After the events of A Complete Unknown, Pete Seeger went on to a long and successful career in both music and activism.

Bob Dylan has always had a fraught relationship with the world of progressive social change. He wrote some of the most penetrating socially conscious songs of the early 1960s — “Blowin’ in the Wind,” “The Times They Are A-Changin’,

Michael Bloomfield's Telecaster — which outraged Pete Seeger during Bob Dylan's set at the 1965 Newport Folk festival — is on sale.

Film director James Mangold also tells  Esther McCarthy why he focused on that crucial early period in Dylan's career

Seeger was a celebrated presence in the Greenwich Village folk scene into which an unknown singer-songwriter named Bob Dylan would drop in 1961.

I must heartily disagree with my friend Amy Worden’s recent column on Pete Seeger’s depiction in the Bob Dylan film, “A Complete Unknown.”

Toward the end of A Complete Unknown, a good biopic about Bob Dylan that opened on Christmas, there is a key scene in which Dylan manager Albert Grossman barks at folk music legend Pete Seeger, “You’re pushing candles,

There’s a priceless moment early in “A Complete Unknown” when folk icon Pete Seeger returns to the cabin where he lives with his family after offering a young singer named Bob Dylan a place ...

The singer-songwriter and social activist best known as one-third of the folk-music group Peter, Paul and Mary, has died at age 86.

Timothée Chalamet plays the young Bob Dylan in this entertaining look through his back pages. When it arrives, the obligatory music biopic montage in James Mangold's handsome Dylan flick is actually quite decent.

A Complete Unknown's account of Dylan's crucial transitional period misses the most interesting thing about it

So enter “A Complete Unknown,” a biopic about Bob Dylan directed by James Mangold and starring Timothée Chalamet. Mangold was once hailed as among the most reliable journeymen in Hollywood before directing the putrid “Indiana Jones and the Dial of Destiny.