Meaning of DYLAN, BOB in English


born May 24, 1941, Duluth, Minn., U.S. Bob Dylan, early 1960s. original name Robert Allen Zimmerman American folksinger who moved from folk to rock music in the 1960s, infusing the lyrics of rock and roll, theretofore concerned mostly with boy-girl romantic innuendo, with the intellectualism of classic literature and poetry. Hailed as the Shakespeare of his generation, Dylan sold more than 58 million albums, wrote more than 500 songs recorded by more than 2,000 artists, performed all over the world, and set the standard for lyric writing. (See Editor's Note: About the author.) He grew up in the northeastern Minnesota mining town of Hibbing, where his father co-owned Zimmerman Furniture and Appliance Co. Taken with the music of Hank Williams, Little Richard, Elvis Presley, and Johnny Ray, he acquired his first guitar in 1955 at age 14 and later, as a high school student, played in a series of rock and roll bands. In 1959, just before enrolling at the University of Minnesota in Minneapolis, he served a brief stint playing piano for rising pop star Bobby Vee. While attending college, he discovered the bohemian section of Minneapolis known as Dinkytown. Fascinated by Beat poetry and folksinger Woody Guthrie, he began performing folk music in coffeehouses, adopting the last name Dylan (after the Welsh poet Dylan Thomas). Restless and determined to meet Guthriewho was confined to a hospital in New Jerseyhe relocated to the East Coast. Arriving in late January 1961, Dylan was greeted by a typically merciless New York City winter. A survivor at heart, he relied on the generosity of various benefactors who, charmed by his performances at Gerde's Folk City in Greenwich Village, provided meals and shelter. He quickly built a cult following and within four months was hired to play harmonica for a Harry Belafonte recording session. Responding to Robert Shelton's laudatory New York Times review of one of Dylan's live shows in September 1961, talent scoutproducer John Hammond, Sr., investigated and signed him to Columbia Records. There Dylan's unkempt appearance and roots-oriented song material earned him the whispered nickname Hammond's Folly. Dylan's eponymous first album was released in March 1962 to mixed reviews. His singing voicea cowboy lament laced with Midwestern patois, with an obvious nod to Guthrieconfounded many critics. It was a sound that took some getting used to. By comparison, Dylan's second album, The Freewheelin' Bob Dylan (released in May 1963), sounded a clarion call. Young ears everywhere quickly assimilated his quirky voice, which divided parents and children and established him as part of the burgeoning counterculture, a rebel with a cause. Moreover, his first major composition, Blowin' in the Wind, served notice that this was no cookie-cutter recording artist. About this time Dylan signed a seven-year management contract with Albert Grossman, who soon replaced Hammond with another Columbia producer, Tom Wilson. In April 1963 Dylan played his first major New York City concert at Town Hall. In May, when he was forbidden to perform Talkin' John Birch Paranoid Blues on Ed Sullivan's popular television program, he literally walked out on a golden opportunity. That summer, championed by folk music's doyenne, Joan Baez, Dylan made his first appearance at the Newport (Rhode Island) Folk Festival and was virtually crowned the king of folk music. The prophetic title song of his next album, The Times They Are A-Changin' (1964), provided an instant anthem. Millions jumped on the bandwagon when the mainstream folk trio Peter, Paul and Mary reached number two on the pop music charts in mid-1963 with their version of Blowin' in the Wind. Dylan was perceived as a singer of protest songs, a politically charged artist with a whole other agenda. (Unlike Elvis Presley, there would be no film of Dylan singing Rock-a-Hula Baby surrounded by bikini-clad women.) Dylan spawned imitators at coffeehouses and record labels everywhere. At the 1964 Newport Folk Festival, while previewing songs from Another Side of Bob Dylan, he confounded his core audience by performing songs of a personal nature, rather than his signature protest repertoire. Although his new lyrics were as challenging as his earlier compositions, a backlash from purist folk fans began and continued for three years as Dylan defied convention at every turn. On his next album, Bringing It All Back Home (1965), electric instruments were openly brandisheda violation of folk dogmaand only two protest songs were included. The folk rock group the Byrds covered Mr. Tambourine Man from that album, adding electric 12-string guitar and three-part harmony vocals, and took it to number one on the singles chart. Other rock artists were soon pilfering the Dylan songbook and joining the juggernaut. As Dylan's mainstream audience increased geometrically, his purist folk fans fell off in droves. The maelstrom that engulfed Dylan is captured in Don't Look Back (1967), the telling documentary of his 1965 tour of Britain, directed by D.A. Pennebaker. In June 1965, consorting with hardened rock musicians and in kinship with the Byrds, Dylan recorded his most ascendant song yet, Like a Rolling Stone. Devoid of obvious protest references, set against a rough-hewn, twangy rock underpinning, and fronted by a snarling vocal that lashed out at all those who questioned his legitimacy, Like a Rolling Stone spoke to yet a new set of listeners and reached number two on the popular music charts. It was the final link in the chain. The world fell at Dylan's feet. And the album containing the hit single, Highway 61 Revisited, further vindicated his abdication of the protest throne. At the 1965 Newport Folk Festival, Dylan bravely showcased his electric sound, backed primarily by the Paul Butterfield Blues Band. After an inappropriately short 15-minute set, Dylan left the stage to a hail of booingmostly a response to the headliner's unexpectedly abbreviated performance rather than to his electrification. He returned for a two-song acoustic encore. Nonetheless, reams were written about his electric betrayal and banishment from the folk circle. (See BTW: Dylan goes electricthe event, the debate.) By the time of his next public appearance, at the Forest Hills (New York) Tennis Stadium a month later, the audience had been instructed by the press how to react. After a well-received acoustic opening set, Dylan was joined by his new backing band (Al Kooper on keyboards, Harvey Brooks on bass, and, from the Hawks, Canadian guitarist Robbie Robertson and drummer Levon Helm). Dylan and the band were booed throughout the performance; incongruously, the audience sang along with Like a Rolling Stone, the number two song in the United States that week, and then booed at its conclusion. Backed by Robertson, Helm, and the rest of the Hawks (Rick Danko on bass, Richard Manuel on piano, and Garth Hudson on organ and saxophone), Dylan toured incessantly in 1965 and 1966, always playing to sold-out, agitated audiences. On November 22, 1965, Dylan married Sara Lowndes. They split their time between a townhouse in Greenwich Village and a country estate in Woodstock, New York. In February 1966, at the suggestion of his new producer, Bob Johnston, Dylan recorded at Columbia's Nashville, Tennessee, studios, along with Kooper, Robertson, and the cream of Nashville's play-for-pay musicians. A week's worth of marathon 20-hour sessions produced a double album that was more polished than the raw, almost punklike Highway 61 Revisited. Containing some of Dylan's finest work, Blonde on Blonde peaked at number nine, was critically acclaimed, and pushed Dylan to the zenith of his popularity. He toured Europe with the Hawks (soon to reemerge as the Band) until the summer of 1966, when a motorcycle accident in Woodstock brought his amazing seven-year momentum to an abrupt halt. Citing a serious neck injury, he retreated to his home in Woodstock and virtually disappeared for two years. During his recuperation, Dylan edited film footage from his 1966 European tour that was to be shown on television but instead surfaced years later as the seldom-screened film Eat the Document. In 1998 some of the audio recordings from the film, including portions of Dylan's performance at the Free Trade Hall in Manchester, England, were released as the album Live 1966. In 1967 the Band moved to Woodstock to be closer to Dylan. Occasionally they coaxed him into the basement studio of their communal home to play music together, and recordings from these sessions ultimately became the double album The Basement Tapes (1975). In early 1968 Columbia released a stripped-down album of new Dylan songs titled John Wesley Harding. At least partly because of public curiosity about Dylan's seclusion, it reached number two on the pop album charts (eight places higher than Bob Dylan's Greatest Hits, released in 1967). In January 1968 Dylan made his first postaccident appearance at a memorial concert for Woody Guthrie in New York City. His image had changed; with shorter hair, spectacles, and a neglected beard, he resembled a rabbinical student. At this point Dylan adopted the stance he held for the rest of his career: sidestepping the desires of the critics, he went in any direction but those called for in print. When his audience and critics were convinced that his muse had left him, Dylan would deliver an album at full strength, only to withdraw again. Dylan returned to Tennessee to record Nashville Skyline (1969), which helped launch an entirely new genre, country rock. It charted at number three, but, owing to the comparative simplicity of its lyrics, people questioned whether Dylan remained a cutting-edge artist. Meanwhile, rock's first bootleg album, The Great White Wonder containing unreleased, liberated Dylan recordingsappeared in independent record stores. Its distribution methods were shrouded in secrecy (certainly Columbia, whose contract with Dylan the album violated, was not involved). Over the next quarter century Dylan continued to record, toured sporadically, and was widely honoured, though his impact was never as great or as immediate as it had been in the 1960s. In 1970 Princeton (New Jersey) University awarded him an honorary doctorate of music. His first book, Tarantula, a collection of unconnected writings, met with critical indifference when it was unceremoniously published in 1971, five years after its completion. In August 1971 Dylan made a rare appearance at a benefit concert that former Beatle George Harrison had organized for the newly independent nation of Bangladesh. At the end of the year, Dylan purchased a house in Malibu, California; he had already left Woodstock for New York City in 1969. In 1973 he appeared in director Sam Peckinpah's film Pat Garrett and Billy the Kid and contributed to the soundtrack, including Knockin' on Heaven's Door. Writings and Drawings, an anthology of his lyrics and poetry, was published the next year. In 1974 he toured for the first time in eight years, reconvening with the Band (by this time popular artists in their own right). Before the Flood, the album documenting that tour, reached number three. Released in January 1975, Dylan's next studio album, Blood on the Tracks, was a return to lyrical form. It topped the charts, as did Desire, released one year later. In 1975 and 1976 Dylan barnstormed North America with a gypsylike touring company, announcing shows in radio interviews only hours before appearing. Filmed and recorded, the Rolling Thunder Revueincluding Joan Baez, Allen Ginsberg, Ramblin' Jack Elliott, and Roger McGuinncame to motion-picture screens in 1978 as part of the four-hour-long, Dylan-edited Renaldo and Clara. Lowndes and Dylan divorced in 1977. They had four children, including son Jakob, whose band, the Wallflowers, experienced pop success in the 1990s. Dylan was also stepfather to a child from Lowndes's previous marriage. In 1978 Dylan mounted a yearlong world tour and released a studio album, Street-Legal, and a live album, Bob Dylan at Budokan. In a dramatic turnabout, he converted to Christianity in 1979 and for three years recorded and performed only religious material, preaching between songs at live shows. Critics and listeners were, once again, confounded. Nonetheless, Dylan received a Grammy Award in 1980 for best male rock vocal performance with his gospel song Gotta Serve Somebody. By 1982, when Dylan was inducted into the Songwriters Hall of Fame, his open zeal for Christianity was waning. In 1985 he participated in the all-star charity recording We Are the World, organized by Quincy Jones, and published his third book, Lyrics: 19621985. Dylan toured again in 198687, backed by Tom Petty and the Heartbreakers, and in 1987 he costarred in the film Hearts of Fire. A year later he was inducted into the Rock and Roll Hall of Fame, and the Traveling Wilburys (Dylan, Petty, Harrison, Jeff Lynne, and Roy Orbison) formed at his house in Malibu and released their first album. In 1989 Dylan once again returned to form with Oh Mercy, produced by Daniel Lanois. When Life magazine published a list of the 100 most influential Americans of the 20th century in 1990, Dylan was included, and in 1991 he received a Grammy Award for lifetime achievement. In 1992 Columbia Records celebrated the 30th anniversary of Dylan's signing with a star-studded concert in New York City. Later this event was released as a double album and video. As part of Bill Clinton's inauguration as U.S. president in 1993, Dylan sang Chimes of Freedom in front of the Lincoln Memorial. As the 1990s drew to a close, Dylan, who was called the greatest poet of the second half of the 20th century by Allen Ginsberg, performed for the pope at the Vatican, was nominated for the Nobel Prize for Literature, received the John F. Kennedy Center Honors Award, and was made Commander in the Order of Arts and Letters (the highest cultural award presented by the French government). In 1998, in a comeback of sorts, he won three Grammy Awardsincluding album of the yearfor Time Out of Mind. Al Kooper Additional reading Daniel Kramer, Bob Dylan (1967), is primarily a book of photos by the photographer who had the least-restricted access to Dylan at crucial moments. Anthony Scaduto, Bob Dylan (1971, reissued 1996), is the earliest biography, though not the best. Robert Alexander and Michael Gross, Bob Dylan: An Illustrated History (1978), another comparatively early biography, is opinionated but sprinkled with interesting photos and fairly accurate. Jonathan Cott, Dylan (1984), is a masterful collection of photos and a smattering of high-concept text in an oversize coffee-table book from the publishers of Rolling Stone. Years in the making, Robert Shelton, No Direction Home: The Life and Music of Bob Dylan (1986, reprinted 1997), is the most ambitious of the biographies but ultimately lacks focus. Bob Spitz, Dylan: A Biography (1989, reprinted 1991), is the most accurate and readable. Unlike the gossipy accounts of other writers who have obsessed about Dylan, Paul Williams, Performing Artist: The Music of Bob Dylan, vol. 1, The Early Years, 19601973 (1990), and Bob Dylan: Performing Artist: The Middle Years, 19741986 (1992), present serious studies of Dylan's life and work. Richard Williams, Dylan: A Man Called Alias (1992), another oversize compendium, presents a less-arresting collection of photos than Cott's Dylan but offers an Englishman's perspective that is academic and sobering. Al Kooper, Backstage Passes & Backstabbing Bastards: Memoirs of a Rock 'n' Roll Survivor (1998), presents a firsthand account of many of the most pivotal moments in Dylan's career. Representative Works: The Freewheelin' Bob Dylan (1963) The Times They Are A-Changin' (1964) Another Side of Bob Dylan (1964) Bringing It All Back Home (1965) Highway 61 Revisited (1965) Blonde on Blonde (1966) John Wesley Harding (1968) Nashville Skyline (1969) New Morning (1970) Planet Waves (1974) Blood on the Tracks (1975) Desire (1976) Street-Legal (1978) Slow Train Coming (1979) The 30th Anniversary Concert Celebration (1993) MTV Unplugged (1995) Time Out of Mind (1997)

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