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    Bob Dylan - Desolation Row Personality Type, MBTI

    What is the personality type of Bob Dylan - Desolation Row? Which MBTI personality type best fits? Personality type for Bob Dylan - Desolation Row from 1960s Music and what is the personality traits.

    Bob Dylan - Desolation Row
    ISFP

    ISFP (9w1)

    Bob Dylan - Desolation Row personality type is ISFP, which is an Introverted, Sensing, Feeling, Perceiving type.

    The following is taken from one of the episodes of the A&E Biography series on Bob Dylan, which features Dylan's childhood, including his family life and his introduction to the folk music scene of the 50s.

    Bob Dylan was born Robert Allen Zimmerman on May 24, 1941, in Duluth, Minnesota. He was the youngest of three children born to Richard Zimmerman, an electrician, and Beatrice Zimmerman. His two older brothers were Richard "Dickie" Zimmerman and Allan "Pete" Zimmerman. Richard was an alcoholic who beat the boys regularly. Beatrice was fed up with Richard's abuse and sent him to an insane asylum.

    Dylan's family moved to Hibbing, Minnesota, which is about 20 miles away from Duluth. A few years later, Beatrice married John Griffith, a miner with an eighth grade education. Griffith often took the boys to his job at the local smelter to see what things were like at the mines. He also used his job as a miner to smuggle the boys into the mines.

    “Desolation Row” is a 1965 song by the American singer-songwriter Bob Dylan. It was recorded on August 4, 1965, and released as the closing track of Dylan's sixth studio album, Highway 61 Revisited. It has been noted for its length (11:21) and surreal lyrics in which Dylan weaves characters into a series of vignettes that suggest entropy and urban chaos.

    “Desolation Row” has been described as Dylan's most ambitious work up to that date. In the New Oxford Companion to Music, Gammond described “Desolation Row" as an example of Dylan's work that achieved a, "high level of poetical lyricism." Clinton Heylin notes that Dylan is writing a song as long as traditional folk ballads, such as “Tam Lin” and “Matty Groves”, and in that classic ballad metre, but without any linear narrative thread.

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