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Home»Culture»The Evening When Bob Dylan Went Electrical: Watch Him Play “Maggie’s Farm” on the Newport People Competition in 1965
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The Evening When Bob Dylan Went Electrical: Watch Him Play “Maggie’s Farm” on the Newport People Competition in 1965

Buzzin DailyBy Buzzin DailyOctober 17, 2025No Comments4 Mins Read
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The Evening When Bob Dylan Went Electrical: Watch Him Play “Maggie’s Farm” on the Newport People Competition in 1965
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The phrase “when Dylan went elec­tric” as soon as automobile­ried as a lot weight in pop cul­ture his­to­ry as “the autumn of the Berlin Wall” automobile­ries in, effectively, his­to­ry. Each occasions have reced­ed into what feels just like the dis­tant previous, however within the ear­ly Sixties, they like­ly appeared equal­ly in contrast to­ly to many a seri­ous Bob Dylan fan within the people scene. Additionally they appeared equal­ly con­se­quen­tial. To below­stand the cul­ture of the last decade, we should below­stand the import of Dylan’s seem­ance on the New­port People Fes­ti­val in 1965, backed by Mike Bloom­area and oth­er mem­bers of the Paul However­ter­area Blues Band.

The loss of life of rock and roll within the 50s is usually instructed via the lens of tragedy, however there was additionally anger, dis­gust, and mass dis­af­fec­tion. The Pay­ola scan­dal had an affect, as did Elvis be part of­ing the military and Lit­tle Richard’s return to reli­gion. Rock and roll was bro­ken, tamed, and changed into com­mer­cial fod­der. Sim­ply put, it wasn’t cool in any respect, man, and even the Bea­t­les couldn’t reserve it sin­gle­hand­ed­ly. Their arrival on U.S. shores is mythol­o­gized as music his­to­ry Normandy—and has been cred­it­ed with inspir­ing rely­much less num­bers of musicians—however with­out Dylan and the blues artists he imi­tat­ed, issues would very a lot have gone oth­er­smart.

Within the ear­ly 60s, Dylan and the Bea­t­les’ “respec­tive musi­cal con­stituen­cies have been certainly per­ceived as inhab­it­ing two sep­a­price sub­cul­tur­al worlds,” writes Jonathan Gould in Can’t Purchase Me Love: The Bea­t­les, Britain, and Amer­i­ca. “Dylan’s core audi­ence was com­prised of younger peo­ple emerg­ing from adolescence—school children with artis­tic or intel­lec­tu­al lean­ings, a daybreak­ing polit­i­cal and social ide­al­ism, and a gentle­ly bohemi­an type…. The Bea­t­les’ core audi­ence, by con­trast, was com­prised of ver­i­ta­ble ‘teenyboppers’—children in highschool or grade college whose lives have been complete­ly wrapped up within the com­mer­cial­ized pop­u­lar cul­ture of tele­vi­sion, radio, pop information, fan magazine­a­zines, and teenage fash­ion. They have been seen as idol­aters, not ide­al­ists.”

To evoke any­factor resem­bling the com­mer­cial pablum of Beat­le­ma­nia, and at New­port, no much less, spoke of trea­son to people authen­tic­i­ty. Some known as out “The place’s Ringo?” Oth­ers known as him “Judas.” Dylan’s set “would go down as one of the divi­sive con­certs ever”—(and that’s say­ing loads)—“placing the worlds of each people and rock in tem­po­rary iden­ti­ty cri­sis,” Michael Mad­den writes at Con­se­quence of Sound. The for­mer people hero accom­plished this in all of three songs, “Maggie’s Farm,” “Like a Rolling Stone,” and “Phan­tom Engi­neer,” an ear­ly tackle “It Takes a Lot to Chuckle, It Takes a Practice to Cry.” Pete Seeger well-known­ly “threw a furi­ous tantrum” upon hear­ing the primary few bars of “Maggie’s Farm,” above, although he’s since mentioned he was upset on the sound qual­i­ty.

The second was defining—and Dylan appar­ent­ly decid­ed to do it on a whim after hear­ing Alan Lomax insult the Paul However­ter­area Band, who have been giv­ing a piece­store on the fes­ti­val. He got here again onstage after­ward to play two acoustic songs for the appre­cia­tive audi­ence who remained, unfazed by the vehe­mence of half the group’s reac­tion to his ear­li­er set. But the rev­o­lu­tion to return rock to its people and blues roots was already below­approach. With­in six months of meet­ing Dylan in 1964, Gould writes, “John Lennon could be mak­ing information on which he open­ly imi­tat­ed Dylan’s nasal drone, brit­tle strum, and intro­spec­tive vocal per­sona.” (Dylan additionally intro­duced him to hashish.)

In 1965, “the dis­tinc­tions between the folks and rock audi­ences would have close to­ly evap­o­rat­ed.” The 2 met within the mid­dle. “The Bea­t­les’ audi­ence, in preserve­ing with the best way of the world, could be present­ing indicators of develop­ing up,” whereas Dylan’s followers confirmed indicators of “develop­ing down, as hun­dreds of thou­sands of folkies of their late teenagers and ear­ly twen­ties” redis­cov­ered “the ethos of their ado­les­cent years.” Additionally they dis­cov­ered elec­tric blues. New­port exhibits Dylan accel­er­at­ing the tran­si­tion, and in addition sig­ni­fied the arrival of the good elec­tric blues-rock gui­tarists, within the type of the inim­itable Mike Bloom­area, an invad­ing pressure all his personal, who impressed a gen­er­a­tion along with his licks on “Like a Rolling Stone” and on absolutely the clas­sic Paul However­ter­area Blues Band debut album, launched in The 12 months Dylan Went Elec­tric.

Be aware: An ear­li­er ver­sion of this submit appeared on our website in 2020.

Relat­ed Con­tent:

Watch Bob Dylan Play “Mr. Tam­bourine Man” in Col­or on the 1964 New­port People Fes­ti­val

Bob Dylan Explains Why Music Has Been Get­ting Worse

Tan­gled Up in Blue: Deci­pher­ing a Bob Dylan Mas­ter­piece

How Bob Dylan Stored Rein­vent­ing His Tune­writ­ing Course of, Breath­ing New Life Into His Music

Josh Jones is a author and musi­cian based mostly in Durham, NC. 



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