first edition original wrappers
1961 · New York
by DYLAN, BOB
New York: The Folklore Center, 1961. First edition. original wrappers. Very Good. EXTREMELY RARE PROGRAM FOR BOB DYLAN’S FIRST SOLO SHOW: November 4, 1961 at Carnegie Chapter Hall in New York City. Bob Dylan arrived in New York in January, 1961, with a plethora of outlandish stories: He had played carnivals at the age of fourteen; he had learned the blues from a street singer named Arvella Gray; he had fallen in love with a farmer’s daughter in South Dakota. Most of Dylan’s stories weren’t particularly convincing—during Dylan’s first radio show, a few days. before his opening concert at Carnegie Chapter Hall, host Oscar Brand asked Dylan where he had learned his carnival songs. Dylan responded, with a sort of chuckle, “Uh… people in the carnival.” As Brand recalled, Dylan came “on [my] show, and said nothing but lies about his life.” [Gotham Center; WNYC].
During this period in 1961, Dylan was deeply steeped in a process of self-definition. Part of this was crafting his own personal history—the half-truths of his past—but this process also included exploring his artistry. As detailed in this original introductory program, Dylan hadn’t heard the label “folk musician” before arriving in New York, and with that label came hesitations: he feared the category of ‘folk’ didn't fully reflect himself or his peers.
“People have to name it something so they call it folk music—now very few people singing that way. Being taken over by people who don't sing that way.”
Dylan acknowledged that his music was “nearer” to folk music than other options. But at this stage of his career, he more readily identified with both jazz and folk traditions—artists like Mance Lipscomb and Arvella Gray—while resisting the title ‘folk’ as something imposed by others. Dylan’s dress, too, expressed an envisioned aesthetic: on the pamphlet of his first solo show, he donned a short flat cap. In public, he wore carefully rumpled work shirts and dark jeans. As Dylan explained, it was all part of a curated vision:
“Groups are easy to be in. I've always learned the hard way. I will now, too. I dress the way I do because I want to dress this way and not because it is cheaper or easier.”
For all his intention, Dylan arrived in New York to relative obscurity. His first solo show at Carnegie Chapter Hall (from which this program is preserved) was attended by only 53 people. Tickets sold for $2.00 apiece, and the Folklore Center lost money for sponsoring it. Dylan was due a commission on the show, but as there was no substantial commission to deliver, he received a $20 charity tip from the Center instead. Dylan initially rejected this money, knowing the Folklore Center had gone into the red on his show, but was ultimately negotiated down to $10, which he eventually accepted. [Gotham Center].
In the program for this show, Dylan promised,
“Songs that tell something of this America….—the songs of this land that aren't offered over TV and radio and very few records.”
On this promise, Dylan soon delivered. By the end of that November, Dylan would record his iconic debut album, the self-titled Bob Dylan. This program outlined Dylan’s artistic goals and beliefs leading up to the album’s recording—one of the most explicit statements of his intentions in this period. [Gotham Center].
Notably, the Dylan quoted in this program sounds much like the Dylan who rose to world fame: deeply committed to his craft, unafraid to tell tall stories, and itching to pick fights. That’s what makes this program so remarkable. Even while failing to sell out an audience of 200, Dylan’s voice remains uniquely—for lack of a better descriptor—Dylan. His quotes are dubious. His voice is distinct. But, undeniably, his storytelling ability remains bursting at the seams.
The full biographical text from the program reads:
Bob Dylan was born in Duluth, Minnesota in 1941. He was raised in Gallup, N.M., and before he came to New York earlier this year, he lived in Iowa, South Dakota, North Dakota and Kansas. He started playing Carnivals at the age of fourteen, accompanying himself on guitar and piano. He picked up the harmonica about two years ago.
The University of Minnesota gave him a scholarship. He went there for some five months, attended some dozen lectures and left. He learned many blues songs from a Chicago street singer named Arvella Gray. He also met a singer, Mance Lipscomb, from the Brazos River country of Texas, through a grandson that sang rock and roll. He listened a lot to Lipscomb. He heard Woody Guthrie's album of DUST BOWL BALLADS in South Dakota. In fact, Bob Dylan has sung old jazz songs, sentimental cowboy songs, top forty Hit Parade stuff. He was always interested in singers and didn't know the term "folk music" until he came to New York.
People have to name it something so they call it folk music—now very few people singing that way. Being taken over by people who don't sing that way. It's all right but don't call it folk music. Stuff I do is nearer to folkmusic. Now singing old blues and Texas songs. I don't want to make a lot of money, want to get along...I want to reach more people and have the chance to sing the kind of music I sing.....people have to be ready and have seen me once already. People often say first time that this isn't folkmusic. My songs aren't easy to listen to. My favorite singers are Dave Van Ronk, Jack Elliott, Peter Stampfel, Jim Queskin and Rick Von Schmidt. I can offer songs that tell something of this America, no foreign songs—the songs of this land that aren't offered over TV and radio and very few records.
Groups are easy to be in. I've always learned the hard way. I will now, too. I dress the way I do because I want to dress this way and not because it is cheaper or easier.
I started writing my own songs about four or five years ago. First song was to Brigit Bardot, for piano. Thought if I wrote the song I'd sing it to her one day. Never met her. I've written hillbilly songs that CaRl Perkins from Nashville, Tenn. sings. I write Talking Blues on Topical things. "California Brown Eyed Baby" has caught on. Noel Stookey gave me the idea for the ‘Bear Mountain Song’ I wrote it overnight but I wasn't there. Never sing it the same way twice because I never wrote it down.
No one is really influencing me now—but actually everything does. Can't think of anyone in particular now.
[Further text on program back regarding Folklore Center Newsletter.]
WITH: A flyer for an attempted Dylan booking at the iconic Café au Go Go.
New York: The Folklore Center, 1961. One 8.5 x 11 inch sheet, folded to create four 5.5x8.5 inch pages, with photograph of Dylan on first page. Housed in custom presentation folder. Tiny curl at top right corner, but generally fine condition. A remarkable survival. RARE.
References:
–Pamphlet text
–“Bob Dylan’s New York, 1961 — the Gotham Center for New York City History.”
The Gotham Center for New York City History, August 27, 2019.
–WNYC. “WNYC at 90: Bob Dylan’s First Radio Interview | Soundcheck | WNYC,” n.d. (Inventory #: 2950)
During this period in 1961, Dylan was deeply steeped in a process of self-definition. Part of this was crafting his own personal history—the half-truths of his past—but this process also included exploring his artistry. As detailed in this original introductory program, Dylan hadn’t heard the label “folk musician” before arriving in New York, and with that label came hesitations: he feared the category of ‘folk’ didn't fully reflect himself or his peers.
“People have to name it something so they call it folk music—now very few people singing that way. Being taken over by people who don't sing that way.”
Dylan acknowledged that his music was “nearer” to folk music than other options. But at this stage of his career, he more readily identified with both jazz and folk traditions—artists like Mance Lipscomb and Arvella Gray—while resisting the title ‘folk’ as something imposed by others. Dylan’s dress, too, expressed an envisioned aesthetic: on the pamphlet of his first solo show, he donned a short flat cap. In public, he wore carefully rumpled work shirts and dark jeans. As Dylan explained, it was all part of a curated vision:
“Groups are easy to be in. I've always learned the hard way. I will now, too. I dress the way I do because I want to dress this way and not because it is cheaper or easier.”
For all his intention, Dylan arrived in New York to relative obscurity. His first solo show at Carnegie Chapter Hall (from which this program is preserved) was attended by only 53 people. Tickets sold for $2.00 apiece, and the Folklore Center lost money for sponsoring it. Dylan was due a commission on the show, but as there was no substantial commission to deliver, he received a $20 charity tip from the Center instead. Dylan initially rejected this money, knowing the Folklore Center had gone into the red on his show, but was ultimately negotiated down to $10, which he eventually accepted. [Gotham Center].
In the program for this show, Dylan promised,
“Songs that tell something of this America….—the songs of this land that aren't offered over TV and radio and very few records.”
On this promise, Dylan soon delivered. By the end of that November, Dylan would record his iconic debut album, the self-titled Bob Dylan. This program outlined Dylan’s artistic goals and beliefs leading up to the album’s recording—one of the most explicit statements of his intentions in this period. [Gotham Center].
Notably, the Dylan quoted in this program sounds much like the Dylan who rose to world fame: deeply committed to his craft, unafraid to tell tall stories, and itching to pick fights. That’s what makes this program so remarkable. Even while failing to sell out an audience of 200, Dylan’s voice remains uniquely—for lack of a better descriptor—Dylan. His quotes are dubious. His voice is distinct. But, undeniably, his storytelling ability remains bursting at the seams.
The full biographical text from the program reads:
Bob Dylan was born in Duluth, Minnesota in 1941. He was raised in Gallup, N.M., and before he came to New York earlier this year, he lived in Iowa, South Dakota, North Dakota and Kansas. He started playing Carnivals at the age of fourteen, accompanying himself on guitar and piano. He picked up the harmonica about two years ago.
The University of Minnesota gave him a scholarship. He went there for some five months, attended some dozen lectures and left. He learned many blues songs from a Chicago street singer named Arvella Gray. He also met a singer, Mance Lipscomb, from the Brazos River country of Texas, through a grandson that sang rock and roll. He listened a lot to Lipscomb. He heard Woody Guthrie's album of DUST BOWL BALLADS in South Dakota. In fact, Bob Dylan has sung old jazz songs, sentimental cowboy songs, top forty Hit Parade stuff. He was always interested in singers and didn't know the term "folk music" until he came to New York.
People have to name it something so they call it folk music—now very few people singing that way. Being taken over by people who don't sing that way. It's all right but don't call it folk music. Stuff I do is nearer to folkmusic. Now singing old blues and Texas songs. I don't want to make a lot of money, want to get along...I want to reach more people and have the chance to sing the kind of music I sing.....people have to be ready and have seen me once already. People often say first time that this isn't folkmusic. My songs aren't easy to listen to. My favorite singers are Dave Van Ronk, Jack Elliott, Peter Stampfel, Jim Queskin and Rick Von Schmidt. I can offer songs that tell something of this America, no foreign songs—the songs of this land that aren't offered over TV and radio and very few records.
Groups are easy to be in. I've always learned the hard way. I will now, too. I dress the way I do because I want to dress this way and not because it is cheaper or easier.
I started writing my own songs about four or five years ago. First song was to Brigit Bardot, for piano. Thought if I wrote the song I'd sing it to her one day. Never met her. I've written hillbilly songs that CaRl Perkins from Nashville, Tenn. sings. I write Talking Blues on Topical things. "California Brown Eyed Baby" has caught on. Noel Stookey gave me the idea for the ‘Bear Mountain Song’ I wrote it overnight but I wasn't there. Never sing it the same way twice because I never wrote it down.
No one is really influencing me now—but actually everything does. Can't think of anyone in particular now.
[Further text on program back regarding Folklore Center Newsletter.]
WITH: A flyer for an attempted Dylan booking at the iconic Café au Go Go.
New York: The Folklore Center, 1961. One 8.5 x 11 inch sheet, folded to create four 5.5x8.5 inch pages, with photograph of Dylan on first page. Housed in custom presentation folder. Tiny curl at top right corner, but generally fine condition. A remarkable survival. RARE.
References:
–Pamphlet text
–“Bob Dylan’s New York, 1961 — the Gotham Center for New York City History.”
The Gotham Center for New York City History, August 27, 2019.
–WNYC. “WNYC at 90: Bob Dylan’s First Radio Interview | Soundcheck | WNYC,” n.d. (Inventory #: 2950)
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