Grazie al film A Complete Unknown di James Mangold tornano d'attualità i fatti di Newport 1965, quando sul palco del Folk Festival Bob Dylan fu contestato (al grido di "suonate musica folk!") perché suonò un set elettrico con la Paul Butterfield Blues Band.
Per dire quanto fosse accecante l'ideologia della purezza acustica, “Mr. Tambourine Man” e “It's All Over Now, Baby Blue”, dai testi densi di immagini oscuramente visionarie, in quel clima venivano accolte come dolci ballate. La chitarra acustica era in qualche modo garante delle convenzioni della musica folk.
Nel libro Guitar Cultures curato da Andy Bennett e Kevin Dawe (2001), un saggio di Peter Narváez (“Unplugged: Blues Guitarists and the Myth of Acousticity”) racconta il "mito dell'acusticità", l'ideologia della "purezza acustica".

Thanks to James Mangold's film A Complete Unknown, the events of Newport 1965 are back in the news. On stage at the Folk Festival Bob Dylan was challenged (to the cry of “play folk music!”) because he played an electric set with the Paul Butterfield Blues Band.
To say how blindingly acoustic purity ideology was, “Mr. Tambourine Man” and “It's All Over Now, Baby Blue,” with lyrics dense with darkly visionary imagery, were received as sweet ballads in that climate. The acoustic guitar was somehow a guarantor of folk music conventions.
In the book Guitar Cultures, edited by Andy Bennett and Kevin Dawe (2001), an essay by Peter Narváez (“Unplugged: Blues Guitarists and the Myth of Acousticity”) explains the “myth of acousticity,” the ideology of “acoustic purity.”