​So we've spent the week revisiting old Greenwich Village Bob Dylan landmarks, thanks to the tireless work of SOTC writer/interviewer Rob Trucks and video guru Jeremy Krinsley; they've dropped by the Gaslight, Jones Street, Cafe Wha?, and the Washington Square Hotel, among various other Dylanologist shrines, interviewing the proprietors and sex-shop managers and other folks who now work and/or live nearby. We've now fused all four installments together into one master video for your viewing pleasure -- hopefully even Martin Scorsese can find something to chew on here, if it's only the shopkeeper whose favorite Dylan album is Free Willy. Enjoy:

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"Fortunately, I didn't have too much time to think about it."

​Scarlet Rivera may well be the most famous post-Band musician to play behind Bob Dylan. Two reasons: a violin that stands out more than, say, even the most stylistic bass or drum set, and one hell of a story. In February 1976, People magazine previewed Dylan's latest record, Desire, with the following hyperbolic headline: "Bob Dylan Spotted Scarlet Rivera on the Street, The Rest Is Rock History." Certainly, few backing musicians have ever made so strong or immediate an impression. I talked to Rivera about her unlikely discovery, and her time with the man himself.

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​In the '70s and '80s, knowing Bob Dylan was one of the most crucial skills of being a good rock critic, right alongside "a smug sense of entitlement" and "snorting this whole table of blow." But how does he fare among a new generation of critics? For young rock writers, Bob is basically an influence on Iron & Wine and something for will.i.am to sample in Pepsi commercials. This week, our panel consisted solely of critics under the age of 40 -- the kids whose first exposure to Dylan was probably "Oh word, Jakob's dad?" They were given this brain-buster:

Bob Dylan made nine studio albums in the 1960s. How many can you name?

Shouldn't be too difficult, right? Pretty much the most epochal records ever made if you're the type of person to listen to NPR for any reason beyond "by accident." We cobbled 13 professional and semi-professional rock critics and gave them the usual rules:

1. I will not identify you AT ALL, so it is OK to be wrong. [We will say that our esteemed panel edits magazines, websites, and alt-weeklies. They have written for pretty much every outlet you've ever heard of, from Rolling Stone, Spin, and Billboard on down to random Tweets.]

2. You can't use Google.

So did these rainy day men and women end up bringing it all back home? Find out below:

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Naturally, this record shows up quite a bit

​As our celebration of the 50th anniversary of Bob Dylan's arrival in New York City winds down, we thought we'd reach out to a bunch of musicians with a simple question: What's your favorite Dylan song?

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​We're celebrating the 50th anniversary of Bob Dylan's arrival in New York City with videos, artist tributes, and old Voice stories. Already we've seen a stage-crashing, fruit-throwing Mods vs. Rockers brawl at one of Dylan's early electric shows and a glowing review of the kinder, gentler Blonde on Blonde; today, we revisit Toby Thompson's March 27, 1969 report from Dylan's hometown of Hibbing, Minnesota, whose residents greet his passionate Dylan inquiries with . . . profound nonchalance.

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​For the last day of our video series covering New York City's Bob Dylan landmarks (which has already covered places like the Gaslight, Jones Street, and Cafe Wha?), we step away from places where he lived and posed and played, instead curling back to Washington Square to find the place he met Allen Ginsberg, along with the second most famous rock 'n' roll hotel the city has to offer.

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Try and guess which famous song Bob wrote at this spot while you enjoy one of the six best margaritas in New York City. Pic by Trucks.

​All this week we're celebrating the 50th anniversary of Bob Dylan's arrival in Manhattan; with Cafe Wha? and Jones Street behind us, day three of our video tour of Dylan's New York finds us heading just south of Washington Square to take in supplementary settings steeped in freewheelin' history: where he performed "Masters of War" for the first time, say, or where he wrote "Blowin' in the Wind" and "A Hard Rain's A-Gonna Fall." And in between the landmarks, we drop by to discuss present-day MacDougal Street with long-time T-shirt-shop-owner Dusan Djordjevic and his cousin Srdjan Pezo, Dusan's designated lifeline for all things Dylan.

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"i'm hoping if i ever meet bob dylan that i don't end up pinned under a garage door."

​To continue our celebration of the 50th anniversary of Bob Dylan's arrival in New York City, we've asked folk singer/jovial Renaissance Man Todd Snider for his thoughts on Dylan's legacy, and his intimidating stature among other artists and songwriters. So he told us a bunch of stories -- the one about Dylan in the van is incredible. We were afraid to do anything to this editing-wise, so we didn't.

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​We're celebrating the 50th anniversary of Bob Dylan's arrival in New York City with videos, artist tributes, and old Voice stories. Yesterday we encountered a stage-crashing, fruit-throwing Mods vs. Rockers brawl at one of Dylan's early electric shows; today it's Richard Goldstein's glowing review of 1966's Blonde on Blonde, praised chiefly for Bob's decision to stop insulting everyone all the time. About that cover, though:

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Tic Tac Toe wasn't there at the time, no. Pic by Trucks.

​As Monday marked the 50th anniversary of Bob Dylan's arrival in New York City, we move now to the second Jeremy Krinsley-helmed video in our week-long celebration. Today's tour stop features 161 West Fourth Street, the site of Dylan's first New York apartment (rent: $60 a month), and the just-around-the-corner Jones Street, the snowy, slushy (just like today!) setting of one of the most famous album covers in music history.

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