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And when informed by those mothers and fathers that Dylan “couldn’t sing”, his followers loved him all the more. The Times They Are A-Changin’ transformed Dylan from a folk-club act and cult hero into the voice of a generation – an epithet he claimed to detest but never quite succeeded in erasing.Īs a cultural wave began to break, a 22-year-old was directly confronting mothers, fathers, senators, congressmen, writers and critics with evidence of their failures. After the portrait of the unformed boy, fresh in from Minnesota, on his self-titled debut album, followed by the young lovers huddling for warmth in a wintry Greenwich Village on Freewheelin’, Barry Feinstein’s grainy and dramatically cropped black and white portrait on the cover of Bob Dylan’s third album projected the image of an altogether more serious and substantial figure, still wearing the clothes he’d borrowed from James Dean but bent on tackling the big issues of the day.