Jokerman: Bob Dylan’s cinematic aliases


[…] As generations of people have, I became a Bob Dylan fan as an angry, restless and curious teenager, and ended up listening to Blonde on Blonde, Highway 61 Revisited and Blood on the Tracks on a constant loop after buying them mainly for their recognisable cover art. It was Dylan’s oddness, with his raspy voice and tumultuously poetic lyrics, that intrigued me at first and then offered reassurance: this was a man who was always entirely himself. Why would you choose to sound so abrasive if you didn’t love that about yourself? Why would you write such ambiguous – if not always outright meaningless – lists of words if you didn’t feel proud of your strange brain? […]

Manuela Lazicessay, bfi