Why Bob Dylan Matters Read online

  The day before the conference, like many of the others attending, I signed up for a guided bus tour of Hibbing, Minnesota, the town where Dylan grew up. Hibbing is situated about seventy miles northwest of the city of Duluth, built on the rich iron ore of the Mesabi Iron Range, and at the edge of the town lies the world’s largest open-pit iron mine. Dylan was born in Duluth on May 24, 1941, and grew up in Hibbing after his family moved there when he was six years old. The bus ride itself was memorable and scenic, as we headed north from Minneapolis on Highway 61, the road that follows the Mississippi all the way down to New Orleans, and rode through pine stands, past the Frank Lloyd Wright gas station in Cloquet, then on into Hibbing. We were a busload of about forty-five Dylanologists and assorted Dylan fans, including a young guy whose name tag read Jack Fate—the character played by Dylan in the underappreciated 2003 film Masked and Anonymous, as he was eager to explain to the few who needed explaining. Jack was handing out Highway 61 bumper stickers.

  We eventually found ourselves standing in the library of Hibbing High—the magnificent “Castle in the Wilderness,” as it’s known—from which Robert Zimmerman graduated in 1959. Our tour guide, John “Dan” Bergan, a now-retired English teacher at Hibbing High, had been a classmate of Dylan’s younger brother, David Zimmerman. David graduated five years after Bob and was “a terrifically talented musician in his own right,” according to Bergan. Our busload of pilgrims was also treated to a talk by eighty-three-year-old B. J. Rolfzen, who had once been Dylan’s English teacher. You could tell he must have been a dynamic teacher fifty years earlier, engaged by poetry and with a fire for conveying the magic of literature to his students. Music journalist and cultural critic Greil Marcus has described this moment from Rolfzen’s talk:

  Presumably we were there to hear his reminiscences about the former Bob Zimmerman—or, as Rolfzen called him, and never anything else, Robert. Rolfzen held up a slate where he’d chalked lines from “Floater,” from Dylan’s 2001 “Love and Theft”: “Gotta sit up near the teacher / If you want to learn anything.” Rolfzen pointed to the tour member who was sitting in the seat directly in front of the desk. “I always stood in front of the desk, never behind it,” he said. “And that’s where Robert always sat.” He talked about Dylan’s “Not Dark Yet,” from his 1997 Time Out of Mind: “I was born here and I’ll die here / Against my will.” “I’m with him. I’ll stay right here. I don’t care what’s on the other side,” Rolfzen said, a teacher thrilled to be learning from a student. With that out of the way, he proceeded to teach a class in poetry.

  The Hibbing experience was all part of what later came to seem to me a carefully staged tour. It reminded me of a visit I’d taken a few years earlier to Max Gate, the house that novelist and poet Thomas Hardy designed and lived in on the outskirts of Dorchester in Dorsetshire, England, from 1885 till his death in 1928. Or else it was a bit like visiting the Mark Twain House in Hartford, Connecticut. As a 2016 headline in the CTPost put it, “Mark Twain fan visits his Hartford mansion, finds it’s like communing with a long-lost friend.” Whatever we think we are doing on such journeys, what moves us is the sense of being at the wellspring of artistic creation, where creative genius began to form the art that would become central to our own lives and imaginations. In Hartford, we’re looking for Huck or Tom. In Dorsetshire, we’re hoping to run into some sign of Tess or the mayor of Casterbridge. Likewise, in Hibbing, we were all there looking for something to connect us to the Dylan we had known back in our youth and been with ever since. We were hoping to find it in the magnificent Hibbing High auditorium, where the fifteen-year-old Bob Zimmermann had played with his band, singing and pounding out a Little Richard tune on the piano, as recalled by his then friend John Bucklen:

  He got up there . . . in this talent program at school, came out on stage with some bass player and drummer, I can’t remember who they were, and he started singing in his Little Richard style, screaming, pounding the piano, and my first impression was that of embarrassment, because the little community of Hibbing, Minnesota, way up there, was unaccustomed to such a performance.

  I think we could all imagine that event, but in 2007, fifty years after the show, it was hard to get close. Bob wasn’t there, but it was also easy to imagine him up on the stage looking out at the audience in the elegantly upholstered seats of the 1,805-capacity auditorium of which Dan Bergan, who wrote a booklet on the school, rightly noted, in language that, like the auditorium, seemed remote from the hard realities of the Iron Range:

  Nowhere in the United States can one find a high school auditorium—perhaps any auditorium—of such incomparable beauty, of such ornate and elaborate decoration . . . the auditorium features a 40- by 60-foot stage, framed by its 20- by 40-foot proscenium arch whose borders are marked by massive pillars with composite capitals in gold rising on each side of the stage.

  Dylan would soon enough be performing at Carnegie Hall in New York and at the London Palladium, but that stage in Hibbing was not a bad place to start. This auditorium must be emblazoned in his mind. The nostalgia involved in the activation and exploration of memory is something that is essential to Dylan—as he said in 1967, “You can change your name / but you can’t run away from yourself.”

  After visiting Hibbing High, our group, a little ragged from the warmth of the early spring day, made the short three-block walk from the school down Seventh Avenue, now “Bob Dylan Way,” to the corner of Twenty-Fifth Street, and the house Bob Dylan grew up in. According to the Iron Range Tourism Bureau, it is no longer open to the public—“drive-by visits only”—but on that day the owner had actually opened its doors and allowed us to go into the front living room, where he had set up a display of Dylan memorabilia on a coffee table. There was a Dylan song playing, I can’t quite remember which one, and I think all of us felt a combination of pleasure at having arrived at such a place, along with slight embarrassment to be intruding in the inner sanctum. I was relieved that a request to visit the bedroom was declined, though some went around the side of the house to look up at its window. The owner of the house told us about Dylan’s own occasional visits over the years. He would spend time up in the bedroom of his old house, presumably making contact with memories of listening on the radio to the music that would form him, first gospel blues and country, later rock and roll. He surely found his teenage self on these occasions.

  Lunch was at Zimmy’s, which has since closed as the town continues its economic decline. Some of us bought very unauthorized-looking Zimmy’s T-shirts, along with copies of B. J. Rolfzen’s memoir, The Spring of My Life, a self-published book in ninety-five pages of Courier font—and an interesting account in its own right of growing up poor in post-Depression America. The bus also took us a few miles out of town for a visit to the famous iron ore pit that you can see from the moon. The best ore was long gone, even when Dylan was growing up, and it was easy to connect to the song “North Country Blues” from The Times They Are A-Changin’—a mining blues folk song Dylan would sing at the Newport Folk Festival on July 26, 1963, then once again, for the last time at a concert, at Carnegie Hall, on October 26 of the same year. “This is a song about iron ore mines, and—a, iron ore town,” he said at Newport. The song is in the voice of a widow, as we discover only in the fourth verse, brought up by her brother, who falls victim to the mines, following the same end as her father and eventually her husband, leaving her with three children. Dylan had written the song following a trip back to Hibbing, before the public discovered that he had grown up in the town. Andrea Svedberg broke the news of that reality in a Newsweek article published the Monday after the Carnegie Hall concert.

  Once the Hibbing connection was made, “North Country Blues” was too easily situated in Hibbing and to the background of Bob Zimmerman, despite its narrator’s female voice and the far different details of its story. Maybe that was why Dylan sang it only once more, in 1974 at a benefit concert for the Friends of Chile. By 2001, when “Floater (Too Much to Ask)” came out, Dylan
cared less about people knowing where he came from, and B. J. Rolfzen in his talk is not the only one to have detected autobiographical undertones to the song, both in the lines he quoted and in the ending of the same verse, on the young people of the town:

  They all got out of here any way they could

  The cold rain can give you the shivers

  They went down the Ohio, the Cumberland, the Tennessee

  All the rest of them rebel rivers

  By the time of that song, 2001, Dylan’s real identity and background was even more beside the point. While “North Country Blues” is a song that can be tied to the hard lives of those who worked and died in the mines of Hibbing, Minnesota, it is even more a song that came more from the folk tradition of mining songs, and especially from the fertile mind of Bob Dylan. Like Dylan, our group soon enough boarded the bus and headed south, following his fifty-year-old trail, to the University of Minnesota, and the next day for coffee in Dinkytown, where he went in the fall of 1959 to take up the art of folksinger performance on his way to Greenwich Village and destiny. The conference itself was memorable enough, but what has stuck in my mind most is that day, spent in the little Minnesota town of Hibbing.

  LATIN AND THE LATIN CLUB, HIBBING, 1956–57

  As the only classicist in the group, I was also in Hibbing looking for something else, for traces of a bond I shared with Bob Dylan that for me dated back to 1959, when I began studying Latin at the age of nine. Following lunch at Zimmy’s, I slipped out and walked the two blocks to the Hibbing Public Library. One of the waitresses had told me there was a Dylan exhibit there, featuring a copy of the Hematite, Dylan’s high school yearbook from 1959, the year he graduated. The Hematite was named for the mineral form of iron oxide that brought wealth to the town, and had in the days before the main lode dried up paid for the building of its magnificent school. I had already seen page 76 of the yearbook, at a Dylan exhibit in Seattle in 2005, and in the Scorsese documentary No Direction Home, so I knew what to expect. On that yearbook page the life and career of the future Nobel laureate was summed up in just three details:

  Robert Zimmerman: to join “Little Richard”—

  Latin Club 2; Social Studies Club 4.

  Plenty has been written about Bob’s early interest in Little Richard, one of the foundational singers of rock and roll, whose hit “Tutti Frutti” shot up in the charts at the end of 1955, when Bob was a freshman at Hibbing High. By the following fall, backed by the Shadow Blasters, his name for the first band he had put together, Bob Zimmerman was himself now imitating the songs and stage antics of Little Richard. Indeed, the head shot of Bob Zimmerman at the top of that same yearbook page even alluded to the identity his notice craved, in the form of his trademark Little Richard pompadour hair style. This was well before he started taking on the persona, and the look, of Woody Guthrie as he headed for the folksinging scenes of Greenwich Village.

  But few have paid much attention to his membership in the Latin Club. With his newfound performing interests, and from the evidence of his dropping off the honor roll from 1956 to 1958—he made it back on for his last year—his later claim to be interested in nothing beyond his music (liner notes, Biograph, 1985) might seem credible enough, though mostly on piano, not yet guitar. But right around this time he was also turning up to Latin class and to Latin Club meetings, and he certainly posed for the group photo of the club that came out in the 1957 Hematite. Bob Zimmerman’s enrollment file “disappeared” years ago from the meticulously kept records of the school, but we know that he was taking Latin and learning about Rome that same year he put his first band together. In addition to the yearbook, the school paper, the Hibbing Hi Times, for November 30, 1956, in the regular “Club Notes” column also gives us a unique rarity, a record, unimpaired by the potentially creative memory of those friends who later recalled this or that detail—part of a day in the life of the fifteen-year-old:

  SOCIETAS LATINA HOLDS INITIATION

  Societas Latina [Latin Club] held its annual initiation party and ceremony for new members recently in the high school cafeteria. Several associated members of the club were present also.

  Second-year students vied on a mock TV program, answering questions on Roman gods and goddesses and identifying words dealing with various phases of Roman life. Winners were awarded prizes. After the formal pledge of allegiance by new members, initiates received badges and were raised from the status of slave to that of plebeians. Members then adjourned to the punch bowl where Consul Mary Ann Peterson and Anna Marie Forsmann, in Roman dress, presided.

  Consul Joe Perpich, assisted by Dennis Wickman, Bob Zimmerman, and John Milinovich, was in charge of the formal induction and radio program.

  For whatever reason, interest in the Roman gods and goddesses, helping with the radio, or the favorable gender imbalance (fifty girls to fourteen boys)—or all three—Bob Zimmerman was a member of the Hibbing High Latin Club. The only other information about the Latin Club comes with the paper’s issue for March 15, 1957, in the spring of Bob’s membership year, under the headline LATIN CLUB EDITS IDES OF MARCH NEWS:

  Societas Latina members today published a paper to celebrate the death of Caesar on the Ides of March (March 15). The paper included Roman history, an original poem, cartoons, and many other items with a Roman background.

  Any trace of that paper is long gone, but it is safe to assume Bob Zimmerman played some role in the celebration. Almost sixty years later, as we’ll see, Dylan was quoted as saying, “If I had to do it all over again, I’d be a schoolteacher—probably teach Roman history or theology.”

  We can’t be sure what got Bob Zimmerman interested in Latin and the Romans, but it looks as if those interests started in the years before he walked into Miss Irene Walker’s Latin class in the fall of 1956. Bob’s uncle owned the Lybba, named after Dylan’s great-grandmother, one of the town’s four movie theaters, along with the State, and the Gopher, like the Lybba both just a few blocks from his home, the fourth a drive-in. The early to mid-1950s saw an intensification of movies about Greece and Rome, the latter in particular, along with biblical movies, with or without Romans. This was part of a post–World War II, Cold War–generated escape into the relative security of antiquity: swords and sandals, rather than the atom bomb. At the same time, these years saw the height of McCarthyism and the blacklisting of Hollywood actors, producers, and directors. The ancient world could be used as a medium for camouflaging contemporary red-baiting while depicting persecutions emanating not from Washington, D.C., and the House Un-American Activities Committee, but rather from the city of Rome: between 1950 and 1956, when Bob decided to take up Latin, any number of such movies were available for him to have seen, including Joseph L. Mankiewicz’s 1953 hit version of Shakespeare’s Julius Caesar, starring Marlon Brando, one of Dylan’s favorites, who got the best actor nomination for his role as Mark Antony.

  In these years the following movies about the ancient world were available for Bob Zimmerman to see, free at the Lybba, or at either of the other two theaters, opening on the following dates:

  Serpent of the Nile: Gopher, July 26, 1953

  The Robe: State, January 1, 1954 (and its sequel):

  Demetrius and the Gladiators: Lybba, June 24, 1954

  Julius Caesar: State, February 9, 1955

  The Silver Chalice: State, February 11, 1955

  Jupiter’s Darling: Lybba, March 11, 1955

  Helen of Troy: State, March 4, 1956

  Alexander the Great: Lybba, June 16, 1956

  In 1951 he may have been too young for Quo Vadis, with Peter Ustinov as the lyre-playing emperor Nero, but it probably made a return visit in the years that followed. By the time Ben-Hur came out in 1959, Bob Zimmerman was moving on, though he claimed in an interview that the book on which the movie was based was part of the scriptural reading he did in his youth, just as he mentions The Robe and the 1961 King of Kings as early influences. There is not much else to do in Hibbing, particularly in the cold of the nort
hern Minnesota winter, whether or not the theater is owned by your uncle.

  I know I’m not the only classicist who was attracted to the world of Rome by Stanley Kubrick’s 1960 movie, Spartacus, starring Kirk Douglas, which I first saw as an eleven-year-old. That movie opened at the Lybba on December 29, 1961, when Bob Dylan was back in Hibbing from his first year in Greenwich Village, for the end-of-year holidays—a year later he chose to visit Rome, and on his return to Greenwich Village sang a song he had just written, “Goin’ Back to Rome.” These movies were beginning to peter out when Elizabeth Taylor and Richard Burton gave us Cleopatra and Mark Antony in Mankiewicz’s lavish 1963 epic, Cleopatra. Such things happen. Bob Zimmerman moved on, dropped Latin and stuck with his music, and became Bob Dylan. But my contention is that the memory of his contact with classical antiquity, like the memory of everything else, stayed with him, and had a similar early influence on the evolution of his music, as did the poetry he read in B. J. Rolfzen’s English class and his own extensive and varied reading.

  According to Dylan’s own account in Chronicles: Volume One, published in 2004, the Rome of Hibbing makes one more appearance in his high school days, by way of the Black Hills Passion Play of South Dakota, a touring group that came to town to act out the suffering, crucifixion, and resurrection of Jesus. It seems they also needed locals to play the part of extras, as Dylan fondly recalls:

  One year I played a Roman soldier with a spear and helmet—breastplate, the works—a non-speaking role, but it didn’t matter. I felt like a star. I liked the costume. It felt like a nerve tonic . . . as a Roman soldier I felt like a part of everything, in the center of the planet, invincible. That seemed a million years ago now, a million private struggles and difficulties ago.