1965 Revisited: Annivyrsary 1965
ISSUE #306
The house where I grew up was two miles from Highway 61. That’s the historic blues highway that Bob Dylan referenced with Highway 61 Revisited, his 1965 album that, in turn, gave the film A Complete Unknown its name from a lyric in “Like a Rolling Stone.” To be fair, Dylan was talking about the parts of the highway that run down through St. Louis, Memphis, New Orleans, and the Delta. I grew up in Iowa—not exactly known for blues.
But I also knew that the man born Robert Zimmerman grew up even farther north than I did, in Duluth, Minnesota; and I know I used to bike to 61; and how after that, I’d drive to it and down it every day. It’s a part of the world that’d be wiped off the map with little protest.
You can imagine my deep initial connection to Dylan when I found out he’d written a world-class album name checking the road—even without the fact that he’s a Nobel Laureate (so was Winston Churchill, who died in 1965). Some said that the 1960s “started” with Highway 61 Revisited. It makes sense—Dylan had introduced the Beatles to marijuana in 1964, and the Fab Four might have landed in New York that same year, but it was in 1965 that they had three of their biggest #1s: “Ticket to Ride,” Help!” and “Yesterday.” The Rolling Stones weren’t far behind, fighting back with “(I Can’t Get No) Satisfaction” and the brilliant, babbling feakout “Get Off of My Cloud.” It was the year popular music finally reflected the desperation and despair the youth were feeling.
Rock wasn’t born as counter-culture music. It was rebellious, sure, but folk music was where the protest happened—that was where you dug deeper than just teenage love, sung about reshaping the world and raged at the status quo. Kennedy had been dead for two years, but the reverb wasn’t felt till Johnson was inducted in ’65 and the Voting Rights Act enacted the same year. That, and Vietnam’s escalating body count, finally ripped the generation gap open enough to bleed.
Phil Ochs was the real protest music, but Dylan was too, for a time—until he went electric at the contentious Newport Folk Festival when he played three songs with an electric guitar and drums and someone in the crowd yelled “Judas!” and he yelled to the band “Play it fucking loud!” That was the start of my favorite Dylan era, the one beginning with Bringing It All Back Home, which opened breathless and immaculate with “Subterranean Homesick Blues,” and found time for “Mr. Tambourine Man” toward the end, a song I maybe love more than any in the world.
Unlike the flat and Iowan Highway 61, the Sound of Music opens with ragged, sweeping shots of the Alps; when it was in theaters, teenagers in fatigues were being flown in Chinook helicopters across the sweeping Annamese Mountains (the Phou Luang in Lao, the Dãy Trường Sơn in Vietnamese).
The movie won Best Picture, one of the few deserving of the title, but it was an ostensible “anti-war” musical that decried the Nazis while the same class who championed it cheered on the jailing of those who dared to protest the war or the end of Jim Crow. That was back when the reactionary class posed themselves as protectors of aggressive normalcy, not pseudo-rebellious psychos that manufactured racial conspiracies as an excuse to deport citizens.
I drive Highway 61 every year, sometimes twice—whenever I can afford to make it home. On the long drives back, over a third of this large country we stole, I sit sickened by the way the world is and has always been. Every year it’s even more, and I can rarely hold hope for the next time.
As my time on the Earth wanes, it’s not Bob Dylan I turn to anymore, but Nina Simone. Hers is a clean and clarifying truth, the kind stark enough to carry prison potential—both then and now. There’s a morbid comfort when you learn the violence you recognize isn't new to your lifetime; that others hold grief as inescapable as yours. The hills may be alive, but the Nazis never leave—and strange fruit is never far from hanging again.
When I was 21, I worked at Forever 21. I was the sole stock worker on any given shift, and I ran that backroom like a movie set—there wasn’t a single maxi dress I couldn’t echolocate.
I remember—I remember the first song I listened to for weeks. It was in 2004. I had loved a tune before, sure—your Cher’s “Believe,” your Smash Mouth’s “All Star”—but had never experienced that blissful hunger for one. That came with “All These Things I’ve Done”…
Kurt Cobain died on April 5, 1994. He killed himself—and he did kill himself. Crazy the acrobatics our minds will go through to rule out the reality of suicide. Impossible! That life could be too hard to live? We’re more likely to see misogynistic conspiracy lurk around every corner.
1984 has been called the greatest year in pop, and I think it might still be true. If 1974 was music’s fallow period, ten years later was its opposite. We danced in the dark beneath the killing moon and under purple rain—this was the year the critics and the people met in the Minneapolis streets.
When I started gathering my research for this Annivyrsary back in January, one thing became clear—1974 was not a good year for music. This was very much a puberty period, an awkward personality vacuum that comes between shedding the old and fully realizing the new. This was to be my Waterloo.
Something preposterous happened in 1964: On the week of April 4, one artist had the top five songs on the Billboard Hot 100. It’d never happened before and it hasn’t been matched since. Mere weeks before, in the warming days of March, America found that no fewer than 60% of all records sold were songs by the Beatles.
Safe to say three of the most consequential albums of my life came out in 2013, and that list doesn’t even touch the dozen other nearly perfect albums from this year—Trouble Will Find Me, Modern Vampires of the City, Cupid Deluxe, Yeezus… 2013 changed music as we know it, and a lot of the biggest artists today cemented their status or debuted this year, from The 1975 to Beyoncé.
I do remember that this is the year I got a Nintendo Power subscription though. And I do remember one day, flipping through said Nintendo Power in the back seat of the family van, my parents slid a revolution into the CD player. That was the day I first heard Now!That’s What I Call Music! 14.
So for me, ‘93 was the first year of the 90s, and its evidence lies in several places: in the birth of the Riot Grrrl movement and third wave feminism with Bikini Kill’s “Rebel Girl”; in Nirvana’s dyspeptic final album before Cobain’s untimely death; and in Enter the Wu-Tang (36 Chambers), the harbinger for the soon-to-be golden age of hip hop.
Some stories of note in 1983: the invention of Detroit techno, as embodied by the single “Clear” by Cybotron; the birth of English indie rock as we know it with The Smiths debut and follow up singles (“Hand in Glove” and “This Charming Man,” respectively); and the birth of American indie rock as we know it with R.E.M.’s Murmur.
If you want a little taste of what 1973 was like, go watch Licorice Pizza, the title of which refers to the old LP, a.k.a. the vinyl record—and boy, was this year firmly the middle of the Album Empire.
It’s time for the first of our Annivyrsaries, my favorite history class, and we’re starting with the sounds of 1963. So naturally, I want to focus on something that hasn’t been touched as much by scholars—the rise of the Surf Song.
It was the year the world was supposed to end. For music, in a own way, it did. As the 2009 class of indie darlings delivered underwhelming follow ups (Shields, Centipede Hz, Swing Lo Magellan—many now, in ten years time, seen as unsung greats), critics were reckoning with the rise of poptimism.
In 2002, I was listening to All That You Can’t Leave Behind from the backseat of a minivan while I flipped through the pictures in Nintendo Power. I thought all songs debuted through Now That’s What I Call Music! I was Coldplay’s perfect mark—I had no idea what a cliché even was.
I must’ve gotten my hands on Grand Theft Auto: San Andreas in 2004, when I was 10 or 11 years old. Grand Theft Auto maintains a dual reputation as one of the greatest video games of all time as well as one of those Matrix-level Y2K-era youth corruptors.
The first time I went crowd-surfing was in a stranger’s dark living room to “Come On Eileen.” I remember being lifted on shaky hands and the warm breeze borne from the drunken crowd. It was during that thumping chant of the bridge, every foot moving to the brow-beating stomp. My nose scraped the ceiling as I sang along.
At the height of his fame, David Bowie forged Ziggy Stardust to help him withstand the heat of the limelight. He quickly came to resent it. He was starting to think that he was Ziggy. He even went as far as trying to kill Stardust off one summer in London. “That fucker would not leave me alone for years,” he once said.
Pretend it’s 1962. Rachel Carson’s Silent Spring hits The New Yorker in June. In a month, heavy smog descends upon London; the first Walmart rears its head in Arkansas. Another month, and Marilyn Monroe is dead. The world could collapse any day now.
Summer morning doesn’t strike the Midwest sky so much as it subdues it. The sun will lay the night down gently—first with the grip of firm, pink fingers, then a whispered command in daffodil light.
It's 2001: CDs are excessive. Packing 1.4 million bits into a single second of stereo? In reality, we need only 128,000—a mere twelfth the size of what we were sold.
In 1991, Kevin Shields of My Bloody Valentine spent three years making their second record, held up by perfectionism and his visionary sound—thousands of pedals to make the guitars shimmer, a mirage of pitch-bent tremolo effects.
She and I stood face-to-face—cheeks rolling as we chewed in calculated fury—in a bathroom flooded so many times you could see from peeling paint the location of each waterline. Moments ago, we’d scoured the concrete for bright strips of green between the rippling sheet of the Mississippi River and the faded auditorium where we now conspired.
At 11:59 p.m. on the first day of 1971, families watching The Tonight Show with Johnny Carson witnessed the last ad for cigarettes ever broadcast on television. 60 seconds dedicated to Virginia Slims. Those who preferred CBS’s Merv Griffin saw the same but for a different pack—Marlboros. Dick Cavett fans got Benson & Hedges.
1961 was what MAD Magazine called an Upside-Up year. It’s strobogrammatic, rotationally symmetric—flip it upside-down while no one’s looking and the number appears to have remained the same. If 1969 is the year that changed everything, we ought to christen 1961 as the year the world flipped upside-down, unnoticed; no one seemed to be paying any attention.
The real reason I had no time to write was I got so sucked in to making the damn playlist. It had to be longer this time, both because I had so much material (it was the year of my musical awakening) and because we could all use a longer escape.
This Valentine's Day, Hulu released a new TV version of High Fidelity. I told myself I wouldn't watch it. Its existence felt like a trick, its timing too convenient. It only took me two nights to cave. I set down the movie to watch the whole thing twice; some will disagree, but I think it's fantastic.
1990 was the year that the Pale Blue Dot photo was beamed back to Earth by Voyager 1—as it left the Solar System, Carl Sagan told NASA to have the craft turn its camera around and take one last photo of the Earth against the black canvas of space. In the shot, our planet is barely bigger than a pixel.
In 1980, a Japanese manufacturer of electronic instruments launched its first line of drum machines. Instead of pre-recorded samples, this machine made its own sounds—particularly, a booming bass drum that sounded like Flubber hitting a trampoline.
Ten years is as far as you can stretch in time while still holding your sense of self. Walk back through each week, however, and it's exhausting to see just how far time's canyon will reach. The decade is the standard unit of change.
The house where I grew up was two miles from Highway 61. That’s the historic blues highway that Bob Dylan referenced with Highway 61 Revisited, his 1965 album that, in turn, gave the film A Complete Unknown its name from a lyric in “Like a Rolling Stone.”