Carter who was falsely imprisoned for murder. That song, and the Rolling Thunder tour, were an important part of the momentum that overturned Carter's conviction - though he would not be finally released for another 10 years.

This is an immersive experience, like being plunged back into the 70s. There is passion there. No matter how chaotic or bleary things get, no one is in any doubt that the music counts.

This article was amended on 11 June 2019 to correct the spelling of Roger McGuinn's surname.

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Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese review - passion on tour

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This freewheeling doc hitches a ride in Dylan's '75 tourbus, with Joni Mitchell, Joan Baez and a young Sharon Stone in tow

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Bob Dylan’s Nobel Prize: The Case for Blonde on Blonde as Literature

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Bob Dylan’s Nobel Prize: The Case for Blonde on Blonde as Literature

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The singer-songwriter’s artistic journey took a literary leap on rock ’n’ roll’s first-ever double album.

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In 2008, Bob received a Pulitzer Prize Citation for transforming American music and culture with his poetic lyrics. As the first rock musician honored, he bridged literature and song, reshaping the landscape of popular music forever.

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Legendary singer becomes first artist to receive honour

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“The best thing out there”: Johnny Cash’s unbridled admiration for Bob Dylan

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“The best thing out there”: Johnny Cash’s unbridled admiration for Bob Dylan

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Any artist that's been around for a while can recognise when someone is being inauthentic. Some of the biggest names in rock and roll are based on quoting their own heart, and when there's someone there to collect a quick paycheck, or worse, trying to exploit other artists for their own personal gain, it doesn't take long for the titans of the genre to call them out on it. While Johnny Cash couldn't claim to be rock and roll in every sense of the word, he knew when someone was speaking their truth a lot better than he ever could.

Even if he wasn't purely rock and roll, Cash has been almost cultivated by the genre throughout his career. Everything that he made was as pure to country as most could get, but given how straightforward he was when speaking his mind, he may as well have been a punk before anyone knew what that genre even meant, especially when he got in trouble with drugs or got in trouble at the Grand Ole Opry for stomping out all the stage lights.

But the real appeal of Cash was never about what genre he fit into. It all came down to the songs he chose, and listening to him singing to those prisoners on albums like At Folsom Prison, you'd swear that he was talking to them like a friend before anything else, as if he knew every one of them personally and was more than happy to play the tunes that all of them had lived through.

Even when he pivoted more towards rock and roll with Rick Rubin, that 'Man in Black' character never changed. The idea of him playing songs like 'Personal Jesus' and 'Hurt' might have sounded strange, but now that he was at a stage of life when he focused on mortality, he was speaking directly to his higher power about the complicated feelings he had with religion and the desperate plea to repent for his sins.

If Cash was speaking about what everyday America was like during his prime, Bob Dylan was speaking for every man on the street asking questions. The US had never been perfect during the 1950s and 1960s, and while Cash might not have agreed with everything that Dylan talked about, he knew that his way with words was absolutely necessary for the country during the Vietnam era.

While Cash mistakenly thought Dylan was a country singer at the time, he couldn't deny that he was one of the finest musical poets to ever grace the stage, saying, "I realized somebody told me who he was - and I said, this is really unbelievable that he could get airplay singing that kind of music. I just heard a fresh approach to some old themes, but really done well with an insight that had never been put on record. I just loved his work, loved him. Always have. Still do. I think he's still the best thing out there."

Then again, Cash and Dylan weren't so different in the way they wrote songs or chose songs to cover. Each of them had their own rough back pages during their time in the spotlight, but hearing them sing songs like 'Give My Love to Rose' or 'Don't Think Twice It's All Right' showed the heart that they could have underneath it all.

And without Dylan to pave the way with songs like 'Masters of War' and 'A Hard Rain's A-Gonna Fall', perhaps Cash wouldn't have had the courage to write something as blunt as 'What Is Truth' and play it in front of Richard Nixon when he took office. Cash was undeniably proud to play country music to anyone within earshot, but sometimes it takes a Dylan figure to get every songwriter to dream bigger.

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Bob Dylan was "the best", according to Johnny Cash

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Johnny Cash has always been a staple of country music, but he could recognise when a rocker touched humanity on its wound.

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“Like a Rolling Stone” emerged from a long draft Dylan called “a rhythm thing” about alienation. Released mid-1965, its six-minute electric sound shocked his label but became a hit. The song redefined popular music, blending resentment with liberation.

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The performance sparked boos and controversy, marking a pivotal moment that transformed folk music and Dylan’s career forever.

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Jimi Hendrix talks Bob Dylan and the Right to be Different

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Jimi Hendrix talks Bob Dylan and the Right to be Different

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The Triumph Motorcycle that Bob Dylan crashed

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The Triumph Motorcycle that Bob Dylan crashed

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The Triumph motorcycle that Bob Dylan crashed - ALARM

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These photos from 1964-’65 show Bob Dylan on his 1964 Triumph Tiger.

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Bob Dylan owned a 1964 Triumph Tiger. Dylan infamously crashed this bike and stopped touring for eight years. “When I had that motorcycle accident…I woke up and caught my senses,” he said. “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.”

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Bob Dylan and Joan Baez shared a passionate relationship blending romance, music, and politics. Collaborating on tours and recordings, their bond fueled creativity yet faced tension from fame, differing ideals, and personal struggles, leaving a lasting, complex legacy.

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“He was not overly impressive. He looked like an urban hillbilly, with hair short around the ears and curly on top.”

- Joan Baez, And a Voice to Sing With: A Memoir

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Released in 2001, Love and Theft is Bob Dylan’s 31st studio album, blending blues, rockabilly, folk, and swing. Praised for its wit and storytelling, it reflects American history and humor, showcasing Dylan’s renewed creative energy and timeless songwriting mastery.

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Released in 2006, Modern Times is Bob Dylan’s 32nd studio album, mixing blues, folk, and rock with themes of love, politics, and history. Celebrated for its lyrical depth and vintage sound, it reaffirmed Dylan’s enduring influence and creative vitality.

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Bob Dylan has won 15 Grammy Awards, including 10 competitive and 5 honorary. Competitive wins include Best Rock Vocal Performance, Best Contemporary Folk Album, and Album of the Year. Honorary awards include the Grammy Lifetime Achievement Award and recognition for "Things Have Changed."

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In the late 1970s, Dylan underwent a Christian conversion, embracing born-again faith. This period influenced his albums Slow Train Coming, Saved, and Shot of Love, introducing gospel themes, spiritual lyrics, and a passionate, evangelical dimension to his music.

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On 2001's Love and Theft, Dylan claimed to have passages similar to lines from Confessions of a Yakuza, the memoir of a Japanese gangster by author Junichi Saga.

He was also accused of borrowing from Henry Timrod, a 19th Century poet who died in 1867, on his 2006 album Modern Times.

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Jimi Hendrix - Like A Rolling Stone: Live at Monterrey Pop (1967)

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Jimi Hendrix - Like A Rolling Stone: Live at Monterrey Pop (1967)

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"Knockin’ on Heaven’s Door" is a poignant ballad about mortality and resignation - written specifically about the death of Sheriff Colin Baker in the film. It's simple melody and heartfelt lyrics have made it one of Bob Dylan’s most enduring and popular songs.

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Guns N' Roses - Knockin' On Heavens Door Cover (1991)

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Guns N' Roses - Knockin' On Heavens Door Cover (1991)

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Bob Dylan’s Savage Takedown Of Guns N’ Roses

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Bob Dylan on Guns N' Roses cover (Clash)

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Bob Dylan on Guns N' Roses cover (Clash)

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Bob Dylan criticized Guns N’ Roses’ 1991 cover of his song “Knockin’ on Heaven’s Door,” dismissing it as a “desecration.” He expressed disdain for the band's style and their interpretation of his work.

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Bob Dylan’s Savage Takedown Of Guns N’ Roses | News | Clash Magazine Music News, Reviews & Interviews

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Bob Dylan’s work has been covered countless times, with everyone from Jimi Hendrix to Adele leaving their stamp on his catalogue. One group didn’t quite

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George Harrison - All Things Must Pass (1970)

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George Harrison - All Things Must Pass (1970)

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Bob Dylan co-wrote 'I'd Have You Anytime' and heavily inspired 'Behind That Locked Door' on George Harrison's critically acclaimed 'All Things Must Pass.'

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The Traveling Wilburys were a late-1980s supergroup featuring Bob Dylan, George Harrison, Tom Petty, Roy Orbison, and Jeff Lynne. Formed spontaneously, they released two albums, celebrating timeless songwriting and the joy of musical collaboration.

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Bob Dylan and George Harrison shared a deep musical friendship rooted in mutual respect. Meeting in the 1960s, they performed together consistently and heavily influenced each other’s songwriting.

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The group influenced music by reviving classic rock’s collaborative spirit. Their relaxed, joyful approach inspired future supergroups and cross-genre projects, proving veteran artists could create fresh, authentic music together, emphasising friendship, storytelling, and craftsmanship over commercial ambition or image.

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) https://t.co/Izn4wz3M6v

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) https://t.co/Izn4wz3M6v

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) pic.twitter.com/Izn4wz3M6v
— 🎸 Rock History 🎸 (@historyrock_) October 24, 2025

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) https://t.co/Izn4wz3M6v

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) https://t.co/Izn4wz3M6v

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George Harrison and Bob Dylan performing "If Not For You" almost without breaking eye contact (1971) https://t.co/Izn4wz3M6v

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Dyer, R. (1979). Stars. London: British Film Institute.

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Dyer, R. (1979). Stars. London: British Film Institute.

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Stars : Dyer, Richard : Free Download, Borrow, and Streaming : Internet Archive

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One of the pioneer sites on the Web dealing with Bob Dylan.

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One of the pioneer sites on the Web dealing with Bob Dylan.

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Lingen Show Review, Daily Dylan Lunch, Spare Ticket Corner