Traditional Folk (e.g., Bob Dylan, Woody Guthrie) -

Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

Traditional folk music, often characterized by its storytelling nature, simple melodies, and acoustic instrumentation, has a rich history that draws on the cultural and social experiences of everyday people. Bob Dylan and Woody Guthrie are two of the most significant figures in the American folk music scene, and their work embodies many of the key elements of traditional folk music.

Woody Guthrie (1912–1967) was a pioneering figure in American folk music, famous for his songs that captured the struggles of the working class and marginalized communities during the Great Depression and Dust Bowl. His most iconic song, “This Land Is Your Land,” embodies a patriotic, yet critical, view of America. Guthrie’s music reflected the folk tradition of using songs to comment on social issues, and his influence is still felt in folk music today.

Bob Dylan (born 1941) was inspired by Guthrie’s music and became one of the most important figures in 20th-century music. In the early years of his career, Dylan was known for his protest songs and his ability to blend traditional folk music with contemporary issues. Songs like “Blowin’ in the Wind” and “The Times They Are A-Changin’” became anthems for civil rights movements, anti-war activism, and societal change.

Both Dylan and Guthrie, while rooted in folk traditions, evolved and experimented with their sound over time, but their contributions to folk music have left an indelible mark on both the genre and American culture.

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What is Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

Traditional folk music refers to a genre that includes songs passed down through generations, often by oral tradition, and typically reflects the experiences, struggles, and values of common people. The music often centers on storytelling, with lyrics that narrate personal or historical events, and it is usually performed with acoustic instruments, such as the guitar, banjo, fiddle, and harmonica.

Characteristics of Traditional Folk:

Storytelling: Folk songs often tell stories about daily life, work, love, struggle, and social or political issues. The lyrics can be reflective, sometimes critical of society or governments, and often express personal or collective emotions.
Simple Structure: The melodies and harmonies in folk songs are typically straightforward, making the music accessible. Many folk songs are built on repetitive structures, which makes them easy to memorize and sing.
Acoustic Instruments: Traditional folk music is often performed with acoustic instruments like the guitar, banjo, mandolin, fiddle, and harmonica. The focus is on the voice and lyrics rather than on heavy instrumentation or production.
Cultural Roots: Folk music often reflects the cultural history and traditions of specific communities or regions. It may incorporate local dialects, themes, and issues relevant to the time and place from which it originates.

Bob Dylan and Woody Guthrie’s Place in Traditional Folk:

Both Bob Dylan and Woody Guthrie are widely regarded as two of the most important figures in the development of modern American folk music, though they also pushed the genre in new directions.

Woody Guthrie (1912–1967): A central figure in the American folk movement, Guthrie’s music often addressed the economic and social hardships of the time, particularly during the Great Depression. His most famous song, “This Land Is Your Land,” is both a celebration of and a critique of America, making it an anthem for the working class and marginalized groups. Guthrie’s style was deeply rooted in traditional folk, and he used his music as a tool for social activism.
Bob Dylan (born 1941): While Dylan started his career deeply immersed in the folk tradition, particularly influenced by Guthrie, his music evolved over time, incorporating elements of rock and other genres. In the early 1960s, Dylan’s folk music was filled with protest songs that addressed issues like civil rights, war, and social justice (e.g., “Blowin’ in the Wind,” “The Times They Are A-Changin’“). Dylan became a voice for social change, and his work bridged the gap between traditional folk music and contemporary concerns. His shift away from purely acoustic music into electric rock in the mid-1960s was a pivotal moment in the evolution of popular music.

Influence of Traditional Folk:

Traditional folk music has been a medium for conveying the collective voice of the people. Songs often address universal themes like love, loss, justice, and hope. Both Guthrie and Dylan played important roles in bringing these themes into the public consciousness and connecting them to larger societal movements. While their styles and sounds evolved, their roots in folk traditions — storytelling, simple melodies, and acoustic instrumentation — remained a foundational part of their music.

In summary, traditional folk music is a genre rooted in the lives of ordinary people, with songs passed down through generations to tell stories and reflect on social, cultural, and political themes. Figures like Woody Guthrie and Bob Dylan shaped the evolution of this genre by incorporating these elements into songs that spoke to the concerns of their time.

Who is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

When you ask “who is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie)?”, it seems like you’re asking about who is considered essential or influential in the context of traditional folk music, particularly regarding figures like Bob Dylan and Woody Guthrie. In this case, “required” could refer to the most influential artists or figures who have shaped the genre of traditional folk music.

Key Figures in Traditional Folk Music:

Woody Guthrie (1912–1967):
- Woody Guthrie is often seen as the father of modern American folk music. His songs were a direct reflection of the struggles of working-class Americans during the Great Depression, the Dust Bowl, and the early 20th century. Guthrie’s music was often political, advocating for labor rights, equality, and justice. His famous song “This Land Is Your Land” has become a staple of American folk music and highlights his signature style of blending social commentary with simple, singable tunes.
- Guthrie was an influence on countless musicians, including Bob Dylan, and his work continues to be a cornerstone of traditional folk music.
Bob Dylan (born 1941):
- Bob Dylan is one of the most influential musicians in the 20th century, and while he started in the folk tradition, his work expanded and evolved, influencing rock, pop, and protest music. In the early 1960s, Dylan’s politically charged songs such as “Blowin’ in the Wind” and “The Times They Are A-Changin’” became anthems for the Civil Rights Movement and anti-war protests.
- While Dylan eventually moved away from purely traditional folk (notably with his controversial electric guitar shift in 1965), his contributions to folk music were monumental, helping shape the genre’s role in the wider cultural and political movements of the 1960s and beyond.
Pete Seeger (1919–2014):
- Pete Seeger was another key figure in the American folk music revival, and his work was closely aligned with the social movements of the mid-20th century. Known for his activism and environmental advocacy, Seeger popularized many traditional folk songs and wrote his own, including “If I Had a Hammer” and “Where Have All the Flowers Gone.”
- Seeger helped bring folk music to a larger audience through performances and educational efforts, and his contributions helped preserve and modernize the genre.
Lead Belly (1888–1949):
- Huddie Ledbetter, known as Lead Belly, was an influential figure in traditional folk and blues music. His songs, often inspired by his life experiences, ranged from work songs to songs of social justice. “Goodnight Irene” is one of his best-known compositions.
- Lead Belly’s contributions to the folk tradition, particularly in the areas of folk blues and storytelling, helped lay the foundation for later folk musicians.
The Carter Family (formed in the 1920s):
- The Carter Family is one of the most important and influential groups in the history of American folk and country music. Known for songs like “Wildwood Flower” and “Keep on the Sunny Side,” their harmonies and distinctive sound helped shape what we think of as traditional American folk music. Their work blended Appalachian folk, gospel, and country music and had a lasting impact on both the folk and country music genres.

Why These Figures Are “Required” in Traditional Folk:

These musicians and groups are considered required in traditional folk because they not only helped to define the genre, but they also used folk music as a platform to address social and political issues, which became a hallmark of folk music’s power and relevance in society. They helped to:

Preserve and adapt folk traditions.
Use folk music as a form of social and political activism.
Shape the cultural landscape of their time.

Their influence is still felt today in both traditional folk music and contemporary genres that continue to address the human condition through music and storytelling.

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When is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

The question “When is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie)?” seems to be asking about the time period or era in which traditional folk music, as exemplified by artists like Bob Dylan and Woody Guthrie, was especially significant or influential.

Timeline of Traditional Folk and Key Moments:

Early 20th Century – Pre-Great Depression (1900s – 1930s):
- Traditional folk music has deep roots in American history, stretching back to the 19th century and earlier, with influences from African American spirituals, European immigrants, and indigenous music. However, Woody Guthrie’s rise to prominence in the 1930s marks a key moment in the evolution of folk as a political and social movement.
- Guthrie’s music, particularly during the Great Depression (1929–1939), captured the struggles of ordinary people and the disenfranchised. Songs like “This Land Is Your Land” were written during this time and reflect his vision of an America both full of potential and deeply flawed.
1940s and 1950s – The Folk Revival:
- Pete Seeger and others, inspired by Guthrie, began promoting folk music as a tool for social change. The 1940s and 1950s saw a revival of interest in traditional folk, largely driven by the labor movement, civil rights movement, and the rise of social awareness around inequality.
- Folk artists during this time focused on issues such as racial injustice, labor rights, and the struggles of working-class Americans.
1960s – The Folk Boom and Protest Music:
- The 1960s marked the height of folk music’s mainstream popularity, particularly due to the Civil Rights Movement and the Vietnam War. Folk musicians like Bob Dylan became symbols of protest and social change.
- Songs like Dylan’s “Blowin’ in the Wind” and “The Times They Are A-Changin’” became anthems for activists during this time.
- This was also the Folk Revival era, where young artists and college students embraced folk music as a means to connect with a tradition of protest and to articulate their opposition to societal injustices.
Late 1960s – Early 1970s:
- While the folk music scene continued to evolve through the 1960s, by the late 1960s, Bob Dylan famously shifted from acoustic, traditional folk to electric rock music, which marked a transition for both his career and the genre itself.
- Despite this shift, the folk genre continued to influence subsequent movements in rock and other genres, and its messages of social consciousness remained significant.
1980s to Today:
- Although folk music declined in mainstream popularity after the 1960s, its influence persisted in various forms. In the 1980s, the genre saw a resurgence in the American folk revival and a continued interest in folk’s political and storytelling roots.
- Artists like Bruce Springsteen, Emmylou Harris, and The Indigo Girls carried on folk’s legacy, often incorporating folk’s political themes into new contexts, such as labor struggles, environmentalism, and global issues.
- The 21st century has seen a blend of traditional folk with indie, bluegrass, and contemporary music, with artists like Iron & Wine, Mumford & Sons, and The Avett Brothers bringing folk influences into mainstream pop culture.

So, When is Traditional Folk “Required”?

Traditionally: Folk music has roots in many centuries, but its significant impact in the U.S. as a social, political, and cultural force began around the 1930s with figures like Woody Guthrie.
Peak influence: The genre reached its peak in the 1960s, when it became closely associated with political activism, civil rights, and anti-war movements, with Bob Dylan as a central figure.
Continued relevance: While folk music as a dominant genre may not have the same mainstream presence today, its legacy still influences modern music, particularly in terms of storytelling, social commentary, and acoustic instrumentation.

In summary, Traditional Folk music was “required” or most influential in the 1930s to 1960s but its impact and relevance continue today, especially in terms of its social, political, and cultural importance.

Would you like more information about how folk music influenced any particular time period or event?

COURTESY : Serega Bolonkin

Where is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

When asking “Where is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie)?”, it seems you’re interested in the places or regions where traditional folk music, as exemplified by figures like Bob Dylan and Woody Guthrie, has been most influential or significant. Let’s explore the geographic and cultural contexts in which folk music has thrived.

Key Locations of Traditional Folk Music:

1. United States:

The American Folk Tradition is the core of the traditional folk music associated with figures like Woody Guthrie and Bob Dylan. The U.S. has been the birthplace of some of the most well-known folk songs, particularly those that address social and political issues.
- Woody Guthrie: Guthrie’s music reflects the struggles of working-class Americans during the Great Depression and the Dust Bowl in places like Oklahoma (where he was from) and the migrant camps in California. His song “This Land Is Your Land” celebrates the American landscape, while also critiquing the inequality within it.
- Bob Dylan: Dylan, originally from Minnesota, moved to New York City in the early 1960s, where he became a central figure in the Greenwich Village folk scene. Greenwich Village, especially places like Cafe Wha? and The Bitter End, became cultural hubs for folk musicians and activists.
- The American South: Folk music traditions were particularly strong in the southern U.S., influencing not only Guthrie and Dylan but also musicians like Lead Belly and The Carter Family. The South has been a key region for the development of folk, blues, and country music.

2. Appalachian Region (Eastern U.S.):

The Appalachian Mountains have long been a center of folk music, particularly due to its isolation and the preservation of traditional cultural practices. The region’s folk music blends English, Scottish, Irish, and African American musical traditions.
This area was home to influential folk groups such as The Carter Family, who helped shape early American folk music. The region’s folk songs often reflect themes of rural life, work, love, and hardship.

3. The United Kingdom (and Ireland):

Traditional folk music has deep roots in the United Kingdom and Ireland. While this is not the same as the American folk tradition, many early folk songs that were later adapted in the U.S. came from the UK and Ireland.
Irish folk music influenced the American folk scene, especially in the Appalachian region, due to Irish immigrants settling in the U.S. and bringing their musical traditions with them. Irish songs of struggle and storytelling were adapted into the American folk canon.

4. Global Influence:

Folk music, in its various forms, exists around the world, with each culture having its own tradition of storytelling through song. For example, folk music traditions in Africa, Latin America, and Eastern Europe have similarly used songs to address social, political, and cultural issues.
While figures like Woody Guthrie and Bob Dylan are deeply rooted in the American folk tradition, their impact also resonated globally, inspiring movements in other countries that sought to use music for political change.

5. Folk Music Venues in Major U.S. Cities:

New York City (Greenwich Village): This was the epicenter of the American folk music revival in the late 1950s and 1960s. Bob Dylan and other folk musicians found a home in clubs like The Gaslight Café and Café Wha?, where they connected with a community of like-minded artists and activists.
Chicago and San Francisco: These cities also became significant locations for folk music during the 1960s, with a strong tradition of political activism and a vibrant counterculture that embraced folk music.
Los Angeles: While not as central to the folk revival as New York or San Francisco, Los Angeles played a significant role in shaping folk and later folk-rock music through artists like Joni Mitchell and The Byrds, who were influenced by the folk movement.

Where Folk Music “Lives” Today:

While traditional folk music has largely moved from the mainstream spotlight, it lives on in smaller folk festivals, local music scenes, and through revivals in places like:
- Folk festivals around the world, such as the MerleFest in North Carolina, Celtic Connections in Scotland, and Woodstock, NY (which became famous as a music festival venue in the 1960s).
- Revitalized folk music scenes in cities like Nashville (known for its rich country and folk traditions), Austin (famous for its live music culture), and Portland, where folk and acoustic musicians continue to find community.
- University campuses and community gatherings often embrace folk music as a tool for political and social engagement, continuing the legacy of protest music from the 1960s.

Conclusion:

Traditional folk music, as exemplified by figures like Bob Dylan and Woody Guthrie, is most notably tied to American culture, particularly in regions like the Appalachian Mountains, New York City (Greenwich Village), and California during the Great Depression and Civil Rights eras. However, the genre has global roots, with influences from the United Kingdom, Ireland, and other regions shaping the broader folk tradition.
Today, folk music continues to thrive in local communities, festivals, and alternative music scenes, where its themes of social justice, personal storytelling, and activism remain relevant.

Would you like to explore the legacy of folk music in a specific location or see how it’s being used today?’

How is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

When you ask “How is required Traditional Folk (e.g., Bob Dylan, Woody Guthrie)?”, it seems like you’re inquiring about how traditional folk music (such as that from Bob Dylan and Woody Guthrie) has influenced or continues to manifest today. Let’s explore how traditional folk is represented and sustained in modern times, and how figures like Dylan and Guthrie shaped its enduring qualities.

1. How Traditional Folk Music Is Crafted:

Traditional folk music, as exemplified by artists like Woody Guthrie and Bob Dylan, is known for its simple, acoustic instrumentation and narrative-driven lyrics. Here’s how these key elements shape folk music:

Storytelling: Folk music is built around stories—whether about love, hardship, social issues, or political struggle. Guthrie’s songs like “This Land Is Your Land” and Dylan’s “Blowin’ in the Wind” are not just melodies; they are vehicles for conveying messages about human experience and social justice.
Acoustic Instruments: The sound of folk is typically raw and unpolished, using instruments like the guitar, banjo, harmonica, and fiddle. This simplicity in instrumentation allows the focus to stay on the lyrics and message of the song, rather than on complex arrangements or production.
Accessible and Direct Lyrics: Both Guthrie and Dylan wrote lyrics that were easy to understand and direct in their meaning, which helped make folk music resonate with everyday people. Folk music often spoke for the marginalized and addressed social issues in ways that were accessible to all listeners.

2. How Folk Music Is Still Relevant:

While the mainstream popularity of folk music may have waned since its heyday in the 1960s, the essence of folk music continues to shape many aspects of contemporary music and culture:

Modern Folk Revivals: Folk music has experienced several revivals. After the 1960s Folk Revival, which was closely linked to political and social movements like the Civil Rights Movement and anti-Vietnam War protests, folk music experienced a resurgence in the 2000s through artists such as Iron & Wine, Mumford & Sons, The Avett Brothers, and Laura Marling. These artists, while incorporating new styles, still draw on folk’s core values: storytelling, acoustic instruments, and addressing contemporary social issues.
Protest Music: Dylan and Guthrie’s music was deeply political, and the tradition of using music to protest and advocate for change continues today. Modern folk artists like Ben Harper, Billy Bragg, and Bruce Springsteen still use their music to speak out against injustice, war, and inequality, much like Guthrie and Dylan did in their time.
Folk Festivals and Community Engagement: Folk festivals (like MerleFest in North Carolina and Celtic Connections in Scotland) remain popular today, where musicians celebrate the genre and perform for passionate audiences. These festivals often highlight both traditional folk and newer folk-inspired genres, keeping the culture alive.
Social Media and Streaming: In today’s digital age, folk music has found new ways to be heard. Streaming platforms and social media give independent folk artists a voice and an audience in ways that weren’t available to Guthrie and Dylan. Folk music’s direct, personal expression is a natural fit for platforms like YouTube and Bandcamp, where artists can share intimate, acoustic performances.

3. How Is Folk Music Used Today?:

Folk music’s enduring power comes from its ability to reflect the social issues of its time. Here’s how folk music continues to be relevant today:

Social and Political Activism: Much like the 1960s folk revival, modern folk artists continue to use their music to highlight issues like social inequality, climate change, racial justice, and immigration. For example, Hozier’s song “Take Me to Church” touches on issues of religious hypocrisy and LGBTQ+ rights, while Rhiannon Giddens uses her folk-based music to address issues of race and history in America.
Personal and Emotional Storytelling: Folk music continues to be a platform for personal storytelling, whether it’s about love, loss, or everyday life. Artists like Sufjan Stevens and Phoebe Bridgers incorporate folk influences into their work, blending folk with indie and alternative sounds to create highly personal, emotive music that connects with contemporary audiences.
Cross-Genre Collaboration: Folk music often intersects with other genres. Indie rock, bluegrass, and country artists still draw inspiration from traditional folk. Bands like The Lumineers and Fleet Foxes incorporate folk elements into their sound, making the genre more accessible to younger listeners who might not have experienced the political folk of the 1960s.

4. How Folk Music Influences Modern Songwriting:

Folk music’s influence is also seen in the way modern songs are written:

Lyrics as a Reflection of Society: The folk tradition of addressing social issues continues in popular music today. Bob Dylan’s influence can be seen in artists like Kendrick Lamar and Bruce Springsteen, who use their music to speak to the struggles of ordinary people, politics, and social issues.
Acoustic and Minimalist Styles: The stripped-down, acoustic approach of folk music is also embraced in modern pop, indie, and rock music. Artists like Ed Sheeran and The Lumineers use simple, raw arrangements and focus on storytelling, continuing the folk tradition of “less is more.”

Conclusion:

The traditional folk music pioneered by artists like Woody Guthrie and Bob Dylan is still alive and well today, though it has evolved and adapted to new contexts. It continues to influence modern music by focusing on simple, acoustic instrumentation, storytelling, and addressing social and political issues. Folk music remains a powerful tool for social change and personal expression, and it has found a place in both the mainstream and independent music scenes.

Folk’s enduring relevance lies in its ability to speak directly to the heart of human experiences, both past and present. Whether through protest anthems or personal ballads, folk music remains a vital part of our cultural landscape.

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Case study is Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

A case study of Traditional Folk music, specifically focusing on artists like Bob Dylan and Woody Guthrie, allows us to explore how these figures contributed to the evolution of the genre and its impact on social, political, and cultural movements. Let’s break down their contributions, the significance of their work, and the lasting legacy of traditional folk music.

Case Study: Traditional Folk Music Through Bob Dylan and Woody Guthrie

1. Background: The Emergence of Traditional Folk Music

Traditional folk music has roots in rural communities and working-class populations, often passed down orally through generations. Its simple, direct style of storytelling addresses common life experiences, struggles, and societal issues.
In the early 20th century, folk music was largely focused on regional traditions, with performers playing songs about daily life, work, love, and hardship.
During the Great Depression and the Dust Bowl, folk music evolved to become a tool for social commentary, capturing the plight of the poor, displaced, and disenfranchised.

2. Woody Guthrie: The Voice of the Working Class

Woody Guthrie (1912–1967) is often considered the father of modern American folk music. His music directly addressed the struggles of the working class, especially during the Great Depression and the Dust Bowl era.Key Contributions:
- Political Activism Through Music: Guthrie’s music became a voice for the marginalized. His iconic song “This Land Is Your Land” was written as a response to the social inequalities and government failures Guthrie observed during the 1930s. Though the song is often sung as a patriotic anthem, its verses also critique the disparity between America’s idealized image and the reality of poverty.
- Simplicity and Accessibility: Guthrie’s style was simple and accessible, allowing ordinary people to connect with his music. His lyrics often depicted the harsh realities of life, providing solidarity to those facing economic hardship.
- Influence on Social Movements: Guthrie’s music helped to influence labor movements and social activism in the 1930s and 1940s. His songs, including “Union Maid” and “Do Re Mi”, were directly tied to organizing workers and fighting for workers’ rights.

3. Bob Dylan: The Voice of a Generation

Bob Dylan (born 1941) is arguably the most famous and influential figure in American folk music after Guthrie. Dylan emerged as a major force in the 1960s, particularly during the height of the Civil Rights Movement and the anti-Vietnam War protests. His ability to blend folk music with social and political commentary made him a central figure in the folk revival.Key Contributions:
- Protest and Social Justice: Dylan’s songs captured the spirit of protest and activism that defined the 1960s. Songs like “Blowin’ in the Wind” and “The Times They Are A-Changin'” became anthems of the civil rights movement and anti-war movements. These songs asked questions about justice, freedom, and peace, often calling for change.
- Folk and Political Protest: Dylan was more than just a songwriter; he became a symbol of the counterculture of the 1960s. His music was adopted by activists, and his role as a spokesperson for social change solidified his place in history.
- Shift to Rock and Roll: In 1965, Dylan famously “went electric” at the Newport Folk Festival, marking a departure from traditional folk music. While this alienated some of his folk-based fans, it also signaled the evolution of folk music into new genres like folk rock and protest rock.

4. Traditional Folk Music and Social Impact

Folk music in the 20th century, especially through the works of Guthrie and Dylan, became a medium for cultural resistance and political change.
Guthrie’s and Dylan’s ability to address real-world issues through music resonated deeply with their audiences. Both artists used their platform to speak for the powerless, giving a voice to those struggling with economic inequality, racism, and war.Examples of Social Impact:
- The Civil Rights Movement: Songs like Dylan’s “Blowin’ in the Wind” became anthems of the Civil Rights Movement, advocating for change and calling for racial equality.
- Labor Rights: Guthrie’s songs like “Union Maid” gave a voice to labor activists, supporting union organizing and workers’ rights during a time of intense economic struggle.
- Anti-Vietnam War Protest: Dylan’s music also found resonance among those protesting the Vietnam War. His lyrics expressed dissent against government policies and the horrors of war.

5. The Folk Revival and Legacy of Guthrie and Dylan

The folk revival of the 1950s and 1960s saw an increase in the popularity of folk music, driven in large part by the political climate of the time. Bob Dylan and other artists like Joan Baez and Pete Seeger helped revitalize folk music, making it a central part of the counterculture.
Even after Dylan shifted toward rock music in the mid-1960s, his influence remained strong in the folk scene, and his songs continued to inspire generations of musicians.Legacy:
- Modern Folk and Protest Music: The impact of Guthrie and Dylan can still be felt in modern folk and protest music. Contemporary artists like Bruce Springsteen, The Indigo Girls, Ani DiFranco, and Ben Harper continue to use folk music as a tool for activism and social commentary.
- Cultural Influence: Folk music, especially in the form of protest music, has become a part of the broader cultural conversation, influencing not just music, but literature, film, and art that addresses social justice issues.
- Folk Festivals: Festivals like MerleFest in North Carolina, Woody Guthrie Folk Festival in Oklahoma, and others celebrate folk traditions, continuing the work of Guthrie and Dylan by promoting the stories and struggles of everyday people through music.

Conclusion:

The case study of Woody Guthrie and Bob Dylan reveals the deep connection between traditional folk music and social change. Both artists used their music to address political, social, and cultural issues, giving voice to the marginalized and speaking out against injustice. Their work continues to resonate today, showing how folk music can act as a mirror to society, reflecting its struggles and its hopes for change.

By understanding their music, we can appreciate how traditional folk music is not just a genre but a living form of expression, connected to the times in which it is created and the people who listen to it. Folk music, through Guthrie and Dylan, has helped define the cultural and political landscape of the 20th century and continues to influence modern music and activism today.

Would you like to explore specific songs from Guthrie or Dylan and their impact on particular social movements?

COURTESY : James K Baxter

White paper on Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

White Paper: The Legacy and Impact of Traditional Folk Music: A Study of Bob Dylan, Woody Guthrie, and Their Contributions

Executive Summary

Traditional folk music has long served as a powerful medium for social and political expression. Throughout the 20th century, figures such as Woody Guthrie and Bob Dylan shaped the evolution of this genre, using it as a tool for protest, personal storytelling, and social commentary. This white paper explores the origins, significance, and ongoing relevance of traditional folk music, with a focus on the works and influence of Guthrie and Dylan. By examining the historical context, musical characteristics, and cultural impact of their work, this paper highlights the enduring legacy of folk music in contemporary culture and its continued role in addressing social issues.

Introduction

Traditional folk music has its roots in the rural, working-class communities of both the United States and abroad, where it evolved as a means of passing down stories, preserving cultural practices, and expressing collective experiences. In the United States, the genre became intertwined with the broader political and social landscape, particularly during times of crisis. Two key figures, Woody Guthrie and Bob Dylan, stand out as pioneers who harnessed folk music’s power to address the issues of their time.

This paper examines the influence of these two artists and their impact on the folk music tradition, providing insights into their role in shaping political protest, social movements, and the development of modern folk.

1. The Historical Context of Folk Music

Folk music, in its earliest form, served as a form of communal expression—singing about the lives, struggles, and joys of the common people. Over time, traditional folk music developed regional variations, heavily influenced by the lives and experiences of specific communities.

Key Factors Influencing Folk Music:

The Industrial Revolution: As rural populations migrated to cities for work, folk music began to adapt to urban themes, with stories focused on labor, poverty, and migration.
The Great Depression: In the 1930s, the economic downturn created widespread poverty and displacement, providing fertile ground for folk musicians to address issues of social injustice.
Civil Rights and War Protests: By the 1950s and 1960s, folk music became deeply involved in the fight for civil rights and opposition to the Vietnam War, mirroring the larger political movements of the time.

2. Woody Guthrie: The Voice of the Disenfranchised

Woody Guthrie (1912–1967) is widely considered one of the foundational figures of American folk music. His music, grounded in the working-class struggle, sought to give a voice to those affected by economic hardship, discrimination, and injustice.

Key Contributions:

“This Land Is Your Land”: Guthrie’s most famous song, which was written in 1940, is a perfect example of folk music’s power to both uplift and critique. While often viewed as a patriotic anthem, the song also includes verses that critique the economic inequality and discrimination experienced by many Americans, particularly during the Dust Bowl and Great Depression.
Protest Songs and Labor Rights: Guthrie’s songs were central to the labor movement of the 1930s. Songs like “Union Maid” were written in support of workers’ rights and collective action, becoming rallying cries for unions and labor activists across the country.
Cultural Impact: Guthrie’s influence extended far beyond his own era. He inspired subsequent generations of folk artists, including Bob Dylan, Pete Seeger, and others who followed in his footsteps. His commitment to social justice and his portrayal of the struggles of working-class America made him a voice for the oppressed and the marginalized.

3. Bob Dylan: The Voice of a Generation

Bob Dylan (born 1941) rose to prominence in the early 1960s and became the quintessential folk artist of the countercultural revolution. While Dylan’s early work was heavily influenced by Guthrie and traditional folk music, his career trajectory took him into new musical territory, blending folk with rock, blues, and other genres.

Key Contributions:

Protest Music and Civil Rights: Dylan’s 1962 anthem “Blowin’ in the Wind” became one of the most iconic protest songs of the Civil Rights Movement, asking questions about peace, freedom, and justice. The song resonated with activists and was embraced by civil rights leaders such as Dr. Martin Luther King Jr., who used it in speeches and protests.
The Times They Are A-Changin’: Dylan’s 1963 song “The Times They Are A-Changin’” captured the essence of a generation seeking social, political, and cultural change. Its call for social reform and empowerment provided a rallying cry for the youth of the 1960s.
Shift to Rock and Folk-Rock: In 1965, Dylan famously “went electric,” a move that alienated some folk purists but also signaled the evolution of folk into other genres, like folk rock and protest rock. His transition to electric music marked a turning point in the integration of folk’s social consciousness with the broader music landscape.
Enduring Influence: Dylan’s legacy continues to influence modern music, particularly within the folk and protest traditions. Artists such as Bruce Springsteen, The Clash, and Neil Young have cited Dylan as a key inspiration for their politically charged songwriting.

4. The Political and Social Impact of Folk Music

The works of both Guthrie and Dylan demonstrate how folk music can be a tool for social change. Folk artists have historically used their music to address issues such as racial inequality, poverty, and war, creating an intersection between music and activism.

Protest Music: Guthrie and Dylan were not just songwriters; they were advocates for change. Guthrie’s songs were sung by labor organizers and activists fighting for workers’ rights, while Dylan’s songs became anthems for the Civil Rights Movement and anti-Vietnam War protests. Their music gave people a voice and provided a soundtrack for political activism.
Cultural Preservation: Folk music also serves as a vehicle for preserving and sharing cultural traditions. Both Guthrie and Dylan maintained strong connections to the folk tradition, keeping alive the art of storytelling through song and passing down critical messages of social justice, hope, and unity.
Global Influence: The influence of Guthrie and Dylan was not confined to the United States. Their music spread worldwide, particularly to countries grappling with issues of inequality, oppression, and social unrest. Folk music has remained a global language of protest and personal expression.

5. The Legacy of Folk Music Today

Though folk music is no longer as dominant in mainstream culture as it once was, its legacy endures in both contemporary music and social movements.

Modern Folk Revival: In recent years, artists like Iron & Wine, Mumford & Sons, and The Avett Brothers have revived elements of traditional folk, blending them with modern sensibilities. These artists continue the tradition of storytelling and social engagement while appealing to newer generations of listeners.
Folk as a Form of Protest: Folk music remains a vital part of contemporary activism. Artists like Ben Harper, Ani DiFranco, and Brandi Carlile continue to use their music to address issues of social justice, gender equality, and environmentalism.
Folk Festivals and Cultural Hubs: The enduring popularity of folk festivals, such as the Woody Guthrie Folk Festival and MerleFest, demonstrates the lasting appeal of folk music. These festivals not only celebrate the tradition of folk but also provide a platform for modern folk artists to share their work with new audiences.

6. Conclusion

Traditional folk music, as exemplified by Woody Guthrie and Bob Dylan, has had a profound impact on the development of American music and culture. Their work transcended the boundaries of entertainment to become a critical tool for social change. By addressing the issues of their time, both Guthrie and Dylan helped to shape the political and cultural landscape of the 20th century.

Today, their influence remains strong, with folk music continuing to evolve and inspire new generations of musicians and activists. As a reflection of the human experience, folk music will likely remain a powerful vehicle for social engagement, personal expression, and cultural preservation.

Recommendations for Future Research

Further exploration of modern folk music movements: Investigate how contemporary folk artists are continuing the work of Guthrie and Dylan in the context of global social movements.
Folk music and digital platforms: Study how streaming services and social media are shaping the accessibility and distribution of folk music.
Cross-cultural influences: Examine how folk music from different cultures interacts with Western folk traditions, drawing comparisons between protest music from various parts of the world.

This white paper provides an overview of the timelessness of traditional folk music, showing how its values continue to shape modern music and culture. The role of figures like Woody Guthrie and Bob Dylan in this evolution remains integral to understanding the power of music as both an art form and a tool for social change.

Industrial application of Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

Industrial Application of Traditional Folk Music (e.g., Bob Dylan, Woody Guthrie)

Traditional folk music, particularly through iconic figures like Bob Dylan and Woody Guthrie, has influenced not only the world of music and culture but also various industrial sectors, such as entertainment, education, marketing, and social movements. This white paper explores how traditional folk music, its themes, and its ethos can be applied in modern industrial contexts, focusing on how businesses, organizations, and industries have utilized the legacy of folk music for various purposes.

1. Entertainment Industry

The entertainment industry has long been influenced by traditional folk music, with both Bob Dylan and Woody Guthrie leaving a lasting legacy. Their work and the genre itself have significant applications across film, television, and live performances, as well as influencing the creation of new music genres.

a. Film and Television Soundtracks

Folk Music in Soundtracks: Traditional folk music, particularly songs like “This Land Is Your Land” (Woody Guthrie) or “Blowin’ in the Wind” (Bob Dylan), has found its place in films and television series. These songs, with their storytelling nature and historical weight, evoke powerful emotional connections that complement themes of social justice, change, and collective struggle.
- Example: The use of Dylan’s music in films like “Watchmen” and “The Big Chill”, or Guthrie’s songs in documentaries and period films about the Great Depression and civil rights movements, shows how folk music supports storytelling and narrative framing in visual media.

b. Live Performances and Concerts

Folk Concerts and Festivals: Folk music continues to have strong commercial appeal. The folk music revival movement and folk festivals (such as MerleFest and Woody Guthrie Folk Festival) have become significant industries in themselves. These events are not only celebrations of folk tradition but also have significant economic impacts, from ticket sales to regional tourism.
- Example: Bob Dylan’s 1965 “Electric Tour”, which helped merge folk with rock music, impacted the concert industry by demonstrating the commercial power of merging folk’s social messaging with popular music styles.

c. Music Licensing and Commercial Advertising

Folk Music in Advertising: Modern companies and organizations leverage folk music to evoke a sense of nostalgia, simplicity, and authenticity in their advertising. The folk genre is often used in commercials to communicate values like community, individual empowerment, and social consciousness, which resonates with both younger and older generations.
- Example: The use of Bob Dylan’s “The Times They Are A-Changin’” in Chrysler’s Super Bowl Commercial (2014), which highlighted themes of change and American resilience, demonstrated how folk music can be applied in branding to connect emotionally with consumers.

2. Education Industry

Folk music, with its rich history, narrative structure, and cultural significance, plays a key role in educational settings. Folk songs, like those written by Guthrie and Dylan, are used as both teaching tools and as an entry point into historical, cultural, and social studies.

a. Curriculum and Pedagogy

Teaching Social Studies and History: Folk songs provide an accessible way to teach about American history, especially social movements, political upheaval, and cultural changes. Dylan’s songs, for instance, offer a way to engage students in discussions about the Civil Rights Movement, the Vietnam War, and social justice.
- Example: Teachers use Guthrie’s songs to explore the Great Depression’s impact on the United States, discussing themes of economic inequality and migration, as well as the labor movement. Similarly, Dylan’s music is often incorporated into curriculum to discuss the 1960s protest culture.

b. Music Education

Folk Music in Music Education: Folk music offers a foundation for teaching basic music theory, instrumentation, and song structure. Many folk songs, with their simple melodies and harmonies, are used as a way to teach children and young adults to play instruments like the guitar, banjo, and harmonica.
- Example: Music educators often use Guthrie’s and Dylan’s songs to teach rhythm, chord progressions, and lyrical composition due to the straightforward structures of their music.

c. Cultural Preservation

Folk Music as Cultural Heritage: In regions or communities where folk traditions are integral to local culture, folk music is used to preserve and share indigenous stories and cultural practices. Educational programs leverage folk music to teach about the cultural histories and values of various groups.
- Example: Schools and community programs, especially in rural areas, use traditional folk music as a way to preserve local heritage and share the collective experiences of past generations.

3. Social and Political Movements

Folk music’s legacy as a tool for protest and social change makes it a valuable asset in modern social and political movements. The songs of Bob Dylan and Woody Guthrie were central to pivotal social movements of the 20th century, and their work continues to inspire activism today.

a. Advocacy and Social Justice

Folk Music for Political Campaigns and Movements: The themes of justice, equality, and solidarity inherent in folk music make it an effective medium for political campaigns and advocacy groups. Modern activists use folk-inspired songs to rally communities around causes such as racial justice, environmentalism, and workers’ rights.
- Example: Organizations like Greenpeace, Black Lives Matter, and The Sierra Club use folk-inspired anthems to mobilize grassroots action, drawing on the legacy of Guthrie’s and Dylan’s music in their campaigns.

b. Non-Profit Sector Engagement

Non-Profit Campaigns: Non-profits, especially those focused on poverty alleviation, civil rights, and environmental advocacy, use folk music to raise awareness and build community. Folk music’s accessible, participatory nature encourages collective engagement and action.
- Example: Events like Farm Aid, which supports American family farmers, regularly feature folk artists and singers like Willie Nelson and John Mellencamp, aligning their music with social causes rooted in the American agricultural crisis.

c. Community Organizing

Grassroots Activism: Folk music’s deeply rooted connection to community organizing makes it a key tool in grassroots movements. Many folk songs, including those by Guthrie and Dylan, have been adopted by local activists to unite people in the fight for social change.
- Example: The Occupy Wall Street Movement used folk-based protest songs and chants as part of their demonstrations against economic inequality and corporate greed, following in the footsteps of past social justice movements.

4. Digital and Online Platforms

In the age of digital media, traditional folk music, including the work of Dylan and Guthrie, finds its application in online platforms and streaming services, providing a way for the genre to evolve and engage new audiences.

a. Streaming and Distribution

Modern Folk Artists: Platforms like Spotify, Apple Music, and YouTube allow new folk artists to share their work globally. This gives the legacy of Dylan and Guthrie a new platform to reach younger, tech-savvy audiences who may not otherwise engage with traditional folk music.
- Example: Artists like Mumford & Sons, The Lumineers, and Iron & Wine draw heavily from folk influences and are among the most-streamed artists on modern platforms, signaling that the traditional folk ethos is still commercially viable in the digital age.

b. Social Media Campaigns

Viral Activism through Folk Music: Folk music’s association with protest and activism makes it a natural fit for viral social media campaigns. By repurposing traditional folk songs or creating new folk-inspired pieces, social media platforms like TikTok, Instagram, and Twitter have become critical tools in raising awareness for social causes.
- Example: During protests like those surrounding Black Lives Matter or climate change, protestors have used folk songs like “This Land Is Your Land” to convey messages of unity and resistance, spreading these songs through digital media platforms to amplify their impact.

5. Conclusion

Traditional folk music, particularly the works of Woody Guthrie and Bob Dylan, offers a wide range of industrial applications that continue to be relevant in today’s world. From entertainment and education to social activism and digital platforms, the cultural, social, and political power of folk music remains significant. The themes of justice, solidarity, and resistance embedded in folk music provide a valuable foundation for addressing contemporary issues and building collective movements across industries.

As traditional folk music continues to evolve and adapt to new mediums, its industrial application will likely expand, bridging cultural and social divides, continuing its legacy as a force for change, and ensuring its continued relevance for future generations.

Research and development of Traditional Folk (e.g., Bob Dylan, Woody Guthrie) ?

Research and Development of Traditional Folk Music (e.g., Bob Dylan, Woody Guthrie)

Executive Summary

The research and development (R&D) of Traditional Folk Music, especially through the work of artists like Woody Guthrie and Bob Dylan, encompasses a broad spectrum of musical, historical, and cultural exploration. These artists have not only preserved and advanced the genre but have also served as pivotal figures in influencing modern social movements and contemporary music. This paper will delve into the historical roots of traditional folk music, its evolution, its R&D within the contexts of modern music studies, and its ongoing influence in various industries.

1. Origins and Evolution of Traditional Folk Music

Traditional folk music has its roots in the oral storytelling traditions of rural communities, where songs served as a vehicle for sharing stories, values, and histories. These songs often dealt with daily life, hardships, cultural practices, and political events. Folk music was characterized by its accessibility, simplicity, and relevance to ordinary people’s experiences.

Key Stages of Evolution:

Pre-20th Century Folk Music: Originating in rural, agrarian societies, folk music was passed down through generations, often without written notation. The songs would evolve based on regional dialects, storytelling traditions, and personal adaptations.
The Folk Revival (1930s-1950s): The social upheavals of the Great Depression and the rise of labor movements created fertile ground for a resurgence of folk music. Artists like Woody Guthrie began to write songs that addressed issues of economic disparity, injustice, and displacement, framing folk music as a tool for political and social change.
The 1960s Folk Renaissance: Artists like Bob Dylan further modernized folk music, incorporating elements of rock and blues while continuing to address political and social issues such as the Civil Rights Movement, anti-Vietnam War protests, and social inequality. Dylan’s blend of folk and rock spurred a broader countercultural movement, which influenced later musicians in the 1960s and beyond.

2. Key Research Areas in Folk Music

The development and academic research surrounding traditional folk music focus on various dimensions, including music theory, cultural preservation, and the role of folk music in social movements. Here are several key areas of ongoing research and exploration in folk music studies:

a. Musical Characteristics and Theory

Musicology of Folk Songs: Scholars study the musical structure of folk music to understand the distinct characteristics that define it, such as melodic simplicity, repetition, short verses, and basic harmonic progressions. This research helps to distinguish folk from other genres like classical music, blues, and rock.
- Example: Musicologists have examined how Dylan’s use of traditional folk structures in combination with poetic lyrics transformed folk music into an avenue for complex social commentary.
Instrumentation and Performance: The instruments commonly used in folk music, such as the guitar, banjo, and harmonica, are often central to the development of folk music styles. Research into the evolution of these instruments and their role in live performance has led to a deeper understanding of folk traditions and their relationship to different social contexts.
- Example: The transition of folk music from acoustic to electric in Bob Dylan’s 1965 Newport Folk Festival performance was a turning point in the genre, demonstrating how the development of technology and instrumentation influenced its evolution.

b. Cultural and Historical Context

Folk Music as Cultural Expression: Folk songs often represent the cultural identity of communities. Researchers study how songs reflect the values, struggles, and traditions of the people who create them. This includes examining the songs of Guthrie and Dylan within the context of the Great Depression, Civil Rights Movement, and anti-war protests.
- Example: Woody Guthrie’s songs, such as “This Land Is Your Land”, were deeply influenced by his experiences during the Great Depression and the Dust Bowl, offering both a reflection of his own experiences and a social critique of the economic and political systems of the time.
Folk Music in Social Movements: Research into the role of folk music in social movements has been a major area of study, as folk songs have often served as anthems for political and social change. The connection between protest music and grassroots organizing is a key research area, especially regarding the impact of folk songs on movements like labor rights, civil rights, and anti-war protests.
- Example: Bob Dylan’s “The Times They Are A-Changin’” became a rallying cry for the civil rights movement and anti-Vietnam War protests in the 1960s.

c. Folk Music as a Reflection of Modern Society

Modern Interpretations and Adaptations: Researchers are increasingly interested in how contemporary artists reinterpret and adapt traditional folk music. This includes examining the influence of folk on indie rock, alternative music, and the folk revival in the 21st century.
- Example: Modern artists like The Lumineers, Mumford & Sons, and Iron & Wine blend folk influences with contemporary pop, rock, and indie styles, sparking renewed interest in the genre while maintaining the socially conscious themes that defined the genre in its earlier years.
Globalization and Folk Music: Folk music is not confined to one geographic region or culture. Research into the globalization of folk reveals how folk music influences and is influenced by different cultures and traditions, especially as folk music has spread and adapted globally.
- Example: The impact of folk music from the U.S. has extended globally through artists like Dylan, while musicians around the world have adapted folk traditions to address their own social and political contexts. This has led to a global folk movement that merges influences from different traditions.

3. Technological and Industrial Development in Folk Music

The technological evolution of recording, distribution, and performance has had a significant impact on the way folk music is developed and consumed. Key advancements in these areas have allowed folk music to evolve in both artistic and industrial ways.

a. Recording Technology

Recording Innovations: The ability to record and distribute folk music on a larger scale has had a transformative impact on the genre. The introduction of vinyl records, tape recorders, and digital recording technologies has allowed folk music to reach a wider audience.
- Example: The advent of electric recording allowed Bob Dylan to move beyond the traditional acoustic folk sound, incorporating electrified instruments into his performances and recordings, notably on albums like “Bringing It All Back Home” (1965).

b. Digital Platforms and Streaming Services

Folk Music on Digital Platforms: The rise of streaming services such as Spotify, Apple Music, and YouTube has reshaped the way folk music is consumed. These platforms provide a global stage for artists to share their music and reach diverse audiences.
- Example: Streaming platforms allow for the rediscovery of classic folk music from artists like Woody Guthrie and Bob Dylan while giving modern folk musicians access to a vast audience. Moreover, digital platforms help sustain the genre by providing artists with the tools for self-promotion, distribution, and fan engagement.

c. Live Performance and Folk Music

Technological Advancements in Live Shows: While folk music is often associated with acoustic instruments and intimate settings, advances in sound engineering and live streaming have expanded the reach of live performances. Artists can now perform in global venues or stream performances to audiences around the world.
- Example: Bob Dylan’s concerts and festivals such as MerleFest have become major events, benefiting from high-quality sound systems and the global connectivity provided by online streaming services.

4. Ongoing Development of Folk Music in Research and Practice

The study and practice of traditional folk music continue to evolve as both academic and creative sectors explore new frontiers. This includes developing programs for the preservation of folk traditions, continuing the dialogue about political engagement through music, and advancing the digital tools necessary to record and distribute music across diverse platforms.

a. Folk Music Preservation Initiatives

Archival Research: Ongoing research seeks to preserve traditional folk music through archival projects. Institutions like the Smithsonian Folkways and The Library of Congress continue to collect and digitally preserve folk recordings for future generations.
Example: The Woody Guthrie Archives work to digitize and catalog Guthrie’s extensive catalog of songs, writings, and materials, ensuring that his legacy remains accessible for future generations of scholars and artists.

b. Folk Music in Cultural Institutions

Cultural Institutions and Folk Music: Universities and music conservatories around the world continue to teach folk music theory and history, advancing knowledge and research into the genre’s social, cultural, and political significance.
- Example: Programs dedicated to American folk music at institutions like The University of North Carolina at Chapel Hill or The University of Minnesota continue to promote research on the works of artists like Guthrie and Dylan, exploring both their musical contributions and their broader cultural impact.

Conclusion

The research and development of traditional folk music, particularly through the works of Bob Dylan and Woody Guthrie, continues to play a vital role in shaping contemporary music and culture. The genre’s focus on social justice, community building, and political engagement resonates in various modern contexts, from academic studies and cultural preservation to technology-driven music distribution and global music movements. Folk music’s enduring influence, coupled with ongoing research into its cultural significance and modern adaptations, ensures its continued relevance in the future.

By understanding the historical, social, and technological aspects of folk music, both scholars and artists can continue to expand the genre’s impact on modern society, ensuring that it remains a powerful force for both artistic expression and social change.

COURTESY : Bob Dylan

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^ A year earlier, Irwin Silber, editor of Sing Out!, had published an “Open Letter to Bob Dylan”, criticizing Dylan’s stepping away from political songwriting: “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 1964, quoted in Shelton, p. 313. This letter has been mistakenly described as a response to Dylan’s 1965 Newport appearance.
^ Sing Out!, September 1965, quoted in Shelton, p. 313.
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^ Jump up to:^a ^b ^c “Bruce Springsteen Inducts Bob Dylan”. Rock and Roll Hall of Fame. 1988.
^ Gill, pp. 87–88.
^ Polizzotti identifies Charlie McCoy on guitar and Russ Savakus on bass as the musicians, see Polizzotti, Highway 61 Revisited, p. 133
^ Gill, p. 89.
^ Larkin, 1985, All What Jazz: A Record Diary, p. 151.
^ Heylin (1996), pp. 80–81
^ Sounes, pp. 189–190.
^ Heylin (1996), pp. 82–94
^ Heylin (2000), pp. 238–243.
^ “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; reprinted in Cott, Dylan on Dylan: The Essential Interviews, p. 204.
^ Gill, p. 95.
^ Jump up to:^a ^b Sounes, p. 193.
^ Shelton, p. 325.
^ Heylin (2000), pp. 244–261.
^ “The Bootleg Series, Vol. 4: The “Royal Albert Hall” Concert”. Rolling Stone. October 6, 1998. Retrieved January 25, 2020.
^ Dylan’s dialogue with the Manchester audience is recorded (with subtitles) in Martin Scorsese’s documentary No Direction Home
^ Heylin (2011), p. 251.
^ Heylin (2011), p. 250.
^ Rolling Stone, November 29, 1969. Reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, p. 140.
^ Jump up to:^a ^b ^c Sounes, pp. 217–219.
^ Jump up to:^a ^b Scherman, Tony (July 29, 2006). “The Bob Dylan Motorcycle-Crash Mystery”. American Heritage. Archived from the original on November 6, 2006. Retrieved June 18, 2014.
^ Heylin (2000), p. 268.
^ Dylan, Chronicles: Volume One p. 114.
^ Heylin (1996), p. 143.
^ Sounes, p. 216.
^ Lee, pp. 39–63.
^ Sounes, pp. 222–225.
^ Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, p. 280.
^ Jump up to:^a ^b ^c ^d “Columbia Studio A, Nashville, Tennessee, John Wesley Harding sessions”. Bjorner’s Still On the Road. Retrieved November 10, 2008.
^ Heylin (2000), pp. 282–288.
^ Heylin (2011), p. 289.
^ Shelton, p. 463.
^ Gill, p. 140.
^ Shelton (2011), p. 273.
^ Bjorner, Olof (November 21, 2015). “5th Nashville Skyline session, 18 February 1969”. bjorner.com. Retrieved October 31, 2016.
^ “Johnny Cash and Bob Dylan record ‘One Too Many Mornings'”. YouTube. February 18, 1969. Retrieved October 31, 2016.
^ Jump up to:^a ^b Langer, Adam (November 3, 2020). “Bob Dylan’s First Musical Had a Devil of a Time”. The New York Times. Retrieved February 15, 2024.
^ Sounes, pp. 248–253.
^ Marcus, Greil (June 8, 1970). “Self Portrait”. Rolling Stone.
^ Ford, Mark (May 14, 2011). “Bob Dylan: Writings 1968–2010 by Greil Marcus”. The Guardian. London. Retrieved August 20, 2011.
^ Christgau, Robert. “Self Portrait”. robertchristgau.com. Retrieved May 2, 2010.
^ Shelton, p. 482.
^ Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume One, pp. 414–415.
^ Heylin (2009), pp. 391–392.
^ Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, pp. 195–198.
^ Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, pp. 264–6.
^ Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, p. 325.
^ Spitzer, Mark (November 27, 2013). “Tarantula”. bobdylan.com. Retrieved March 12, 2024.
^ Heylin (1996), p. 128.
^ Gray (2006), pp. 342–343.
^ Heylin (2000), pp. 328–331.
^ 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, pp. 66–67.
^ Björner, Olof. “Dylan covers sorted by song name: k”. bjorner.com. Retrieved June 11, 2012.
^ Artists to have covered the song include Bryan Ferry, Wyclef Jean and Guns N’ Roses. “Dylan’s Legacy Keeps Growing, Cover By Cover”. NPR Music. June 26, 2007. Retrieved October 1, 2008.
^ “Letters of Note” Archived October 31, 2016, at the Wayback Machine, November 18, 2010
^ Heylin (2011), p. 360
^ Heylin (2011), pp. 352–354
^ Heylin (2011), pp. 354–360
^ Sounes, pp. 273–274.
^ Heylin (2000), p. 354.
^ Heylin (2000), p. 358.
^ Shelton, p. 378.
^ Heylin (2011), p. 358
^ Shelton (1986), p. 436
^ Heylin (2000), pp. 368–383.
^ Daniel, Anne Margaret (January 1, 2019). “Bob Dylan’s Three “Blood on the Tracks” Notebooks: Not Just Red”. No Depression. Retrieved April 18, 2022.
^ Heylin (2000), pp. 369–387.
^ Jump up to:^a ^b Heylin (2000), p. 383.
^ “Bob Dylan”. Salon. May 5, 2001. Retrieved September 7, 2008.
^ “Log of every performance of “Hurricane””. Bjorner’s Still on the Road. August 20, 2006. Retrieved July 7, 2013.
^ Kokay, Les via Olof Björner (2000). “Songs of the Underground: a collector’s guide to the Rolling Thunder Revue 1975–1976“. Retrieved February 18, 2007.
^ Sloman, Larry (2002). On The Road with Bob Dylan. Three Rivers Press. ISBN 978-1-4000-4596-9.
^ Gray (2006), p. 579.
^ Heylin (2000), pp. 386–401.
^ Gray (2006), p. 408.
^ Maslin, Janet (January 26, 1978). “Renaldo and Clara, Film by Bob Dylan: Rolling Thunder”. The New York Times. Retrieved May 24, 2019.
^ Sounes, p. 313.
^ Lee, pp. 115–116.
^ Fear, David (November 25, 2020). “Why The Band’s ‘The Last Waltz’ Is The Greatest Concert Movie of All Time”. Rolling Stone.
^ Jump up to:^a ^b Sounes, pp. 314–316.
^ Christgau, Robert. “Robert Christgau: Bob Dylan”. Robertchristgau.com. Retrieved August 4, 2010.
^ Maslin, Janet (July 12, 1979). “Bob Dylan at Budokan”. Rolling Stone. Retrieved August 4, 2010.
^ Heylin (2000), p. 483.
^ Heylin (2011), pp. 479–481.
^ Gray (2006), p. 643.
^ Heylin (2000), pp. 480–481.
^ Barker (2019), Bob Dylan Anthology, Volume 3. p. 357.
^ Howard Sounes (September 30, 2011). Down The Highway: The Life Of Bob Dylan. Random House. pp. 324–325. ISBN 978-1-4464-6475-5.
^ Jump up to:^a ^b ^c McCarron, Andrew (January 21, 2017). “The year Bob Dylan was born again: a timeline”. Oxford University Press. Retrieved January 24, 2017.
^ Clinton Heylin (April 1, 2011). Behind the Shades: The 20th Anniversary Edition. Faber & Faber. pp. 494–496. ISBN 978-0-571-27241-9.
^ 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
^ Heylin (2000), pp. 501–503.
^ Björner (June 8, 2001). “Omaha, Nebraska, January 25, 1980”. Bjorner’s Still On The Road. Retrieved September 11, 2008.
^ Sounes, pp. 334–336.
^ Rosen, Robert (2002). Nowhere Man: The Final Days of John Lennon. Quick American Archives. p. 137. ISBN 978-0-932551-51-1.
^ Holden, Stephen (October 29, 1981). “Rock: Dylan, in Jersey, Revises Old Standbys”. The New York Times. p. C19. Retrieved May 12, 2010.
^ Gray (2000), p. 11.
^ John Joseph Thompson (2000). Raised by Wolves: The Story of Christian Rock & Roll. ECW Press. pp. 73–. ISBN 978-1-55022-421-4.
^ Gray (2006), pp. 215–221.
^ Costello, Elvis. “Elvis Costello’s 500 Must-Have Albums, from Rap to Classical”. Vanity Fair.
^ Gray (2000), pp. 11–14.
^ Gray (2006), pp. 56–59.
^ Sounes, pp. 354–356.
^ Jump up to:^a ^b Sounes, p. 362.
^ “Steven Van Zandt Tells The Story Of ‘Sun City’ And Fighting Apartheid In South Africa”. Fast Company. December 13, 2013. Retrieved May 14, 2017.
^ Sounes, p. 367.
^ Sounes, pp. 365–367.
^ Erlewine, Stephen Thomas. “Biograph Review”. allmusic.com. Retrieved February 28, 2024.
^ Bell, 2013, Time Out of Mind: The Lives of Bob Dylan. p. 31.
^ Gray (2006), p. 63
^ Erlewine, Stephen Thomas. “Knocked Out Loaded”. AllMusic. Retrieved May 2, 2010.
^ Heylin (2000), p. 595.
^ Gray (2006), pp. 95–100.
^ Erlewine, Stephen Thomas (July 27, 1989). “Dylan & The Dead”. AllMusic. Retrieved September 10, 2009.
^ Heylin (1996), pp. 297–299.
^ Sounes, pp. 376–383.
^ Heylin (2000), pp. 599–604.
^ Jump up to:^a ^b Sounes, p. 385.
^ Jump up to:^a ^b Gray (2000), p. 13.
^ Heylin (2000), pp. 627–628.
^ Heylin (2000), pp. 638–640.
^ Ricks, pp. 413–420.
^ 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.
^ Gray (2006), p. 174.
^ Sounes, p. 391.
^ Heylin, 2000, Bob Dylan: Behind the Shades Revisited, pp. 661–665.
^ Sounes, 2001, Down The Highway: The Life Of Bob Dylan, pp. 396–398.
^ Cott (ed.), 2006, Dylan on Dylan: The Essential Interviews, p. 421.
^ Jump up to:^a ^b Greene, Andy (November 18, 2016). “Bob Dylan Before the Nobel: 12 Times He Publicly Accepted an Honor”. Rolling Stone. Retrieved August 25, 2017.
^ Jump up to:^a ^b ^c ^d Rolling Stone Encyclopedia of Rock & Roll. 2001.
^ Heylin (2000), pp. 664–665.
^ Bell, 2012, Once Upon a Time: The Lives of Bob Dylan., p. 101.
^ Erlewine, Thomas (April 10, 2004). “World Gone Wrong”. Allmusic.com. Retrieved February 1, 2020.
^ Gray (2006), p. 423.
^ Sounes, pp. 408–409.
^ Heylin (2009), pp. 100–101.
^ Heylin (2000), p. 693.
^ Heylin (2000), p. 697.
^ Sounes, p. 420.
^ Sounes, p. 426.
^ Jump up to:^a ^b Ross, Alex (May 2, 1999). “The Wanderer”. The New Yorker.
^ “1997 Grammy Winners”. grammy.com. April 10, 2015. Retrieved May 6, 2020.
^ Docx, Edward. “Beyond Mr. Tambourine Man: 80 Bob Dylan songs everyone should know”. The Guardian.
^ Du Noyer, Paul (February 1998). “Cash for questions”. Q #137. p. 16.
^ “274. Written among the Euganean Hills, North Italy. P. B. Shelley. The Golden Treasury”. www.bartleby.com. Retrieved February 12, 2023. 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;
^ “The Academy of Motion Pictures Arts and Science – 2000 Awards”. awardsdatabase.oscars.org/. Archived from the original on April 7, 2014. Retrieved April 12, 2013.
^ Gray (2006), pp. 556–557.
^ “Love and Theft“. Entertainment Weekly. October 1, 2001. Archived from the original on October 12, 2008. Retrieved September 7, 2008.
^ “Best Contemporary Folk Album”. awardsandshows.com. Retrieved February 20, 2024.
^ This is a reprint of the article from The Wall Street Journal cited in next footnote.“Did Bob Dylan Lift Lines From Dr Saga?”. California State University, Dear Habermas. July 8, 2003. Archived from the original on July 24, 2008. Retrieved September 29, 2011.
^ “Did Bob Dylan Lift Lines From Dr Saga?”. The Wall Street Journal. July 8, 2003. Retrieved September 29, 2011.
^ Dylan co-wrote Masked & Anonymous under the pseudonym Seregei Petrov, taken from an actor in the silent movie era; Larry Charles used the alias Rene Fontaine. Gray (2006), p. 453.
^ “Masked and Anonymous critic reviews”. Metacritic. February 2, 2003. Retrieved February 16, 2024.
^ Scott, A. O. (July 24, 2003). “Film Review; Times They Are Surreal In Bob Dylan Tale”. The New York Times. Archived from the original on May 1, 2013. Retrieved October 4, 2008.
^ Zacharek, Stephanie (July 24, 2003). “Dylan in darkest America”. Salon. Retrieved November 19, 2015.
^ Motion, Andrew. “Masked and Anonymous“. Sony Classics. Retrieved September 7, 2008.
^ Maslin, Janet (October 5, 2004). “So You Thought You Knew Dylan? Hah!”. The New York Times. p. 2. Archived from the original on April 6, 2005. Retrieved September 7, 2008.
^ Gray (2006), pp. 136–138.
^ Warmuth, Scott (May 16, 2011). “Bob Dylan and the Matter of TIME”. swarmuth.blogspot.com. Retrieved October 14, 2024.
^ Heylin, Clinton, 2023, The Double Life of Bob Dylan: Volume 2: 1966–2021 Far Away From Myself, p. 678.
^ Heylin, Clinton, 2023, The Double Life of Bob Dylan: Volume 2: 1966–2021 Far Away From Myself, p. 683.
^ “No Direction Home: Bob Dylan, A Martin Scorsese Picture”. PBS. June 29, 2006. Retrieved February 12, 2024.
^ “American Masters, No Direction Home”. peabodyawards.com. Retrieved October 1, 2014.
^ “Past duPont Award Winners”. The Journalism School, Columbia University. 2007. Archived from the original on December 1, 2010. Retrieved September 7, 2008.
^ Stephen Thomas Erlewine (February 7, 2015). “The Bootleg Series, Vol. 7: No Direction Home – The Soundtrack“. AllMusic. Retrieved March 28, 2015.
^ “Theme Time Radio Hour With Bob Dylan”. BBC Radio 6 Music. November 30, 2009. Retrieved February 6, 2011.
^ “Theme Time Radio playlists”. Not Dark Yet. Retrieved September 7, 2008.
^ Teachout, Terry (June 21–22, 2008). “Bob Dylan’s Day Job: A ’60s troubadour turns postmodern disc jockey”. The Wall Street Journal.
^ Sawyer, Miranda (December 31, 2006). “The Great Sound of Radio Bob”. The Observer. UK. Retrieved September 7, 2008.
^ Watson, Tom (February 16, 2007). “Dylan Spinnin’ Those Coool Records”. New Critics. Archived from the original on February 19, 2007. Retrieved February 18, 2007.
^ Hinckley, David (April 19, 2009). “Bob Dylan’s Theme Time Radio Hour: His time might be up”. Daily News. New York. Retrieved May 16, 2009.
^ Petridis, Alex (August 28, 2006). “Bob Dylan’s Modern Times“. The Guardian. UK. Retrieved September 5, 2006.
^ “Modern Times”. Metacritic. Retrieved September 7, 2008.
^ “Dylan gets first US number one for 30 years”. NME. UK. September 7, 2006. Retrieved September 11, 2008.
^ Jump up to:^a ^b Rich, Motoko (September 14, 2006). “Who’s This Guy Dylan Who’s Borrowing Lines from Henry Timrod?”. The New York Times. Retrieved September 29, 2011.
^ “Complete list of 2006 Grammy winners”. Baltimore Sun. February 9, 2006.
^ “Rolling Stone Albums of the Year 2006”. Rock List Music. Archived from the original on July 23, 2010. Retrieved May 17, 2017.
^ “Modern Times, Album of the Year, 2006″. Uncut. December 16, 2006. Archived from the original on February 6, 2007. Retrieved September 11, 2008.
^ Gundersen, Edna (December 1, 2006). “Get The Box Set with ‘One Push of a Button'”. USA Today. Retrieved September 25, 2008.
^ “Dylan 07“. Sony BMG Music Entertainment. August 1, 2007. Archived from the original on September 15, 2008. Retrieved September 7, 2008.
^ “What’s Bob Dylan Doing In A Victoria’s Secret Ad?”. Slate. April 12, 2004. Retrieved September 16, 2008.
^ “Dylan, Cadillac”. XM Radio. October 22, 2007. Archived from the original on March 12, 2008. Retrieved 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”.
^ Michaels, Sean (January 30, 2009). “Bob Dylan to appear with Will.I.Am in Pepsi advertisement”. The Guardian. UK. Retrieved May 2, 2010.
^ Gundersen, Edna (July 29, 2008). “Dylan Reveals Many Facets on ‘Tell Tale Signs'”. USA Today.
^ Cairns, Dan (October 5, 2008). “Tell Tale Signs”. The Sunday Times. London. Archived from the original on May 4, 2009. Retrieved October 6, 2008.
^ Gray, Michael (August 14, 2008). “Tell Tale Signs Pt. 3, Money Doesn’t Talk …” Bob Dylan Encyclopedia. Retrieved May 29, 2023.
^ “Reviews of Tell Tale Signs“. Metacritic. Retrieved October 26, 2008.
^ Jurek, Thom (October 29, 2008). “The Bootleg Series, Vol. 8: Tell Tale Signs – Rare and Unreleased 1989–2006“. AllMusic. Retrieved July 12, 2013.
^ Flanagan, Bill (April 10, 2009). “Bob Dylan talks about the new album with Bill Flanagan”. bobdylan.com. Archived from the original on April 25, 2011. Retrieved March 30, 2012.
^ Erlewine, Stephen Thomas. “Together Through Life”. AllMusic. Retrieved May 1, 2010.
^ “Together Through Life”. Metacritic. April 29, 2009. Retrieved April 29, 2009.
^ Gill, Andy (April 24, 2009). “Bob Dylan’s Together Through Life”. Salon. London. Retrieved April 28, 2009.
^ Caulfield, Keith (May 6, 2009). “Bob Dylan Bows Atop Billboard 200”. Billboard. Retrieved May 7, 2009.
^ Erlewine, Stephen Thomas. “Christmas In The Heart”. AllMusic. Retrieved May 1, 2010.
^ Gundersen, Edna (October 13, 2009). “Bob Dylan takes the Christmas spirit to ‘Heart'”. USA Today. Retrieved June 1, 2011.
^ “CAFAmerica to distribute royalities(sic) from Bob Dylan’s Christmas album to Crisis”. UK Fundraising. December 14, 2009. Retrieved December 19, 2009.
^ “Christmas In the Heart”. Metacritic. October 16, 2009. Retrieved October 16, 2009.
^ Flanagan, Bill (November 28, 2009). “Bob Dylan gives interview to The Big Issue”. music-news.com. Retrieved March 26, 2010.
^ Caligiuri, Jim (December 31, 2010). “The Witmark Demos: 1962–1964 The Bootleg Series Vol. 9 (Columbia)”. austinchronicle.com. Retrieved July 12, 2013.
^ “The Witmark Demos, 1962–1964”. Metacritic. Retrieved October 29, 2010.
^ “The Original Mono Recordings”. bobdylan.com. October 19, 2010. Retrieved June 11, 2012.
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^ “Bob Dylan in Concert – Brandeis University 1963 Now Available”. bobdylan.com. February 16, 2011. Retrieved March 17, 2015.
^ “Bob Dylan und die Revolution der populären Musik”. Johannes Gutenberg Universität Mainz. April 29, 2011. Archived from the original on April 1, 2011. Retrieved May 27, 2011.
^ “Refractions of Dylan – Cultural Appropriations of an American Icon”. dylanvienna.at. May 12, 2011. Retrieved May 27, 2011.
^ “The Seven Ages of Dylan”. University of Bristol. May 15, 2011. Retrieved May 27, 2011.
^ Topping, Alexandra (May 24, 2011). “Bob Dylan at 70”. The Guardian. London. Retrieved May 27, 2011.
^ Lewis, Randy (September 10, 2012). “‘Tempest’ and Bob Dylan’s voice for the ages”. Los Angeles Times. Retrieved September 11, 2012.
^ Greene, Andy (July 17, 2012). “First Details of Bob Dylan’s Upcoming Album ‘Tempest'”. Rolling Stone. Retrieved July 18, 2012.
^ Hermes, Will (August 30, 2012). “Tempest”. Rolling Stone. Retrieved September 7, 2012.
^ “Another Self Portrait Press Release” (PDF). expectingrain.com. July 16, 2013. Retrieved September 12, 2013.
^ Jurek, Thom (August 27, 2013). “Another Self Portrait (1969–1971): The Bootleg Series, Vol. 10”. AllMusic. Retrieved September 12, 2013.
^ Erlewine, Stephen (November 9, 2013). “Bob Dylan: The Complete Albums Collection, Vol. 1”. AllMusic. Retrieved November 9, 2013.
^ “Bob Dylan to release huge, career-spanning box set”. NME. September 26, 2013. Retrieved September 30, 2013.
^ Greene, Andy (November 19, 2013). “Bob Dylan Goes Interactive in ‘Like a Rolling Stone’ Clip”. Rolling Stone. Retrieved September 25, 2015.
^ Edwards, Gavin (November 20, 2013). “Inside Bob Dylan’s Brilliant ‘Like a Rolling Stone’ Video”. Rolling Stone. Retrieved November 21, 2013.
^ Gabler, Neal (February 4, 2013). “Dylan – The Times Have Changed”. Reuters. Archived from the original on February 22, 2014. Retrieved February 6, 2014.
^ Clothier, Mark (February 3, 2014). “Bob Dylan’s Chrysler Super Bowl 2014 ad stirs rockstar sellout debate”. Financial Post. BloombergNews. Retrieved February 3, 2014.
^ Kozinn, Allan (October 7, 2014). “The Most of Bob Dylan”. The New York Times. Retrieved October 11, 2014.
^ Seligson, Susan. “In the Service of Bob Dylan’s Genius”. Boston University. Retrieved February 28, 2015.
^ Greene, Andy (August 26, 2014). “Bob Dylan’s Complete, Legendary ‘Basement Tapes’ Will Be Released”. Rolling Stone. Retrieved August 27, 2014.
^ Heylin, Clinton (October 30, 2014). “Bob Dylan’s Back Pages: The Truth Behind the Basement Tapes”. The Guardian. Retrieved November 4, 2014.
^ Barry, John W. “By way of Bob Dylan and The Band, Hudson Valley’s Grammy glory grows”. Poughkeepsie Journal.
^ “The Basement Tapes Complete: The Bootleg Series Vol. 11”. metacritic.com. Retrieved July 9, 2020.
^ Jump up to:^a ^b Turner, Gustavo (January 24, 2015). “The secret Sinatra past of Bob Dylan’s new album”. Los Angeles Times. Retrieved February 3, 2015.
^ Bauder, David (January 29, 2015). “Bob Dylan’s late-night disc”. Associated Press. Archived from the original on February 3, 2015. Retrieved February 3, 2015.
^ Jump up to:^a ^b Petridis, Alexis (January 29, 2015). “Shadows in the Night review – an unalloyed pleasure”. The Guardian. Retrieved February 3, 2015.
^ Prince, Bill (February 1, 2015). “Shadows in the Night review”. GQ. Archived from the original on February 2, 2015. Retrieved February 3, 2015.
^ Greene, Andy (December 9, 2014). “Bob Dylan Will ‘Uncover’ Frank Sinatra Classics on New Album”. Rolling Stone. Retrieved December 10, 2014.
^ McCormick, Neil (January 23, 2015). “Bob Dylan, Shadows in The Night, review: ‘extraordinary'”. The Daily Telegraph. Retrieved February 3, 2015.
^ “Bob Dylan scores eighth UK Number 1 album”. Official Charts Company. February 8, 2015. Retrieved February 9, 2015.
^ Greene, Andy (September 24, 2015). “Inside Bob Dylan’s Massive New Sixties Bootleg Series Trove”. Rolling Stone. Retrieved September 25, 2015.
^ “The Cutting Edge 1965 – 1966: The Bootleg Series Vol. 12 Collector’s Edition”. bobdylan.com. September 24, 2015. Retrieved November 24, 2015.
^ Rutherford, Kevin (November 18, 2015). “Bob Dylan Scores First No. 1 on Top Rock Albums From Long-Running ‘Bootleg Series'”. Billboard. Retrieved November 19, 2015.
^ Jump up to:^a ^b Brown, Helen (May 13, 2016). “Bob Dylan, Fallen Angels, review – ‘inhabiting classics with weathered ease'”. The Daily Telegraph. Retrieved May 20, 2016.
^ Farber, Jim (May 17, 2016). “Bob Dylan’s “Fallen Angels”: EW Review”. Entertainment Weekly. Retrieved May 20, 2016.
^ Lewis, Randy (September 27, 2016). “All of Bob Dylan’s 1966 live shows in 36-CD box set due Nov. 11”. Los Angeles Times. Retrieved September 28, 2016.
^ Erlewine, Stephen Thomas (November 11, 2016). “The 1966 Live Recordings”. AllMusic. Retrieved December 2, 2016.
^ “”Bob Dylan: The 1966 Live Recordings” to be Released in November”. bobdylan.com. September 27, 2016. Archived from the original on September 30, 2016. Retrieved September 28, 2016.
^ Sisario, Ben (November 10, 2016). “Dylan’s 1966 Tapes Find a Direction Home”. The New York Times. Retrieved November 11, 2016.
^ “Bob Dylan’s First Three-Disc Album – Triplicate – Set For March 31 Release”. bobdylan.com. January 31, 2017. Archived from the original on February 1, 2017. Retrieved January 31, 2017.
^ Dylan, Flanagan (March 22, 2017). “Q & A with Bill Flanagan”. bobdylan.com. Retrieved March 24, 2017.
^ “Triplicate critic reviews”. Metacritic. March 31, 2017. Retrieved March 31, 2017.
^ Jump up to:^a ^b Greene, Andy (September 20, 2017). “Bob Dylan’s New Bootleg Series Will Spotlight Gospel Period”. Rolling Stone. Retrieved September 20, 2017.
^ Pareles, Jon (November 1, 2017). “Bob Dylan’s Songs for the Soul, Revisited and Redeemed”. The New York Times. Archived from the original on November 2, 2017. Retrieved November 5, 2017.
^ “Universal Love: Album of Reimagined Love Songs Features Artistic Vision of Bob Dylan, Kesha, Benjamin Gibbard, St. Vincent, Valerie June and Kele Okereke”. MGM Resorts. April 5, 2018. Retrieved May 2, 2018.
^ Jump up to:^a ^b Aswad, Jem (April 5, 2018). “Bob Dylan Records ‘He’s Funny That Way’ for LGBT-Themed EP”. Variety. Retrieved May 2, 2018.
^ Farber, Jim (April 5, 2018). “Bob Dylan Sings About Gay Love”. The New York Times. Retrieved May 2, 2018.
^ Sisario, Ben (April 28, 2018). “Bob Dylan’s Latest Gig: Making Whiskey”. The New York Times. Retrieved May 2, 2018.
^ Daniel, Anne Margaret (September 22, 2020). “Bob Dylan, Whisk(e)y, And A New “Theme Time Radio Hour””. annmargaretdaniel.com. Retrieved October 23, 2020.
^ Greene, Andy (September 20, 2018). “Bob Dylan Plots Massive ‘Blood On The Tracks’ Reissue for Latest ‘Bootleg Series'”. Rolling Stone. Retrieved September 20, 2018.
^ Willman, Chris (January 10, 2019). “Bob Dylan, Martin Scorsese Reunite for Rolling Thunder Film, Coming to Netflix in 2019″. Variety. Retrieved April 20, 2019.
^ Willman, Chris (April 25, 2019). “Martin Scorsese’s Rolling Thunder Bob Dylan Doc Hits Netflix June 12 (Exclusive)”. Variety. Retrieved March 31, 2020 – via news.yahoo.com.
^ Gleiberman, Owen (June 15, 2019). “Why Did Martin Scorsese Prank His Audience in ‘Rolling Thunder Revue’? Even He May Not Know”. Variety. Retrieved July 1, 2019.
^ Powers, Ann (June 10, 2019). “To Capture Bob Dylan’s Rolling Thunder Revue, Martin Scorsese Had To Get Weird”. NPR.
^ Blistein, Jon (April 30, 2019). “Bob Dylan Details 14-Disc Rolling Thunder Revue Box Set”. rollingstone.com. Retrieved May 1, 2019.
^ “Rolling Thunder Revue: The 1975 Live Recordings [Box Set]“. metacritic.com. June 7, 2019. Retrieved June 8, 2019.
^ Morris, Chris (October 31, 2019). “Album Review: Bob Dylan’s ‘Travelin’ Thru: The Bootleg Series Vol. 15, 1967–1969′”. Variety.com. Retrieved November 5, 2019.
^ “Bob Dylan (Featuring Johnny Cash) – Travelin’ Thru, 1967 – 1969: The Bootleg Series Vol. 15 out on Nov. 1”. bobdylan.com. September 20, 2019. Retrieved September 20, 2019.
^ Hughes, William (March 27, 2020). “Bob Dylan Just Surprise-Released a 17-Minute Song About JFK, America, and also Freddy Krueger”. The A.V. Club. Retrieved March 27, 2020.
^ Hussey, Allison (April 8, 2020). “Bob Dylan’s “Murder Most Foul” Is His First No. 1 Song on Any Billboard Chart”. Pitchfork.com. Retrieved April 9, 2020.
^ “Bob Dylan – I Contain Multitudes (Official Audio)”. YouTube. April 17, 2020. Retrieved April 17, 2020.
^ Hiatt, Brian (April 17, 2020). “Hear Bob Dylan’s Daring New Song, ‘I Contain Multitudes'”. Rolling Stone. Retrieved April 17, 2020.
^ Daniel, Anne Margaret (April 16, 2020). “Bob Dylan Drops Another Midnight Special: The New Song “I Contain Multitudes””. annemargaretdaniel.com. Retrieved April 17, 2020.
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^ Petridis, Alexis (June 13, 2020). “Bob Dylan: Rough and Rowdy Ways review – a testament to his eternal greatness”. The Guardian. Retrieved June 19, 2020.
^ Sheffield, Rob (June 15, 2020). “Bob Dylan Has Given Us One of His Most Timely Albums Ever With ‘Rough and Rowdy Ways'”. Rolling Stone. Retrieved June 19, 2020.
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^ “Bob Dylan sells entire song catalog to Universal Media Group”. NBC News. December 7, 2020.
^ Jump up to:^a ^b Sisario, Ben (December 7, 2020). “Bob Dylan Sells His Songwriting Catalog in Blockbuster Deal”. The New York Times. Archived from the original on December 7, 2020.
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^ “1970 [Box Set] critics reviews”. Metacritic. March 1, 2021. Retrieved March 1, 2021.
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^ Jump up to:^a ^b Bauder, David (July 19, 2021). “Road warrior Bob Dylan returns to stage — at least on film”. Associated Press. Retrieved July 19, 2021.
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^ Jump up to:^a ^b Holdship, Bill (July 18, 2021). “Bob Dylan Streamed Concert: ‘What a Joy'”. bestclassicbands.com. Retrieved July 19, 2021.
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^ “‘The pinnacle of recorded sound’: a unique 2021 recording of Bob Dylan’s ‘Blowin’ in the Wind’ created using groundbreaking Ionic Original technology”. Christie’s. June 20, 2022. Retrieved August 1, 2022.
^ Willman, Chris (June 23, 2022). “Why Did T Bone Burnett Record a Song With Bob Dylan That Only One Person Can Own? To Disrupt the Art Market”. Variety. Retrieved August 3, 2022.
^ Willman, Chris (July 7, 2022). “Newly Recorded Version of Bob Dylan’s ‘Blowin’ in the Wind’ Sells for Nearly $1.8 Million at Auction”. Variety. Retrieved August 3, 2022.
^ “A Neofidelity Ionic Original Acetate Disc Of A 2021 Recording Of ‘Blowin’ In The Wind’ With Custom Walnut And White Oak Cabinet”. christies.com. July 7, 2022. Retrieved August 30, 2022.
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