Dylan at Newport, 1965: Music, Myth, and Un-Meaning, by Edward Renehan
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Dylan at Newport, 1965: Music, Myth, and Un-Meaning, by Edward Renehan
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One of the most famous moments of the Sixties - and one which continues to this day to be grossly misconstrued, mistold, and loaded with undeserved meaning - is the night in July of 1965 when Bob Dylan played an electric set (or at least tried to play an electric set) at the Newport Folk Festival: an event after which, supposedly, the culture of the Sixties was never quite the same again.Even Dylan's most pre-eminent chronicler Sean Wilentz has mischaracterized this evening as the night when “[Alan] Lomax along with Pete Seeger led the old guard that objected to the blasts of white-boy electricity, including Dylan's.” Seeger biographer David Dunaway speaks of Dylan understanding that at Newport “the electric guitar meant a declaration of war” and that, intensely ambitious, he sought publicity by smuggling “rock into the citadel of folk music.”In this narrative, battle lines were drawn, a fight waged, and a revolution begun.The over-simplification is too attractive to resist. Our tribal memory absolutely yearns for Dylan's abbreviated, 15-minute performance to be a pivot point not just from acoustic to electric, but also from traditional to commercial, from topical to cynical, and from roots to revolution. We also want Newport to be a “citadel of folk music,”and to be comfortable with any number of other safe, easy assumptions.For this symbology to work, however, we need an “old guard” to rebel against, and a youthful “new guard” to do the rising up. We also need to believe that traditional acoustic music cannot be (and was not at that time already) commercial, that electric music can never be traditional, that electric music is always commercial, that the Newport Fest (only a few years old) represented some sort of “hallowed ground” of acoustic music, and that various other straight lines apply.They don't. In this book, critically-acclaimed author Edward Renehan examines how and why.
Dylan at Newport, 1965: Music, Myth, and Un-Meaning, by Edward Renehan- Amazon Sales Rank: #1842805 in Books
- Published on: 2015-06-05
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .15" w x 6.00" l, .22 pounds
- Binding: Paperback
- 66 pages
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Most helpful customer reviews
2 of 2 people found the following review helpful. Finally, the Real Story By Tim Lahey Fascinating story about Dylan's "going electric" at the 1965 Newport Folk Festival. The author provides a significant amount of important background material to put the event into the proper context. In spite of the stories we may have heard over the years, Pete Seeger didn't hate electric guitars and he didn't want to stop Dylan's performance. As Renehan explains it, Seeger was concerned that the sound system was a mess, principally due to the combination of Dylan's sound system with the Festival sound. Even Dylan seemed disgusted with the sound quality. There was, however, a real battle going on between Albert Grossman, Dylan's manager and the eminent folklorist Alan Lomax. Their actual physical confrontation wasn't about electric music per se but about commercialism vs. tradition. Like any well written popular history this book made me feel as if I was there at Newport in '65 and behind the scenes as the events unfolded.
0 of 0 people found the following review helpful. Debunking the Newport Myth By true britty The story goes that Dylan got booed off the Newport stage in 1965 for plugging in.The author digs thru the history to set the record straight. It has been set straight before, but this is the Audible version and an abbreviated one that doesn't come embedded in a longer history of Dylan.The audience booed when Dylan was on. Pete Seeger did threaten to wield an axe. Folklorist Alan Lomax and Dylan's manager Albert Grossman did trade blows at some point. But the why of the myth and the why of fact are not one and the same, says the author.Renehan does a good job giving background on the festival and its partipants. He says a lot in a very limited space, and stays true to his purpose to tell a more factual account. This is not Hunter S. Thompson mainlining dramatic prose. But the book is a good and precise little history.The narrator could have used some help with editing. Another sound editor would have removed the mouth smacking sounds. It happens all the time in audio recording and I didn't really care. But the narrator, if he is doing his own editing, might want to take those out next time.
2 of 3 people found the following review helpful. Short Discussion By Clark Johnson Very short discussion of the event and the cultural surroundings. The main point the author makes is that the booing of Dylan's electric performance was due to the bad sound, not the music.
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