When Bob Dylan’s Ship Comes In

Dylan When the Ship Comes In

no vacancyDuring the summer of 1963, Bob Dylan and Joan Baez were driving on a trip to perform together. During the trip, an incident occurred that would inspire one of Dylan’s great songs, “When the Ship Comes In.”

A Hotel Stop

On the road, Dylan and Baez were in ragged clothes when they stopped at a hotel for the night. At this point in their careers, Joan Baez was the more famous of the two nationally.  Dylan, however, still was highly regarded in the folk community, had recorded two albums, and had his songs covered by several artists.

The motel clerk recognized Baez and gave her a room, even though she was not wearing any shoes. But the clerk refused a room to Dylan because of his scraggly appearance. Baez was angry and stepped in on Dylan’s behalf, persuading the clerk to give a room to her unkempt companion.

It must have been difficult for Dylan to face the rejection and then have to be saved by Baez.  His embarrassment must have been magnified because he was just starting — or hoping to start — a relationship with her.

When the Ship Comes In

For someone with Dylan’s talents, though, the best revenge was his music. That night, in his hotel room, in his anger and humiliation, Bob Dylan sat down and began writing the following words:

A song will lift
As the mainsail shifts,
And the boat drifts on to the shoreline;
And the sun will respect
Every face on the deck,
The hour that the ship comes in.

When the Ship Comes In (live) – Bob Dylan (press play)

His new song, “When the Ship Comes In,” was a song of revolution that came out of a personal slight that evening. And Dylan was not in a forgiving mood.  He sang about the forthcoming change where chains will bust and fall to “be buried at the bottom of the ocean,” elevating his slight into something Biblical:

Then they’ll raise their hands,
Sayin’ we’ll meet all your demands;
But we’ll shout from the bow “your days are numbered,”
And like Pharaoh’s tribe,
They’ll be drowned in the tide;
And like Goliath, they’ll be conquered.

The March on Washington

Not many weeks after the motel incident, Dylan and Baez performed “When the Ship Comes In” at the March on Washington in August of 1963. So the song born out of pique at a hotel clerk took stage alongside Martin Luther King Jr. when he gave his “I Have a Dream” Speech.

Thus, Dylan’s song framed MLK’s speech with the warning, “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.”

Revolution

Revolutions are often borne out of personal slights. But personal slights are often symbols of the system, so there is nothing wrong with such a genesis.

One instigation for the American Revolution was a tax on tea, but the tax was symbolic of something deeper. The Occupy Wall Street movement was fueled partly by people fed up with a system that had slighted them individually. Similarly, one can look at recent protests around the world to see movements that started small and grew into something unfathomable.

The year after Dylan wrote “When the Ship Comes In,” the song appeared on Dylan’s The Times They Are A-‘Changin’ (1964) album, his first album of all original songs. Some of the themes of “When the Ship Comes In” are echoed in the title song of the album: “There’s a battle outside ragin’;/It’ll soon shake your windows/And rattle your walls.”

Maybe the battle does not rage in the U.S. like it did in the 1960s, but it still continues here and around the world.

And that’s the story behind the song.

Bonus Source Information: In Martin Scorsese’s documentary No Direction Home, Baez tells the story about the hotel and the “devastating” song, not Dylan. So he may have a different perspective on the night. In Keys to the Rain, Oliver Trager, who calls the Live Aid version above “botched,” notes that Dylan once explained that “When the Ship Comes In” was less about sitting down and writing a song than being a type of song “[t]hey’re just in you so they’ve got to come out.” A better live version of the song was recorded at Carnegie Hall on October 26, 1963, two months after the March on Washington performance. It is included on the soundtrack to the Martin Scorsese documentary on No Direction Home: The Soundtrack (The Bootleg Series Vol. 7).

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    High School Trauma for Pop Stars

    Bob Dylan No Direction Home

    I once saw a story where Christina Aguilera told about her high school prom experience. She already had her first hit with “Genie in a Bottle” and was no longer attending regular classes. But one of Aguilera’s girlfriends found Aguilera a prom date at her old high school. So, Aguilera hoped for a somewhat normal experience for her age of attending prom, just as she was on the border between being a teenage student and pop star.

    Christina Aguilera Genie in a Bottle Everything went well at first. She had fun with her girlfriends and her date. The other students were on the dance floor. Then, the DJ put on “Genie in a Bottle,” and all of her former classmates stopped dancing and went to their seats. Aguilera felt embarrassed and heartbroken.

    I can imagine both sides in the story. There was Aguilera trying to hold onto normalcy for a few hours longer before her life became completely insane, and then she was rejected and scorned by those from whom she sought acceptance. But I also understand teenagers being teenagers and making a stand against someone who had effectively placed herself on another plane, one they would never reach. Therefore, they refused to play a part in some rich and famous person’s fantasy.

    I thought of that story recently when re-watching Martin Scorsese’s Bob Dylan documentary No Direction Home (2005). One of Bob Dylan’s high school classmates told a story about Dylan performing at a high school talent show. Dylan banged on the piano like Jerry Lee Lewis, belting out a rock and roll song. His Minnesota classmates did not know what to think and probably did not react the way the Dylan had hoped. The principal pulled the curtain while Dylan was still singing, thus ending one of the first public performances by the future icon in humiliation.

    Taylor Swift I know we often ascribe too much to childhood events. But I still cannot help speculating how Aguilera’s experience shaped her, just as our high school experiences shaped us. Similarly, in a October 10, 2011 New Yorker article, “You Belong With Me,” Lizzie Widdicombe recounted how Taylor Swift went through a similar period of exile in adolescence when her friends turned on her as she started becoming famous. Despite her success, like Aguilera, she still felt the sting. To get back at the mean girls, during her sophomore year of high school, Swift bought a silver Lexus convertible because in Mean Girls, that was the type of car driven by Regina George, who the girls in Swift’s high school idolized.

    Just as in those cases, I see a little of the teenage Dylan, facing rejection from his principal and peers, standing on the stage with his older self years later in 1966 in Manchester at the Free Trade Hall. As Dylan listened to a crowd booing his conversion from folk music to electric music, he might as well have been playing for his principal and high school classmates when he (or someone in his band) requested, “Play it fuckin’ loud.”

    Dylan found his high school revenge in an expression that was better than buying a car or anything else money can buy. While the lyrics of “Like a Rolling Stone” ask the listener, “How does it feel?,” there is never an answer back from the song’s target. But we know from the roar of the song what the singer is feeling. Redemption.

    Note: The above Free Trade Hall performance later became misidentified as the “Royal Albert Hall” performance. Bonus Trivia Question: What legendary group mentions Royal Albert Hall in a famous song?

    What do you think of these high school stories? Leave your two cents in the comments section.

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    A Coen Brothers Movie About Dave Van Ronk?

    Dave Von Ronk Mayor of MacDougal Street
    Reports are going around, including from the Los Angeles Times, that the Coen Brothers plan to make a movie loosely based on 1950s-1960s folk-singer Dave Van Ronk and the New York folk scene. It will be great to see the Coens creating another movie based around great music like O Brother Where Art Thou?

    If you watched Martin Sorsese’s documentary about Bob Dylan, No Direction Home, you might recall that one of the most interesting interviewees in the movie was Dave Van Ronk. Van Ronk was a folk singer in Greenwich Village during the 1960s, and he was a friend and supporter to many of the singers who would go on to more fame than he achieved, such as Dylan, Joni Mitchell, and Ramblin’ Jack Elliott. Van Ronk passed away in 2002 while he was working on a memoir, which was then completed by his collaborator Elijah Wald. The book, which will be used by the Coens, is titled after one of Van Ronk’s nicknames, The Mayor Of MacDougal Street.

    One of Van Ronk’s classic recordings is of the song ‘Green Rocky Road.”

    When I go by Baltimore,
    Ain’t no carpet on the floor.
    Come along and follow me;
    Must go down to Galilee,
    Singin’ green, green rocky road,
    Promenade in’ green;
    Tell me who ya love,
    Tell me who ya love.

    [UPDATE:  The movie became Inside Llewyn Davis (2013).]

    What do you think about the plans of the Coen Brothers? Who should play the Van Ronk character in the movie? Leave a comment.

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