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In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Passage: Dylan made two important career moves in August 1962: he legally changed his name to Bob Dylan, and he signed a management contract with Albert Grossman. (In June 1961, Dylan had signed an agreement with Roy Silver. In 1962, Grossman paid Silver $10,000 to become sole manager.) Grossman remained Dylan's manager until 1970, and was notable for his sometimes confrontational personality and for protective loyalty. Dylan said, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming." Tension between Grossman and John Hammond led to Hammond suggesting that Dylan work with the young African-American jazz producer, Tom Wilson, who produced several tracks for the second album without formal credit. Wilson went on to produce the next three albums Dylan recorded.Dylan made his first trip to the United Kingdom from December 1962 to January 1963. He had been invited by TV director Philip Saville to appear in a drama, Madhouse on Castle Street, which Saville was directing for BBC Television. At the end of the play, Dylan performed "Blowin' in the Wind", one of its first public performances. The film recording of Madhouse on Castle Street was destroyed by the BBC in 1968. While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies. He also learned material from UK performers, including Martin Carthy.By the time of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on this album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's passion for topical songs. "Oxford Town", for example, was an account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi.The first song on the Freewheelin' album, "Blowin' in the Wind", partly derived its melody from the traditional slave song, "No More Auction Block", while its lyrics questioned the social and political status quo. The song was widely recorded by other artists and became a hit for Peter, Paul and Mary. Another Freewheelin' song, "A Hard Rain's a-Gonna Fall" was based on the folk ballad "Lord Randall". With veiled references to an impending apocalypse, the song gained more resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it. Like "Blowin' in the Wind", "A Hard Rain's a-Gonna Fall" marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.Dylan's topical songs improved his reputation, and he came to be seen as more than just a songwriter. Janet Maslin wrote of Freewheelin': "These were the songs that established [Dylan] as the voice of his generationsomeone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes." Freewheelin' also included love songs and surreal talking blues. Humor was an important part of Dylan's persona, and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album, "We just played it, just wore it out. The content of the song lyrics and just the attitudeit was incredibly original and wonderful."The rough edge of Dylan's singing was unsettling to some but an attraction to others. Novelist Joyce Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrained voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and electrifying." Many early songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan's advocate as well as his lover. Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts. "It didn't take long before people got it, that he was pretty damned special," says Baez.Others who had hits with Dylan's songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, Peter, Paul and Mary, the Association, Manfred Mann and the Turtles. Most attempted a pop feel and rhythm, while Dylan and Baez performed them mostly as sparse folk songs. The covers became so ubiquitous that CBS promoted him with the slogan "Nobody Sings Dylan Like Dylan"."Mixed-Up Confusion", recorded during the Freewheelin' sessions with a backing band, was released as a single and then quickly withdrawn. In contrast to the mostly solo acoustic performances on the album, the single showed a willingness to experiment with a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records".
Output:
What is the name of the single released by the man who many artists covered that showed a willingness to experiment with a rockabilly sound?