Publicity Clerkin' At New American Library Revisited (13)

 A final response of mine to hearing about Dylan's initial 1970s "comeback tour" was to take a Long Island Railroad train out to the Nassau Coliseum, on the evening that Dylan was performing live on Long Island and charging the inflated concert ticket price, to see if any Yipster Times readers or Dylan Liberation Front/Rock Liberation Front supporters--who also felt that some hip capitalists were individually enriching themselves by being involved in youth cultural rip-off activity and collaboration with music industry media conglomerates that economically exploited and politically manipulated U.S. music fans and the U.S. youth market--would be protesting there.

But when I arrived outside the Nassau Colisuem, as mostly white middle-class and white upper middle-class suburbanite post-1966 Dylan fans were walking towards and through the concert arena's doors, the only sign of any protest I noticed was a Yipster Times writer named Aron passing out a leaflet in the arena's parking lot.

The leaflet included a photocopied image of a check from CBS to Bob Dylan for $80,000 [equal to around $482,000 in 2022]; which seemed to indicate that in the mid-1970s Dylan was apparently collecting over 10 times as much money each month from the CBS media conglomerate as the vast majority of mid-1970s freaks and U.S. music fans were able to earn in a year, at whatever menial, straight 9-to-5 wage enslavement job (like the publicity clerk job at New American Library that I then had) they were trapped in during the mid-1970s.

And the leaflet the Yipster Times writer was attempting to distribute pointed out that, with that kind of money already passing into Dylan's 1970s bank account from CBS on a regular basis, there was no economic justification, other than hip capitalist individual greed, for Dylan to be charging his fans so much money for tickets to his initial live concerts in the mid-1970s.

After I said a few words of encouragement to the Yipster Times writer when he handed me the leaflet, he, alone, continued to hand out his leaflets to as many of the post-1966 Dylan fans as he could encounter, before they marched into the Nassau Coliseum.

Standing alone myself in front of the entrance to the Nassau Coliseum, I observed, for awhile, how the suburban music fans reacted when they were handed the leaflet.  And I noticed that Aron wasn't receiving much of a response, one way or the other, from the music fans who accepted the leaflets he handed to them.

So I concluded that the Nassau Coliseum on Long Island was too far from Manhattan neighborhoods like the Lower East Side and the Upper West Side for there to be any chance that any protest would develop outside or inside the live Dylan concert on Long Island to express dissatisfaction with the inflated ticket prices Dylan was now charging his music fans.

So when the number of young music fans heading into the Dylan concert began to decrease, I began the long walk alone from the Nassau Coliseum to the Long Island Railroad station to catch the train that would take me back to Brooklyn.  And on the train, I re-read the leaflet the Yipster Times writer had handed me in the Nassau Colisuem parking lot.

But when Dylan performed live in Manhatttan's Madison Square Garden a few days later, some counter-cultural Movement people apparently did appear in larger numbers outside Madison Square Garden to express their dissatisfaction with the ticket prices Dylan was charging for his "comeback tour" performance there. 

Publicity Clerkin' At New American Library Revisited (9)

During the same 1970s period when, in my 20's, I was living near the pre-gentrified Brooklyn waterfront in Red Hook and working as a publicity clerk at New American Library, the by-then over 30-year-old Bob "Dylan" Zimmerman--after having pretty much stopped performing any live concert tours within U.S. imperialist society (while the U.S. war machine's attack on Vietnam escalated) when some of his early 1960s initial fans booed him at his 1965 and 1966 live concerts, for seeming to become more commercially-oriented and less Movement-oriented than he had previously been--began his new career as a "never-ending tour" performer.

Not surprisingly, by the time Dylan began performing live again and began his "never-ending tour," Establishment corporate media magazines (like the then-CIA-linked Washington Post Company's Newsweek magaine--which had published an unflattering article about Dylan over a decade before, when his songs were reflecting the concerns of U.S. New Left Movement groups) no longer viewed Dylan as being an anti-Establishment artist.

So in the 1970s the U.S. Establishment promoted Dylan's initial 1970s "comeback tour" by putting his photo on the cover of Newsweek magazine; and, at the same time, Newsweek published a flattering article about Dylan which publicized his initial 1970s live concert tour.

Between 1966 and his initial mid-1970s U.S. concert tour, Dylan could be seen performing live on television in front of Johnny Cash's tv show audience. But--aside from performing at a live concert paying tribute to Woody Guthrie at Carnegie Hall in January 1968 (after Woody's death in 1967), performing before a large audience at the Isle of Wight festival in the UK in 1969 and performing live at the 1971 Bangladesh benefit concert that George Harrison arranged--U.S. music fans had not been able to see Dylan performing live in front of them.

And between 1966 and his initial 1970s "never-ending concert tour" performance, the only new protest folk song Dyland had written that reflected a political issue that concerned most Movement people was the "George Jackson" song. But Dylan's "George Jackson" song was only written after one of the corporate media conglomerate book publishing subsidiaries had previously published George Jackson's Soledad Brother book, only after George Jackson's brother, Jonathan Jackson had been killed and Angela Davis had been arrested, and only after George Jackson was killed.

In addition, Dylan had only written the "George Jackson" song after the A.J. Weberman-led Dylan Liberation Front/Rock Liberation Front (which ex-Beatles member John Lennon supported for awhile) and Abbie Hoffman began criticizing Dylan for not writing new protest songs anymore and characterizing Dylan as a "cultural rip-off artist" who had personally enriched himself by ripping off the 1960s Movement counter-culture and collaborating with the U.S. establishment's CBS media conglomerate's hip capitalist Columbia Records subsidiary.

And only after A.J. Weberman's critique of Dylan's post-1966 political/artistic shift and money-making began to appear in publications like the East Village Other underground newspaper, the Yipster Times, the Village Voice, and even Rolling Stone magazine, as well as being increasingly discussed over some NYC radio stations like WBAI, did Dylan write and record the "George Jackson" song.

So because Dylan didn't write any song and release his record related to George Jackson's unjust imprisonment until after George Jackson was already killed, some Movement music fans speculated that Dylan mainly wrote the "George Jackson" song to try to minimize the growing number of people who were starting to agree with A.J. Weberman's early 1970s East Village Other articles, which were then-arguing that Dylan had sold out politically and artistically to the U.S. corporate Establishment.