Dylan had been born Robert Allen Zimmerman on May 24, 1941 in Duluth, Minnesota. He grew up in Hibbing, Minnesota, but found life there dissatisfying on multiple levels. Early early rock and roll stars of the mid-1950s appealed to him, and so anyone who had studied his entire life from 1941 to 1965 should have seen this coming. But most people didn't know about that when they became fans of his in the early 1960s.
In 1961, having dropped out of the University of Minnesota, he came to New York, renamed himself for Welsh poet Dylan Thomas, and started singing folk music in the clubs of Manhattan's Greenwich Village, where Thomas had lived and performed for the last few years of his life, dying there in 1953. (I have an entry for his death.)
Bob had adopted a persona like that of earlier folk singer Woody Guthrie, with scraggly clothes and a nasal twang. He combined traditional folk songs with his own new compositions, and it didn't seem to matter that he couldn't sing in the traditional sense, or that he wasn't an especially good-looking guy. People were mesmerized by his performances. Soon, men wanted to be him, and women just wanted him.
On April 16, 1962, at Gerde's Folk City at 11 West 4th Street, he first performed "Blowin' in the Wind," and it was a sensation, with its 3 short verses citing the civil rights and antiwar movements. This was less than a year after the Freedom Rides, but a year before American TV viewers saw the firehoses and police dogs of Birmingham, and most hadn't yet heard of Vietnam, let alone realized that we already had troops fighting, killing and dying there. To them, "war" still meant World War II, a "just war," or maybe the Korean War, which didn't seem worth it.
Bob's self-titled debut album had been released on Columbia Records the preceding March 19. Shortly after the Gerde's premiere, he began recording The Freewheelin' Bob Dylan. Released on May 27, 1963, it included "Blowin' in the Wind," "Masters of War," "A Hard Rain's A-Gonna Fall," and "Don't Think Twice, It's All Right" -- the latter the first in a long line of great breakup songs he would write.
Any 1 of those 4 songs would have been a great triumph for any writer. Dylan had all 4 on 1 album. He was 3 days past his 22nd birthday, and he was already a musical legend.
That July, he appeared at Newport for the first time, along with the biggest active legend of folksinging, Pete Seeger. Guthrie, to whom Seeger had introduced Dylan, was still alive, but sidelined by the condition that would kill him 4 years later.
Also there were Peter, Paul and Mary (Peter Yarrow, Noel Paul Stookey and Mary Travers), the folksinging trio who recorded what remain the biggest hit versions of "Blowin' in the Wind" and "Don't Think Twice." So was Joan Baez, the leading female soloist of "the folk revolution," who helped make Bob famous, then became his girlfriend. Together, these and others closed the show by joining hands and singing a song Seeger, though he didn't write it, made the anthem of civil rights: "We Shall Overcome."
Dylan then began recording his next album, finishing it before President John F. Kennedy was assassinated, but not released until afterward, on January 13, 1964: The Times They Are A-Changin'. It included the title track, "Ballad of Hollis Brown," "With God On Our Side," "Only a Pawn In Their Game," "When the Ship Comes In," and "The Lonesome Death of Hattie Carroll." His previous burst of creativity was thus proven to be no fluke.
Just 25 days after that album's release, The Beatles arrived in America. They and Dylan each influenced the other tremendously, and it may have been The Beatles who influenced Dylan to switch to electric instruments.
Before he did though, he recorded Another Side of Bob Dylan. Released on August 8, 1964, he told Nat Hentoff, the music critic of The Village Voice, New York's underground weekly newspaper, "There ain't no finger-pointing songs." There was "All I Really Want to Do," "Chimes of Freedom," "It Ain't Me, Babe," and "My Back Pages," on which the 23-year old Dylan closed each of 6 verses by singing, "Ah, but I was so much older then. I'm younger than that now."
The Byrds, who would record several of Bob's songs, recorded "My Back Pages," but, to cut it to single length, dropped the 3rd and 4th verses. Both they and Cher would have a hit with "All I Really Want to Do"; while "It Ain't Me, Babe" would be a hit on the pop chart for The Turtles (their first hit), and on the country chart for Johnny Cash.
Fame and the expectation of his peers were getting to Dylan. Until now, except for a couple of songs on the latest album where he had played piano, it had been just him, his guitar, and the harmonica he wore in a neck harness; with no other musicians. (The harmonica in the neck harness would be copied by many performers, most notably Neil Young and Billy Joel.) For his next album, he went electric, and it was titled Bringing It All Back Home.
Released on March 22, 1965, this was a revelation. It was a reminder of his rock and roll roots, about which his "folkie" fans seemed to know nothing. It began with "Subterranean Homesick Blues," with its angry declaration that, "You don't need a weatherman to know which way the wind blows." (This would inspire a radical offshoot of Students for a Democratic Society to call themselves the Weathermen, and later the Weather Underground.)
It included "Maggie's Farm," whose lyrics certainly suggested folk roots, but the electricity behind it give it a bigger punch. It included "Mr. Tambourine Man," which he recorded in 3/4 time, but The Byrds would later switch it to 4/4 time, and give him his 1st Number 1 hit as a writer. (The song has 4 verses, but Byrds lead singer Roger McGuinn sang only the 2nd between the choruses.)
It included "It's Alright Ma (I'm Only Bleeding)," with its declaration, "He not busy being born is busy dying." If that wasn't a message to the people who wanted him to remain the 22-year-old golden boy of the Greenwich Village clubs forever -- just as there were others who got upset when The Beatles moved beyond being "The Lovable Mop Tops" -- then the last song on the album certainly was: "It's All Over Now, Baby Blue."
And on July 20, he released a standalone single, a 6-minute reminder of how their delusions of him, not himself, had let them down: "Like a Rolling Stone." (Rolling Stone magazine was named for this song, not the new British band of the same name.)
So when Dylan, backed by The Paul Butterfield Blues Band, took the stage at Newport on July 25, nobody knew what to expect. Here's what he gave them: "Maggie's Farm," "Like a Rolling Stone," and "It Takes a Lot to Laugh, It Takes a Train to Cry," each electric.
There was booing, but there's dispute over why. Some have said it wasn't because the electric instruments were blasphemy to the folkies, it was because the sound system was bad, and Bob and the band couldn't be heard properly. The surviving film suggests that this is true, because the songs don't sound much like they did on the records.
Another legend, that Pete Seeger yelled at show producer George Wein to turn the amps off, and that, having been refused, the "purist" Seeger tried to chop the cord with an ax, were denied by Seeger himself. He admitted that the problem was the sound system, not Dylan's audacity. If any folkies felt betrayed that night, Seeger was not one of them.
Dylan played 2 more songs, just him, his guitar, and his harmonica: "Mr. Tambourine Man" and, providing a definitive last word for them, "It's All Over Now, Baby Blue." He soon wrote one of the nastiest songs ever written in the English language: "Positively 4th Street," opening with, "You got a lot of nerve to say you are my friend," and going on to really let them have it.
By this point, he had further enraged the folk music community by breaking up with Joan Baez, and marrying someone else, Sara Lowndes, for whom he wrote some of his more interesting songs thereafter.
Dylan would go through many more changes to his career, and did not appear at the Newport Folk Festival again until 2002. As of July 25, 2022, he is 81 years old, and still performing. Few people now doubt that going electric was good for him, and good for music.
Also, not counting individuals implied as being part of a group, like the Beatles and the performers at Woodstock, Bob Dylan is 1 of 4 people mentioned in Billy Joel's 1989 song "We Didn't Start the Fire" who are still alive. The others are Brigitte Bardot, Chubby Checker, and 1984 New York "subway vigilante" Bernhard Goetz.
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