"It has often been suggested that as [Bob] Dylan assembled his distinctive persona while climbing to international fame, he borrowed some of it, including a certain attitude and a caustic streak..."

"... from [Bob] Neuwirth. 'The whole hipster shuck and jive — that was pure Neuwirth,' Bob Spitz wrote in 'Dylan: A Biography' (1989). 'So were the deadly put-downs, the wipeout grins and innuendos. Neuwirth had mastered those little twists long before Bob Dylan made them famous and conveyed them to his best friend with altruistic grace.' Mr. Neuwirth, Mr. Spitz suggested, could have ridden those same qualities to Dylanesque fame. 'Bobby Neuwirth was the Bob Most Likely to Succeed,' he wrote, 'a wellspring of enormous potential. He possessed all the elements, except for one — nerve.' Mr. Dylan, in his book 'Chronicles: Volume One' (2004), had his own description of Mr. Neuwirth: 'Like Kerouac had immortalized Neal Cassady in ‘On the Road,’ somebody should have immortalized Neuwirth. He was that kind of character. He could talk to anybody until they felt like all their intelligence was gone. With his tongue, he ripped and slashed and could make anybody uneasy, also could talk his way out of anything. Nobody knew what to make of him.'"

From "Bob Neuwirth, Colorful Figure in Dylan’s Circle, Dies at 82/He was a recording artist and songwriter himself, but he also played pivotal roles in the careers of Bob Dylan and Janis Joplin" (NYT). 

Neuwirth, we're told, taught Janis Joplin the Kris Kristofferson song "Me & Bobby McGee," and he co-wrote "Mercedes Benz" with her. 

ADDED: Spitz's use of the words "hipster shuck and jive" undercuts the argument that Neuwirth created this style of personal presentation. This obituary shows the New York Times carrying on the long tradition of making black people invisible.

From the Wikipedia article "Shuckin' and jivin'":

Shuckin' and jivin' (or shucking and jiving) is African-American slang for joking and acting evasively in the presence of an authoritative figure. It usually involves clever lies and impromptu storytelling, to one-up an opponent or avoid punishment.... 

According to the linguist Barbara Ann Kipfer, the origins of the phrase may be traced to when "black slaves sang and shouted gleefully during corn-shucking season, and this behavior, along with lying and teasing, became a part of the protective and evasive behavior normally adopted toward white people."... 

In 2008, New York attorney general Andrew Cuomo said of the Democratic Party candidate Barack Obama, who was running against Hillary Clinton, the candidate Cuomo supported: "You can't shuck and jive at a press conference." Cuomo received criticism from some for his use of the phrase. Roland Martin of CNN said that "'Shucking and jiving' have long been words used as a negative assessment of African Americans, along the lines of a 'foot-shufflin' Negro.'"

From the Wikipedia article "Hipster (1940s subculture)": 

In 1938, the word hepster was used by bandleader Cab Calloway in the title of his dictionary, Cab Calloway's Cat-ologue: A "Hepster's" Dictionary, which defines hep cat as "a guy who knows all the answers, understands jive"... 

In 1944, pianist Harry Gibson modified hepcat to hipster in his short glossary "For Characters Who Don't Dig Jive Talk".... Initially, hipsters were usually middle-class European American youths seeking to emulate the lifestyle of the largely African-American jazz musicians they followed....

In The Jazz Scene (1959), the British historian and social theorist Eric Hobsbawm... described hipster language—i.e., "jive-talk or hipster-talk"—as "an argot or cant designed to set the group apart from outsiders"....

The hipster subculture rapidly expanded, and after World War II, a burgeoning literary scene grew up around it. In 1957, the American writer and adventurer Jack Kerouac described hipsters as "rising and roaming America, bumming and hitchhiking everywhere [as] characters of a special spirituality." Toward the beginning of his poem Howl, the Jewish-American Beatnik poet Allen Ginsberg mentioned "angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night". In his 1957 essay The White Negro, the American novelist and journalist Norman Mailer characterized hipsters as American existentialists, living a life surrounded by death—annihilated by the atomic war or strangled by social conformity—and electing instead to "divorce [themselves] from society, to exist without roots, to set out on that uncharted journey into the rebellious imperatives of the self".