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A Complete Unknown Misses a Key Part of 1960s History

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A Complete Unknown Misses a Key Part of 1960s History

As a historian with a personal connection to the mid-20th century folk revival, I found “A Complete Unknown” both enlightening and frustrating. The film captures the tension between tradition and innovation, but it falls short in fully portraying the political chaos of the era, particularly the escalating conflict in Vietnam.

Near the conclusion of the movie “A Complete Unknown“, we find Pete Seeger and a young Bob Dylan in a quiet yet tense interaction. With the 1965 Newport festival’s “going electric” by Dylan in mind, Seeger delivers an eloquent metaphor to Dylan about collective efforts for social justice. In this analogy, each person contributes a spoonful of sand to counterbalance the weight of injustice. According to Seeger, Dylan was unique because he brought a shovel, symbolizing his powerful folk songs such as “Masters of War” and “The Times They Are A-Changing.” However, Dylan dismisses Seeger’s message, grabs the stage, and challenges the traditional folk scene with his electric Stratocaster.

The movie suggests that the Seeger-Dylan dispute symbolizes a larger struggle between two different musical movements: one rooted in the Old Left, blending folk music with social activism, and another emerging sound that was more experimental, less political, and resonated with the anger of young Americans. This discord, as depicted in the book the film is based on, supposedly marked a significant turning point during the ’60s, even being referred to as “the night that shattered the Sixties.

Actually, it’s more accurate to say that rock and roll wasn’t the sole factor shaping the 1960s. In fact, a variety of influential movements emerged during this time, such as Black Power, Second Wave Feminism, drug culture, and notably, the Vietnam War, which also had a profound impact on the folk music world. Contrary to popular belief, the relationship between folk fans and anti-war protesters wasn’t always harmonious. The political climate of the era, along with the increased commercialization of folk music, often strained this alliance.

I hold a deep personal interest in these events, as they are intertwined with my family history. My father, Irwin Silber, was one of the founders of the ‘Sing Out!’ magazine back in 1951, collaborating closely with Pete Seeger. By the end of the 1950s, ‘Sing Out!’ had emerged as a key publication for many folk music enthusiasts, including renowned acts like Peter, Paul, and Mary; budding artists such as Tom Paxton; and the icon of the folk movement, Joan Baez. With roots in left-wing activism, ‘Sing Out!’ was also associated with movements advocating for racial equality and global peace. In response to Dylan’s shift away from protest songs towards fame accouterments, my father penned a critical piece in November 1964.

In the summer of 1965, it was not Bob Dylan that troubled him the most, but rather the escalating situation in Vietnam. The U.S. President, Lyndon B. Johnson, had successfully gained congressional approval in 1964 to deepen America’s involvement in Southeast Asia. As a result, the number of U.S. troops in Vietnam skyrocketed from 23,000 to an alarming 184,000, and Johnson initiated a heavy bombardment of North Vietnam as early as February that year.

Understanding the importance of these events, Silber reached out to Pete Seeger a week prior to Newport, aiming to coordinate plans for a large-scale concert aimed at curbing the increasing military action in Vietnam. Silber envisioned various musical styles being featured, such as the Paul Butterfield band, whose members were also set to be part of Dylan’s electric backup group at Newport. In Silber’s perspective, there was no significant gap between acoustic and electric music. Instead, it was about harnessing music in all its forms for protesting the war. In many ways, Silber mirrored Seeger’s approach, looking back to a history of blending music with political activism. This could be traced as far back as the “Hootenannies” that opposed the “Red Scare” in the 1950s or the songs from the Black Freedom movement. Though labeled as “folk music” at the time, it encompassed a wide range of styles, including blues and singers who performed modern renditions of popular tunes.

The concert, later known as “A Sing-In For Peace”, took place at Carnegie Hall on September 24, 1965, following Newport. It attracted more than 5000 spectators and was a sellout. Notable supporters included Jac Holzman from Elektra Records, civil rights activist Fannie Lou Hamer, music critic Nat Hentoff, and over 60 musicians, some of whom leaned towards “rock” rather than “folk”. Towards the end of the night, many attendees rallied downtown to Greenwich Village to voice their concerns about military de-escalation. Silber commended the performers’ camaraderie, as each artist contributed to a collective effort that aimed to make the most significant impact on the government during a critical moment.

This was an overly optimistic assessment on Silber’s part; the issue of Vietnam had already divided those on the folk scene. Peter, Paul and Mary, committed performers for Black freedom, were conspicuously absent from the event. Concert planners heard that the folk trio feared their civil rights work would be less “effective” if they took a stand on Vietnam. One-time supporters of the “Sing-In,” including Dylan and Odetta, also ended up being no-shows. Notably, they were managed by Albert Grossman—a highly unsympathetic figure in A Complete Unknown—who likely believed that anti-war protests were bad for business. By 1965, civil rights work had earned a public stamp of approval, even from the White House. Opposition to the war in Vietnam clearly had not.

Beyond just some artists and their representatives voicing disapproval towards a link between folk music and anti-war statements, a significant number of readers of the magazine “Sing Out!” were also taken aback by political discussions within its content. With the events of the Cuban Missile Crisis still vivid in people’s minds, many viewed the U.S. involvement in Vietnam as primarily an effort to counteract Soviet-style communism. While they had supported “Sing Out!” on issues related to racial justice, their stance on Vietnam marked a shift that was unsettling for them.

A Complete Unknown Misses a Key Part of 1960s History

In its exploration of Bob Dylan’s early career, leading up to his electric showcase at Newport, the movie “A Complete Unknown” hints at some of the political turmoil from that era. It briefly touches upon significant events like JFK’s assassination and the 1963 March on Washington. However, it offers scant information about the Vietnam conflict, making it challenging to grasp the full context behind the tensions experienced during that time.

1965 saw Vietnam as a topic best left untouched by some – it was a complex political dilemma that could potentially harm business interests. However, for others, the summer of ’65 served as a time of decisive action: not about deciding between acoustic and electric, but about addressing a harsh and unjust U.S. military expansion overseas.

Nina Silber, who holds the position as Jon Westling Professor of History at Boston University, is presently working on a book that delves into her family history and the mid-20th century folk music renaissance.

Stepping beyond news summaries, Made by History offers thoughtful articles penned by skilled historians. To delve deeper into this insightful platform, explore Made by History on TIME here. Please note that the viewpoints expressed do not always align with those of the TIME editorial team.

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2024-12-25 18:06

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