ahs of his sons and attending Hadar Hatorah, a Chabad Lubavitch yeshiva. In September 1989 and September 1991, he appeared on the Chabad telethon.[347] Dylan reportedly visits Chabad synagogues; on Yom Kippur in 2007 he attended Congregation Beth Tefillah, in Atlanta, Georgia, where he was called to the Torah for the sixth aliyah.[348]Dylan has continued to perform songs from his gospel albums in concert, occasionally covering traditional religious songs. He has also made passing references to his religious faith—such as in a 2004 interview with 60 Minutes, when he told Ed Bradley that "the only person you have to think twice about lying to is either yourself or to God." He also explained his constant touring schedule as part of a bargain he made a long time ago with the "chief commander—in this earth and in the world we can't see."[35]In a 2009 interview with Bill Flanagan promoting Dylan's Christmas LP, Christmas in the Heart, Flanagan commented on the "heroic performance" Dylan gave of "O Little Town of Bethlehem" and that he "delivered the song like a true believer". Dylan replied: "Well, I am a true believer."[288][edit] LegacyBob Dylan has been described as one of the most influential figures of the 20th century, musically and culturally. He was included in the Time 100: The Most Important People of the Century where he was called "master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation".[3] President Barack Obama said of Dylan in 2012, "There is not a bigger giant in the history of American music."[16] Biographer Howard Sounes placed him among the most exalted company when he said, "There are giant figures in art who are sublimely good—Mozart, Picasso, Frank Lloyd Wright, Shakespeare, Dickens. Dylan ranks alongside these artists."[349] Rolling Stone magazine ranked Dylan at Number Two in their 2011 list of "100 Greatest Artists" of all time.[350] In their 2008 assessment of the "100 Greatest Singers", Rolling Stone ranked him at #7.[351]Initially modeling his writing style on the songs of Woody Guthrie,[8] the blues of Robert Johnson,[9] and what he termed the "architectural forms" of Hank Williams songs,[10] Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it "with the intellectualism of classic literature and poetry".[352] Paul Simon suggested that Dylan's early compositions virtually took over the folk genre: "[Dylan's] early songs were very rich ... with strong melodies. 'Blowin' in the Wind' has a really strong melody. He so enlarged himself through the folk background that he incorporated it for a while. He defined the genre for a while."[353]When Dylan made his move from acoustic music to a rock backing, the mix became more complex. For many critics, his greatest achievement was the cultural synthesis exemplified by his mid-1960s trilogy of albums—Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. In Mike Marqusee's words: "Between late 1964 and the summer of 1966, Dylan created a Related articles:

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