When he performed in Manchester, Dylan was on tour between the release of “Highway 61 Revisited” and “Blonde on Blonde”, and his audiences represented two camps. Along with the rock listeners who had turned “Like a Rolling Stone” into a hit, there were folk fans who had wanted him to keep writing protest songs and who considered his electric guitar and his rock backup band to be a sellout and a betrayal. It was musical taste as a political and generational schism: an early sign of the rift between the doctrinaire, Puritanical old left, which wanted straightforward agitprop for the masses, and the more amorphous, hedonistic counterculture that considered having a good time to be an insurrection in itself. The two sides were as dedicated as they were naive; capitalism would soon turn them both into market segments.
When Dylan’s Genius Burned Brightest | Jon Pareles
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