Then, I wrote a javaScript program that randomly splices these together, with an end result of making some random lyrics that are awkward and clunky, and others that could totally be in a Dylan song. First, I went through both albums, making an array of every weird person I could find (about 70), and did the same for absurd actions (about 60). I also think watching his interviews gives a quick glimpse of to who Bob Dylan was in his younger years: funny, outspoken, etc. I loved watching his interviews in the documentaries because not only were they funny, but it was interesting to see him annoy the reporters as much as they were annoying him. I did it in a color block design because I think it made it pop more! On the back side of it I wrote an interview in ways that I think Dylan wouldвЂ™ve responded. I drew this album cover because it was my favorite of the two, and I like the photo a little better. I decided to draw the cover of Highway 61 Revisited and write my own Bob Dylan interview. It sounds bright still, but also a little darker sounding. ItвЂ™s similarly paced to вЂњStuck Inside of Mobile with the Memphis Blues AgainвЂќ although itвЂ™s a little faster sounding. вЂњLeopard-Skin Pill-Box HatвЂќ is shorter than the other three songs. ItвЂ™s not super fast but itвЂ™s faster than вЂњBallad of a Thin ManвЂќ and more bright sounding. ItвЂ™s somewhat repetitive but the repetitive parts are shorter so it doesnвЂ™t feel too repetitive. вЂњStuck Inside of Mobile with the Memphis Blues AgainвЂќ has a harmonica in parts of it. Instead of the more traditional verse, chorus, verse, chorus, etc, with maybe a bridge as well, вЂњBallad of a Thin ManвЂќ is just verses with вЂњ Do you, Mr. ItвЂ™s also formatted differently than a lot of songs. вЂњBallad of a Thin ManвЂќ is also rather long but it is more slowly paced. ItвЂ™s one of the longer songs on the album however but it doesnвЂ™t feel too long or repetitive. вЂњTombstone BluesвЂќ is very fast-paced with an electric guitar and a very catchy chorus. My favorite two songs from Highway 61 Revisited are вЂњTombstone BluesвЂќ and вЂњBallad of a Thin Man,вЂќ and вЂњStuck Inside of Mobile with the Memphis Blues AgainвЂќ and вЂњLeopard-Skin Pill-Box HatвЂќ from Blonde on Blonde. Dylan most likely had a naГЇve concept of fame and he seemed more wrapped up in travelling around and making music than visiting with fans and talking to journalists. Once he became famous, he appeared to be more interested in the music than the fame. I feel like he was slightly contradictory because when he was younger he seemed to like the idea of becoming a famous musician but he didnвЂ™t really understand what that would mean. They would also ask what he thought about being the spokesperson of that generation and he didnвЂ™t agree with them calling him that.

Reporters would also ask him very specific questions about the meaning behind his songs and would continue to pester him if he didnвЂ™t have an answer. Fans continued to get annoyed and angry at his concerts and complain when he wouldnвЂ™t play acoustic songs. When Highway 61 Revisited and Blonde on Blonde were released and he was playing more and more electric songs which people interpreted as him selling out. As he grew as an artist, his style started to change and he played some electric songs. His fans kind of expected him to stay this young folksy weirdo who went against societal norms without understanding that musicians write music for themselves, not just their fans. He did not write the traditional type of songs at the time which consisted mainly of love songs. His bizarre lyrics and catchy music were very appealing to young people. In the early to mid 1960s Bob Dylan was unofficially named the face of folk music of that generation. The History and Popular Music of the вЂ™60s class learned about a pair of classic Bob Dylan albums, Highway 61 Revisited (1965) and Blonde on Blonde (1966).

Bob dylan blonde on blonde album cover