The Retirement Bombshell of 2023 ⛔

𝘛𝘩𝘦 𝘦𝘷𝘪𝘥𝘦𝘯𝘤𝘦 𝘤𝘰𝘮𝘱𝘪𝘭𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘷𝘪𝘥𝘦𝘰 𝘪𝘴 𝘶𝘯𝘴𝘦𝘵𝘵𝘭𝘪𝘯𝘨, 𝘪𝘧 𝘯𝘰𝘵 𝘰𝘶𝘵𝘳𝘪𝘨𝘩𝘵 𝘥𝘢𝘮𝘯𝘪𝘯𝘨. [𝐌𝐚𝐢𝐧 𝐋𝐨𝐠𝐨 𝐒𝐢𝐦𝐩𝐥𝐞 𝐌𝐨𝐧𝐞𝐲 𝐆𝐨𝐚𝐥𝐬]( [𝗠𝗮𝗶𝗻 𝗟𝗼𝗴𝗼 𝗦𝗠𝗚]( It wasn't the Biggest Retirement Story of 2022. But it will be for 2023. Already, over 800,000 people have watched [this bombshell video](. The evidence compiled in the video is unsettling, if not outright damning. And yet... mainstream news outlets still won't touch the story. Despite the fact that [THIS NEW LAW]( is already on the books, and in play. Which is a crying shame... Because so many Americans' retirement plans are going to suffer for it. Don't be one of them. [Watch this presentation from America's #1 Retirement Expert.]( It could help save your retirement — 100 TIMES OVER. Regards, "Like a Rolling Stone" 0:30 Dylan's 1965 hit single, which appeared on the album Highway 61 Revisited. In 2004, it was chosen as the greatest song of all time by Rolling Stone magazine.[103] Problems playing this file? See media help. In July 1965, Dylan's six-minute single "Like a Rolling Stone" peaked at number two in the US chart. In 2004 and in 2011, Rolling Stone listed it as number one of "The 500 Greatest Songs of All Time".[8][103] Bruce Springsteen, in his speech for Dylan's inauguration into the Rock and Roll Hall of Fame, said that on first hearing the single, "that snare shot sounded like somebody'd kicked open the door to your mind."[104] The song opened Dylan's next album, Highway 61 Revisited, named after the road that led from Dylan's Minnesota to the musical hotbed of New Orleans.[105] The songs were in the same vein as the hit single, flavored by Mike Bloomfield's blues guitar and Al Kooper's organ riffs. "Desolation Row", backed by acoustic guitar and understated bass,[106] offers the sole exception, with Dylan alluding to figures in Western culture in a song described by Andy Gill as "an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of celebrated characters, some historical (Einstein, Nero), some biblical (Noah, Cain and Abel), some fictional (Ophelia, Romeo, Cinderella), some literary (T. S. Eliot and Ezra Pound), and some who fit into none of the above categories, notably Dr. Filth and his dubious nurse".[107] Dylan in 1966 In support of the album, Dylan was booked for two US concerts with Al Kooper and Harvey Brooks from his studio crew and Robbie Robertson and Levon Helm, former members of Ronnie Hawkins's backing band the Hawks.[108] On August 28 at Forest Hills Tennis Stadium, the group was heckled by an audience still annoyed by Dylan's electric sound. The band's reception on September 3 at the Hollywood Bowl was more favorable.[109] From September 24, 1965, in Austin, Texas, Dylan toured the US and Canada for six months, backed by the five musicians from the Hawks who became known as The Band.[110] While Dylan and the Hawks met increasingly receptive audiences, their studio efforts foundered. Producer Bob Johnston persuaded Dylan to record in Nashville in February 1966, and surrounded him with top-notch session men. At Dylan's insistence, Robertson and Kooper came from New York City to play on the sessions.[111] The Nashville sessions produced the double album Blonde on Blonde (1966), featuring what Dylan called "that thin wild mercury sound".[112] Kooper described it as "taking two cultures and smashing them together with a huge explosion": the musical world of Nashville and the world of the "quintessential New York hipster" Bob Dylan.[113] On November 22, 1965, Dylan quietly married 25-year-old former model Sara Lownds.[114] Some of Dylan's friends, including Ramblin' Jack Elliott, say that, immediately after the event, Dylan denied he was married.[114] Journalist Nora Ephron made the news public in the New York Post in February 1966 with the headline "Hush! Bob Dylan is wed".[115] Dylan toured Australia and Europe in April and May 1966. Each show was split in two. Dylan performed solo during the first half, accompanying himself on acoustic guitar and harmonica. In the second, backed by the Hawks, he played electrically amplified music. This contrast provoked many fans, who jeered and slow handclapped.[116] The tour culminated in a raucous confrontation between Dylan and his audience at the Manchester Free Trade Hall in England on May 17, 1966.[117] A recording of this concert was released in 1998: The Bootleg Series Vol. 4: Bob Dylan Live 1966. At the climax of the evening, a member of the audience, angered by Dylan's electric backing, shouted: "Judas!" to which Dylan responded, "I don't believe you ... You're a liar!" Dylan turned to his band and said, "Play it fucking loud!"[118] as they launched into the final song of the night—"Like a Rolling Stone". During his 1966 tour, Dylan was described as exhausted and acting "as if on a death trip".[119] D. A. Pennebaker, the filmmaker accompanying the tour, described Dylan as "taking a lot of amphetamine and who-knows-what-else".[120] In a 1969 interview with Jann Wenner, Dylan said, "I was on the road for almost five years. It wore me down. I was on drugs, a lot of things ... just to keep going, you know?"[121] Motorcycle accident and reclusion On July 29, 1966, Dylan crashed his motorcycle, a Triumph Tiger 100, near his home in Woodstock, New York. Dylan said he broke several vertebrae in his neck.[122] Mystery still surrounds the circumstances of the accident since no ambulance was called to the scene and Dylan was not hospitalized.[122][123] Dylan's biographers have written that the crash offered him the chance to escape the pressures around him.[122][124] Dylan concurred in his autobiography Chronicles: "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race."[125] He made very few public appearances, and did not tour again for almost eight years.[123][126] Once Dylan was well enough to resume creative work, he began to edit D. A. Pennebaker's film of his 1966 tour. A rough cut was shown to ABC Television, but they rejected it as incomprehensible to mainstream audiences.[127] The film, titled Eat the Document on bootleg copies, has since been screened at a handful of film festivals.[128] In 1967, secluded from public gaze, Dylan recorded over 100 songs at his Woodstock home and in the basement of the Hawks' nearby house, "Big Pink".[129] These songs were initially offered as demos for other artists to record and were first heard in the shape of hits for Julie Driscoll, the Byrds, and Manfred Mann. Columbia released a selection in 1975 as The Basement Tapes double album. Other songs recorded by Dylan and his band in 1967 appeared piecemeal on bootleg recordings, but they were not released in their entirety until 2014 as The Basement Tapes Complete.[130] In the fall of 1967, Dylan returned to studio recording in Nashville,[131] accompanied by Charlie McCoy on bass,[131] Kenny Buttrey on drums[131] and Pete Drake on steel guitar.[131] The result was John Wesley Harding, a record of short songs thematically drawing on the American West and the Bible. The sparse structure and instrumentation, with lyrics that took the Judeo-Christian tradition seriously, was a departure from Dylan's previous work.[132] It included "All Along the Watchtower".[32][a 6] Woody Guthrie died in October 1967, and Dylan made his first live appearance in twenty months at a memorial concert held at Carnegie Hall on January 20, 1968, where he was backed by the Band.[133] "Lay Lady Lay" 0:21 "Lay Lady Lay", on the country album Nashville Skyline, has been one of Dylan's biggest hits, reaching No. 7 in the US.[134] Problems playing this file? See media help. Dylan's next release, Nashville Skyline (1969) featured Nashville musicians, a mellow-voiced Dylan, a duet with Johnny Cash, and the single "Lay Lady Lay".[135] Variety wrote, "Dylan is definitely doing something that can be called singing. Somehow he has managed to add an octave to his range."[136] During one recording session, Dylan and Cash recorded a series of duets, but only their version of Dylan's "Girl from the North Country" was released on the album.[137][138] In May 1969, Dylan appeared on the first episode of Johnny Cash's television show and sang a duet with Cash of "Girl from the North Country", with solos of "Living the Blues" and "I Threw It All Away".[139] Dylan next traveled to England to top the bill at the Isle of Wight festival on August 31, 1969, after rejecting overtures to appear at the Woodstock Festival closer to his home.[140] 1970s In the early 1970s, critics charged that Dylan's output was varied and unpredictable. Rolling Stone writer Greil Marcus asked, "What is this shit?" on first listening to Self Portrait, released in June 1970.[141][142] It was a double LP including few original songs and was poorly received.[143] In October 1970, Dylan released New Morning, considered a return to form.[144] This album included "Day of the Locusts", a song in which Dylan gave an account of receiving an honorary degree from Princeton University on June 9, 1970.[145] In November 1968, Dylan had co-written "I'd Have You Anytime" with George Harrison;[146] Harrison recorded "I'd Have You Anytime" and Dylan's "If Not for You" for his 1970 solo triple album All Things Must Pass. Dylan's surprise appearance at Harrison's 1971 Concert for Bangladesh attracted media coverage, since Dylan's live appearances had become rare.[147] Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock, a small studio in Greenwich Village, to record with Leon Russell. These sessions resulted in "Watching the River Flow" and a new recording of "When I Paint My Masterpiece".[148] On November 4, 1971, Dylan recorded "George Jackson", which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of Black Panther George Jackson in San Quentin State Prison that year.[149] Dylan contributed piano and harmony to Steve Goodman's album, Somebody Else's Troubles, under the pseudonym Robert Milkwood Thomas (referencing Under Milk Wood by Dylan Thomas and his own previous name) in September 1972.[150] In 1972, Dylan signed to Sam Peckinpah's film Pat Garrett and Billy the Kid, providing songs and backing music for the movie, and playing "Alias", a member of Billy's gang with some historical basis.[151] Despite the film's failure at the box office, the song "Knockin' on Heaven's Door" became one of Dylan's most covered songs.[152][153] Also in 1972, Dylan protested the move to deport John Lennon and Yoko Ono, who had been convicted of possessing cannabis, by sending a letter to the US Immigration Service, in part: "Hurray for John & Yoko. Let them stay and live here and breathe. The country's got plenty of room and space. Let John and Yoko stay!"[154] Return to touring Dylan together with three musicians from The Band onstage. Dylan is third from left, wearing a black jacket and pants. He is singing and playing an electric guitar. Bob Dylan and the Band commenced their 1974 tour in Chicago on January 3.[155] Dylan began 1973 by signing with a new label, David Geffen's Asylum Records, when his contract with Columbia Records expired.[156] His next album, Planet Waves, was recorded in the fall of 1973, using the Band as his backing group as they rehearsed for a major tour.[157] The album included two versions of "Forever Young", which became one of his most popular songs.[158] As one critic described it, the song projected "something hymnal and heartfelt that spoke of the father in Dylan",[159] and Dylan himself commented: "I wrote it thinking about one of my boys and not wanting to be too sentimental".[32] Columbia Records simultaneously released Dylan, a collection of studio outtakes, widely interpreted as a churlish response to Dylan's signing with a rival record label.[160] In January 1974, Dylan, backed by the Band, embarked on a North American tour of 40 concerts—his first tour for seven years. A live double album, Before the Flood, was released on Asylum Records. Soon, according to Clive Davis, Columbia Records sent word they "will spare nothing to bring Dylan back into the fold".[161] Dylan had second thoughts about Asylum, unhappy that Geffen had sold only 600,000 copies of Planet Waves despite millions of unfulfilled ticket requests for the 1974 tour;[162] he returned to Columbia Records, which reissued his two Asylum albums.[163] "Tangled Up in Blue" 0:28 Dylan said of the opening song from Blood on the Tracks: "I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you're never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn't matter."[32] Problems playing this file? See media help. After the tour, Dylan and his wife became estranged. He filled three small notebooks with songs about relationships and ruptures, and recorded the album Blood on the Tracks in September 1974.[164][165] Dylan delayed the album's release and re-recorded half the songs at Sound 80 Studios in Minneapolis with production assistance from his brother, David Zimmerman.[166] Released in early 1975, Blood on the Tracks received mixed reviews. In the NME, Nick Kent described the "accompaniments" as "often so trashy they sound like mere practice takes".[167] In Rolling Stone, Jon Landau wrote that "the record has been made with typical shoddiness."[167] Over the years critics came to see it as one of Dylan's greatest achievements. For the Salon website, journalist Bill Wyman wrote: "Blood on the Tracks is his only flawless album and his best produced; the songs, each of them, are constructed in disciplined fashion. It is his kindest album and most dismayed, and seems in hindsight to have achieved a sublime balance between the logorrhea-plagued excesses of his mid-1960s output and the self-consciously simple compositions of his post-accident years".[168] Dylan, wearing a hat and leather coat, plays guitar and sings, seated. Crouched next to him is a bearded man, listening to him with head bent. Bob Dylan with Allen Ginsberg on the Rolling Thunder Revue in 1975. Photo: Elsa Dorfman. In the middle of that year, Dylan championed boxer Rubin "Hurricane" Carter, imprisoned for a triple murder in Paterson, New Jersey, with his ballad "Hurricane" making the case for Carter's innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the US Billboard chart, and performed at every 1975 date of Dylan's next tour, the Rolling Thunder Revue.[a 7][169] The tour featured about one hundred performers and supporters from the Greenwich Village folk scene, including T-Bone Burnett, Ramblin' Jack Elliott, Joni Mitchell,[170][171] David Mansfield, Roger McGuinn, Mick Ronson, Joan Baez and Scarlet Rivera, whom Dylan discovered walking down the street, her violin case on her back.[172] Running through late 1975 and again through early 1976, the tour encompassed the release of the album Desire, with many of Dylan's new songs featuring a travelogue-like narrative style, showing the influence of his new collaborator, playwright Jacques Levy.[173][174] The 1976 half of the tour was documented by a TV concert special, Hard Rain, and the LP Hard Rain. Dylan performing in the De Kuip Stadium, Rotterdam, June 23, 1978 The 1975 tour with the Revue provided the backdrop to Dylan's nearly four-hour film Renaldo and Clara, a sprawling narrative mixed with concert footage and reminiscences. Released in 1978, the movie received poor, sometimes scathing, reviews.[175][176] Later in that year, a two-hour edit, dominated by the concert performances, was more widely released.[177] More than forty years later, a documentary about the 1975 leg of the Rolling Thunder Revue, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese was released by Netflix on June 12, 2019.[178] In November 1976, Dylan appeared at the Band's "farewell" concert, with Eric Clapton, Joni Mitchell, Muddy Waters, Van Morrison and Neil Young. Martin Scorsese's 1978 cinematic chronicle of the concert, The Last Waltz, included most of Dylan's set.[179] In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and North America, to a total audience of two million. Dylan assembled an eight-piece band and three backing singers. Concerts in Tokyo in February and March were released as the live double album Bob Dylan at Budokan.[180] Reviews were mixed. Robert Christgau awarded the album a C+ rating, giving the album a derisory review,[181] while Janet Maslin defended it in Rolling Stone, writing: "These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals".[182] When Dylan brought the tour to the US in September 1978, the press described the look and sound as a "Las Vegas Tour".[183] The 1978 tour grossed more than $20 million, and Dylan told the Los Angeles Times that he had debts because "I had a couple of bad years. I put a lot of money into the movie, built a big house ... and it costs a lot to get divorced in California".[180] In April and May 1978, Dylan took the same band and vocalists into Rundown Studios in Santa Monica, California, to record an album of new material: Street-Legal.[184] It was described by Michael Gray as, "after Blood On The Tracks, arguably Dylan's best record of the 1970s: a crucial album documenting a crucial period in Dylan's own life".[185] However, it had poor sound and mixing (attributed to Dylan's studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs' strengths.[186][187] Christian period "Gotta Serve Somebody" 0:31 Dylan took five months off at the beginning of 1979 to attend Bible school.[32] His subsequent album Slow Train Coming reached No. 3 on the US Billboard 200 chart and included this Grammy-winning song. Problems playing this file? See media help. In the late 1970s, Dylan converted to Evangelical Christianity,[188][189] undertaking a three-month discipleship course run by the Association of Vineyard Churches.[190][191] He released three albums of contemporary gospel music. Slow Train Coming (1979) featured Dire Straits guitarist Mark Knopfler and was produced by veteran R&B producer Jerry Wexler. Wexler said that Dylan had tried to evangelize him during the recording. He replied: "Bob, you're dealing with a 62-year-old Jewish atheist. Let's just make an album."[192] Dylan won the Grammy Award for Best Male Rock Vocal Performance for the song "Gotta Serve Somebody". His second Christian album, Saved (1980), received mixed reviews, described by Michael Gray as "the nearest thing to a follow-up album Dylan has ever made, Slow Train Coming II and inferior".[193] His third Christian album was Shot of Love in 1981.[194] When touring in late 1979 and early 1980, Dylan would not play his older, secular works, and he delivered declarations of his faith from the stage, such as: Years ago they ... said I was a prophet. I used to say, "No I'm not a prophet", they say "Yes you are, you're a prophet." I said, "No it's not me." They used to say "You sure are a prophet." They used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They say, "Bob Dylan's no prophet." They just can't handle it.[195] Dylan's Christianity was unpopular with some fans and musicians.[196] John Lennon, shortly before being murdered, recorded "Serve Yourself" in response to Dylan's "Gotta Serve Somebody".[197] By 1981, Stephen Holden wrote in The New York Times that "neither age (he's now 40) nor his much-publicized conversion to born-again Christianity has altered his essentially iconoclastic temperament".[198] 1980s In late 1980, Dylan briefly played concerts billed as "A Musical Retrospective", restoring popular 1960s songs to the repertoire. Shot of Love, recorded early the next year, featured his first secular compositions in more than two years, mixed with Christian songs. The lyrics of "Every Grain of Sand" resemble the verse of William Blake.[199] Dylan, onstage and with eyes closed, plays a chord on an electric guitar. Dylan in Toronto, April 18, 1980 In the 1980s, reception of Dylan's recordings varied, from the well-regarded Infidels in 1983 to the panned Down in the Groove in 1988. Michael Gray condemned Dylan's 1980s albums for carelessness in the studio and for failing to release his best songs.[200] As an example of the latter, the Infidels recording sessions, which again employed Knopfler on lead guitar and also as the album's producer, resulted in several songs that Dylan left off the album. Best regarded of these were "Blind Willie McTell", a tribute to the dead blues musician and an evocation of African American history,[201] "Foot of Pride" and "Lord Protect My Child". These three songs were released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.[202] Between July 1984 and March 1985, Dylan recorded Empire Burlesque.[203] Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker said he felt he was hired to make Dylan's album sound "a little bit more contemporary".[203] In 1985 Dylan sang on USA for Africa's famine relief single "We Are the World". He also joined Artists United Against Apartheid providing vocals for their single "Sun City".[204] On July 13, 1985, he appeared at the climax at the Live Aid concert at JFK Stadium, Philadelphia. Backed by Keith Richards and Ronnie Wood, he performed a ragged version of "Hollis Brown", his ballad of rural poverty, and then said to the worldwide audience exceeding one billion people: "I hope that some of the money ... maybe they can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the mortgages on some of the farms and, the farmers here, owe to the banks".[205] His remarks were widely criticized as inappropriate, but they did inspire Willie Nelson to organize a series of events, Farm Aid, to benefit debt-ridden American farmers.[206] In April 1986, Dylan made a foray into rap music when he added vocals to the opening verse of "Street Rock", featured on Kurtis Blow's album Kingdom Blow.[207] Dylan's next studio album, Knocked Out Loaded, in July 1986 contained three covers (by Little Junior Parker, Kris Kristofferson and the gospel hymn "Precious Memories"), plus three collaborations (with Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. One reviewer commented that "the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating."[208] It was the first Dylan album since his 1962 debut to fail to make the Top 50.[209] Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, "Brownsville Girl", a work of genius.[210] In 1986 and 1987, Dylan toured with Tom Petty and the Heartbreakers, sharing vocals with Petty on several songs each night. Dylan also toured with the Grateful Dead in 1987, resulting in a live album Dylan & The Dead. This received negative reviews; AllMusic said it was "quite possibly the worst album by either Bob Dylan or the Grateful Dead".[211] Dylan then initiated what came to be called the Never Ending Tour on June 7, 1988, performing with a back-up band featuring guitarist G. E. Smith. Dylan would continue to tour with a small, changing band for the next 30 years. 1960s Relocation to New York and record deal In May 1960, Dylan dropped out of college at the end of his first year. In January 1961, he traveled to New York City to perform there and visit his musical idol Woody Guthrie,[38] who was seriously ill with Huntington's disease in Greystone Park Psychiatric Hospital.[39] Guthrie had been a revelation to Dylan and influenced his early performances. Describing Guthrie's impact, he wrote: "The songs themselves had the infinite sweep of humanity in them... [He] was the true voice of the American spirit. I said to myself I was going to be Guthrie's greatest disciple".[40] As well as visiting Guthrie in hospital, Dylan befriended Guthrie's protégé Ramblin' Jack Elliott. Much of Guthrie's repertoire was channeled through Elliott, and Dylan paid tribute to Elliott in Chronicles: Volume One.[41] Dylan later said he was influenced by African-American poets he heard on the New York streets, especially Big Brown.[42] From February 1961, Dylan played at clubs around Greenwich Village, befriending and picking up material from folk singers there, including Dave Van Ronk, Fred Neil, Odetta, the New Lost City Ramblers and Irish musicians the Clancy Brothers and Tommy Makem.[43] He often accompanied other musicians on harmonica, which led to Dylan filling in for the ailing Sonny Terry on Harry Belafonte's 1962 album Midnight Special.[44] Dylan later described this session as "my professional recording debut."[45] In September, The New York Times critic Robert Shelton boosted Dylan's career with a very enthusiastic review of his performance at Gerde's Folk City: "Bob Dylan: A Distinctive Folk-Song Stylist".[46] That month, Dylan played harmonica on folk singer Carolyn Hester's third album, bringing him to the attention of the album's producer John Hammond,[47] who signed Dylan to Columbia Records.[48] Dylan's first album, Bob Dylan, released March 19, 1962,[49][50] consisted of familiar folk, blues and gospel with just two original compositions. The album sold 5,000 copies in its first year, just enough to break even.[51] Dylan is seated, singing and playing guitar. Seated to his right is a woman gazing upwards and singing with him. Joan Baez and Dylan during the civil rights "March on Washington for Jobs and Freedom", August 28, 1963 In August 1962, Dylan took two decisive steps in his career. He changed his name to Bob Dylan,[a 2] and he signed a management contract with Albert Grossman.[52] Grossman remained Dylan's manager until 1970, and was known for his sometimes confrontational personality and protective loyalty.[53] Dylan said, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming."[34] Tension between Grossman and John Hammond led to the latter suggesting Dylan work with the young African-American jazz producer Tom Wilson, who produced several tracks for the second album without formal credit. Wilson produced the next three albums Dylan recorded.[54][55] Dylan made his first trip to the United Kingdom from December 1962 to January 1963.[56] He had been invited by television director Philip Saville to appear in a drama, Madhouse on Castle Street, which Saville was directing for BBC Television.[57] At the end of the play, Dylan performed "Blowin' in the Wind", one of its first public performances.[57] While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies.[56][58] He also learned material from UK performers, including Martin Carthy.[57] By the release of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on the album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's passion for topical songs.[59] "Oxford Town" was an account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi.[60] The first song on the album, "Blowin' in the Wind", partly derived its melody from the traditional slave song, "No More Auction Block",[61] while its lyrics questioned the social and political status quo. The song was widely recorded by other artists and became a hit for Peter, Paul and Mary.[62] Another song, "A Hard Rain's a-Gonna Fall", was based on the folk ballad "Lord Randall". With veiled references to an impending apocalypse, it gained resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it.[63][a 3] Like "Blowin' in the Wind", "A Hard Rain's a-Gonna Fall" marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.[64] Dylan's topical songs led to his being viewed as more than just a songwriter. Janet Maslin wrote of Freewheelin': "These were the songs that established [Dylan] as the voice of his generation—someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes."[65][a 4] Freewheelin' also included love songs and surreal talking blues. Humor was an important part of Dylan's persona,[66] and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album: "We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful".[67] The rough edge of Dylan's singing unsettled some but was an attraction to others. Novelist Joyce Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrained voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and electrifying".[68] Many early songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan's advocate and lover.[69] Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts.[70] Others who had hits with Dylan's songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, Peter, Paul and Mary, the Association, Manfred Mann and the Turtles. "Mixed-Up Confusion", recorded during the Freewheelin' sessions with a backing band, was released as Dylan's first single in December 1962, but then swiftly withdrawn. In contrast to the mostly solo acoustic performances on the album, the single showed a willingness to experiment with a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records".[71] Protest and Another Side "The Times They Are a-Changin'" 0:20 Dylan said of "The Times They Are a-Changin'": "This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time."[32] Problems playing this file? See media help. In May 1963, Dylan's political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television's head of program practices that "Talkin' John Birch Paranoid Blues" was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.[72] By this time, Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963.[73] Dylan's third album, The Times They Are a-Changin', reflected a more politicized Dylan.[74] The songs often took as their subject matter contemporary stories, with "Only a Pawn in Their Game" addressing the murder of civil rights worker Medgar Evers; and the Brechtian "The Lonesome Death of Hattie Carroll" the death of black hotel barmaid Hattie Carroll, at the hands of young white socialite William Zantzinger.[75] On a more general theme, "Ballad of Hollis Brown" and "North Country Blues" addressed despair engendered by the breakdown of farming and mining communities. This political material was accompanied by two personal love songs, "Boots of Spanish Leather" and "One Too Many Mornings".[76] By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements.[77] Accepting the "Tom Paine Award" from the National Emergency Civil Liberties Committee shortly after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, Lee Harvey Oswald.[78] A spotlight shines on Dylan as he performs onstage. Bobby Dylan, as the college yearbook lists him: St. Lawrence University, upstate New York, November 1963 Another Side of Bob Dylan, recorded in a single evening on June 9, 1964,[79] had a lighter mood. The humorous Dylan reemerged on "I Shall Be Free No. 10" and "Motorpsycho Nightmare". "Spanish Harlem Incident" and "To Ramona" are passionate love songs, while "Black Crow Blues" and "I Don't Believe You (She Acts Like We Never Have Met)" suggest the rock and roll soon to dominate Dylan's music. "It Ain't Me Babe", on the surface a song about spurned love, has been described as a rejection of the role of political spokesman thrust upon him.[80] His newest direction was signaled by two lengthy songs: the impressionistic "Chimes of Freedom", which sets social commentary against a metaphorical landscape in a style characterized by Allen Ginsberg as "chains of flashing images,"[a 5] and "My Back Pages", which attacks the simplistic and arch seriousness of his own earlier topical songs and seems to predict the backlash he was about to encounter from his former champions as he took a new direction.[81] In the latter half of 1964 and into 1965, Dylan moved from folk songwriter to folk-rock pop-music star. His jeans and work shirts were replaced by a Carnaby Street wardrobe, sunglasses day or night, and pointed "Beatle boots". A London reporter wrote: "Hair that would set the teeth of a comb on edge. A loud shirt that would dim the neon lights of Leicester Square. He looks like an undernourished cockatoo."[82] Dylan began to spar with interviewers. Appearing on the Les Crane television show and asked about a movie he planned, he told Crane it would be a cowboy horror movie. Asked if he played the cowboy, Dylan replied, "No, I play my mother".[83] Going electric Main articles: Electric Dylan controversy and Folk rock The cinéma vérité documentary Dont Look Back (1967) follows Dylan on his 1965 tour of England. An early music video for "Subterranean Homesick Blues" was used as the film's opening segment. Dylan's late March 1965 album Bringing It All Back Home was another leap,[84] featuring his first recordings with electric instruments, under producer Tom Wilson's guidance.[85] The first single, "Subterranean Homesick Blues", owed much to Chuck Berry's "Too Much Monkey Business";[86] its free-association lyrics described as harking back to the energy of beat poetry and as a forerunner of rap and hip-hop.[87] The song was provided with an early music video, which opened D. A. Pennebaker's cinéma vérité presentation of Dylan's 1965 tour of Great Britain, Dont Look Back.[88] Instead of miming, Dylan illustrated the lyrics by throwing cue cards containing key words from the song on the ground. Pennebaker said the sequence was Dylan's idea, and it has been imitated in music videos and advertisements.[89] The second side of Bringing It All Back Home contained four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.[90] "Mr. Tambourine Man" became one of his best-known songs when the Byrds recorded an electric version that reached number one in the US and UK.[91][92] "It's All Over Now, Baby Blue" and "It's Alright Ma (I'm Only Bleeding)" were two of Dylan's most important compositions.[90][93] In 1965, headlining the Newport Folk Festival, Dylan performed his first electric set since high school with a pickup group featuring Mike Bloomfield on guitar and Al Kooper on organ.[94] Dylan had appeared at Newport in 1963 and 1964, but in 1965 met with cheering and booing and left the stage after three songs. One version has it that the boos were from folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. Murray Lerner, who filmed the performance, said: "I absolutely think that they were booing Dylan going electric."[95] An alternative account claims audience members were upset by poor sound and a short set.[96][97] Nevertheless, Dylan's performance provoked a hostile response from the folk music establishment.[98][99] In the September issue of Sing Out!, Ewan MacColl wrote: "Our traditional songs and ballads are the creations of extraordinarily talented artists working inside disciplines formulated over time ...'But what of Bobby Dylan?' scream the outraged teenagers ... Only a completely non-critical audience, nourished on the watery pap of pop music, could have fallen for such tenth-rate drivel".[100] On July 29, four days after Newport, Dylan was back in the studio in New York, recording "Positively 4th Street". The lyrics contained images of vengeance and paranoia,[101] and have been interpreted as Dylan's put-down of former friends from the folk community he had known in clubs along West 4th Street.[102] [Signature] Roger Michalski Publisher, Eagle Financial Publications P.S. You'll only hear about it here, so if there's just one thing you do online today, [watch THIS VIDEO now](. [𝖢𝗅𝗂𝖼𝗄 𝖧𝖾𝗋𝖾 𝖭𝗈𝗐 𝗍𝗈 𝖫𝖾𝖺𝗋𝗇 𝖬𝗈𝗋𝖾 >]( [𝐒𝐢𝐦𝐩𝐥𝐞 𝐌𝐨𝐧𝐞𝐲 𝐆𝐨𝐚𝐥𝐬] At Simрle Моneу Gоals, we are serious about being your “eyes and ears” for special opportunities for you to take advantage of. The message below from one of our partners is one we think you should take a close look at. Еmail sent by Finanсe and Investing Тraffic, LLC, оwner and operator of Simрle Моneу Gоals. To ensure you receive our email, be sure to [whitelist us](. Copyright © 2023 SіmрleMoneyGoals. All Rights Reserved[.]( 221 W 9th St # Wilmington, DE 19801 [Privacy Policy]( | [Terms & Conditions]( | [Unsubscribe](