As a now-deceased early 1960s Congress of Racial Equality [CORE] activist Suze Rotolo once recalled:
"Robert Shelton's [Sept. 29, 1961 New York Times] review, without a doubt, made Dylan's career, because that brought the Establishment. He couldn't have gotten the Columbia thing, in a way, without that. That review was unprecedented. Shelton had not given a review like that for anybody...He [Dylan] always said he was going to be very big...What was shocking was seeing him became part of the Establishment--Carnegie Hall, Columbia Records..."
|NY Times Folk Music Critic Robert Shelton with Dylan in 1964|
"Bob Shelton helped by writing an article [Bob Dylan: A Distinctive Folk Song Stylist,' published Sept. 29, 1961 in the New York Times--ed.]--talked around--someone from Elektra came down but nothing happened. Bob Shelton been like a friend for a long time...The article came out on Thursday night...Showed the article to John Hammond [of Columbia Records]--Come in and see me. I did. And he is recording me..."
And in a March 27, 1965 interview a few years after he became "part of the Establishment," whose text appeared in the Sept. 17, 1965 issue of the Los Angeles Free Press underground newspaper, that also was included in the 2018 Dylan on Dylan book, Dylan told Paul Jay Robins the following:
"...I'm not going to tell them I'm the Great Cause Fighter...Because I'm not, man. Why mislead them. That's all just Madison Avenue, that's just selling. Sure Madison Avenue is selling me..."
So, not surprisingly, on May 5, 1965 antiwar protest folk singer and protest folk songwriter Joan Baez wrote a letter to her now-deceased sister, Mimi Baez Farina, from the Savoy Hotel in London, which appeared in David Hajdu's 2001 book, Positively 4th Street, that stated:
"We're leaving Bobby's entourage...He doesn't speak to me, or anyone, really, unless it's `business,' how many records he's selling, will his record be #1, etc. It's shocked me completely out of my senses and I'm fed up...Joanie."
Also not surprisingly, when most hip young people in the USA were protesting against the U.S. Establishment's decision to escalate its war in Vietnam during the 1960s, Hip Capitalist Multi-Millionaire Musician Dylan apparently attempted to discourage his fans from both listening to protest folk songs or from protesting against the U.S. Establishment's militaristic foreign policy by saying, in an interview with writer Nat Hentoff whose text appeared in the March 1966 issue of Playboy magazine, that's included in the 2018 Dylan on Dylan book, the following:
"Folk music is a word I can't use. Folk music is a bunch of fat people...Songs like `Which Side Are You On?'...they're not folk-music songs, they're political songs. They're already dead...Everybody knows that I'm not a folk singer...`Protest' is not my word. I've never thought of myself as such...Message songs...are a drag. It's only college newspaper editors and single girls under 14 that could possibly have time for them...My older songs, to say the least, were about nothing...
"...I haven't lost any interest in protest since then...I just didn't have any interest in protest to begin with...Sure, you can go around trying to bring up people who are lesser than you, but then don't forget, you're messing around with gravity. I don't fight gravity...People that march with slogans and things tend to take themselves a little too holy...It's pointless to dedicate yourself to the cause; that's really pointless..."
|Hip Capitalist Manager Albert Grossman With Dylan In Early 1960s|