Regarded as a political mouthpiece and civil movement activist, the musical artiste Bob Dylan was born Robert Zimmerman in 1941. The American songwriter, as preferably referenced, is without question one of the most influential and infamous artistes in history, in particular, the 1960’s.

Likened to a “one man band”, Dylan is known for his guitar, harmonica and keyboard playing. All he misses are the cymbals attached to his knees for him to adopt the original one man bander appearance.

Throughout his career Dylan has been quite rightly honoured with prizes and awards to celebrate and give credit to his musical talent and although these have been as a recording artist and performer, his notoriety as songwriter has been prevalent to the aforementioned.

Receiving Grammy Awards, Academy Awards and other such honorary accolades has also seen Bob Dylan being nominated on a number of occasion for the highly recognised and respected Pulitzer Award for Literature.

It seems his talent for writing, notably his subject and delivery have earned him a vast amount of admiration within the literary world.

Amongst his vast array of songs, Blowin’ In The Wind is undoubtedly one of Dylan’s most famous songs when you think of his catalogue of music but there is also the political affect this song and many others had on America in relation to their lyrics being portrayed as an outcry in the cause of inhumanity.

The Sixties was thought to be somewhat of a platform for the voicing of opinions. Demonstrations and sit-ins were commonplace in the era of freedom of speech and love and many championed the right to form protests in Washington. Others got their points across by writing, or in Dylan’s case, composing songs.

The Vietnam War and The Civil Rights Movement were matters passionately close to Dylan’s heart in terms of his feelings towards them, they were, more importantly, predominant issues in the midst of the Sixties which simplified his plight of public awareness.

It is perhaps commonly considered that people, especially young people listen more intently to the lyrics of a song, compared to a speaker standing and speaking forward on a rostrum. Yet Dylan shied away from the role or responsibility of speaking in public as he did not really desire to be associated directly with politics, yet his intelligence made him aware that with the power of music and lyrics he could remain politically informative and opinionated without the immediate involvement.

He is thought to be perhaps the pioneer of writing music that contained socially conscious content. Thought provoking and inspirational, Dylan’s words were written with earnest and engaged listeners to question his implications that all was not how it was meant to appear. Dylan maintained that Blowin In The Wind was not a political statement, rather a social understanding but having referred to racism and the injustice of such, one can be forgiven in thinking that having it contained in something as powerful as a song, surely it was intended to provoke American politics and its issues at that time.

“This here ain’t a protest song or anything like that, “cause I don”t write protest songs. I’m just writing it as something to be said, for somebody, by somebody” (Heylin, 93 – Bob Dylan and the Sixties: A Social Commentary Reflecting Politics and Existentialism, Nicole Lemieux, Spring 2006). This is a clever and deflective manner maybe in bringing racism to the forefront of the masses without any direct association to admittance or responsibility of personal opinion. It is hardly surprising then that Blowin In The Wind became the signature track of The Civil Rights Movement March in Washington, again endorsing its suggestions of political meaning.

The lyric “Yes, “n” how many times can a man turn his head,/Pretending he just doesn’t see?” is possibly enough for people to have their own thoughts on whether this was political or not, however the power of the words most certainly had an effect on America in realising that this was a subject that could not be ignored. Could they possibly be as guilty as the racist perpetrator who inflicted the abuse on its victim? This questionable situation, whether Dylan intended it or not, asked people, if not told them that what they were doing, in fact what they were not doing, was wrong.

Another significant lyric Dylan wrote would be that of “Masters At War”

You that never done nothin’

But build to destroy

You play with my world

Like it’s your little toy

You put a gun in my hand

And you hide from my eyes

And you turn and run farther

When the fast bullets fly.

The “Masters” quite clearly are the “powers that be” who, in Dylan’s implications having caused a war. They then send soldiers to battle on their behalf. The soldiers believing in the “Masters” causes and in their brainwashed minds forget that the “Masters” can afford to adopt this stance of fighting as it is not them directly in the firing line. As long as their fight is conquered they do not have any real regard for the soldiers who die or the families that suffer the loss of loved ones. They see those soldiers as merely a part of the institution of Americans who joined to fight for their country.

Dylan perhaps did not see the basis of this as the problem, more so the inconsideration of the “Masters” disengaging themselves from the actual fight. An injustice.

Despite his denials of being a political speaker, Dylan along with other performers namely Joan Baez, Peter, Paul and Mary, and Odetta came together in Washington in 1963 and performed at the Lincoln Memorial March.

More famously in history, aside from Dylan singing, Martin Luther King made his infamous speech “I Have A Dream”.

Dylan was not in any way protesting for black people in specific. He vehemently stated that he did not think or desire to be a spokesperson in general let alone become involved in something he was not. His main objective it seemed was to bring injustice to light which racism certainly was, as too was civil injustice. It was when he was assumed to be the spokesperson of these issues that he withdrew himself from actively being involved.

This did not, thankfully affect in his music. “The Times They Are A Changin” saw more relevant issues being typically questioned.

Concentrating more on “freedom of speech” Dylan it is thought always intended for change and that change was directed towards the youth of America, seeing them as the perfect platforms for approach his words needed no manipulation. Pro-activeness was the menu of the album, its message was simple and identified as such; if you think something should change, you have the right to attempt to change it. If you think something should change and you do nothing, you cannot blame anyone but yourself for the lack of change.

In an extreme comparison of racism in 60’s America there is the story of Hattie Carroll, whom Dylan also pens a song about.

Based mainly on the injustice that was suffered by Hattie Carroll it tells of Carroll being a servant maid to a white, upper class gentleman and her struggle with life itself. Quite sadly, as this is a true event, Carroll was bludgeoned over the head by her employer, William Zanzinger who was later acquitted of her murder. In creating his song, Dylan brings forth the issues of slavery, racism and injustice. The emphasis being put upon the fact that not only was it a horrendous action, moreover it was dealt with unjustifiably in the Courts. It also speaks volumes on the fact that regardless of class but perhaps regarding of class, Hattie Carroll not only underwent an unjustifiable and untimely death, she also suffered an unforgivable injustice.

Despite the cutting edge of his lyrics and the thoughts they invoked, Dylan insisted he was only writing on topical issues as was every songwriter and was by no means “actively protesting” for their cause. He went on to explain “’There aren’t any finger-pointing songs in here’…’Me, I don’t want to write for people any more-you know, a spokesman. From now on, I want to write from inside me, and to do that I’m going to have to get back to writing like I used to when I was ten-having everything come out naturally’” (The New Yorker Interview).

Traditionally a folk writer, Dylan moved on into the electronic world of music causing some of his most ardent folk fans to question his integrity of roots. It seemed no matter what Dylan wrote or chose, he was tagged with a certain label regardless of his personal preferences. Political activist, spokesperson, mediator and/or lyrical protestor, Dylan was merely a songwriter writing about topical subjects. As today’s comedians base their material on the same, they captivate an audience far easier when the audience can relate to the subject they are talking about and the same goes for musical lyrics and content.

If you are embroiled in a relationship breakdown you are far more likely to listen and relate to a love song about two couples in love than you are about gangsters “pimpin their rides”.

Throughout Dylan’s continuous denials of political involvement and social provocation it is perhaps relevant to any society, and although he may have been the first artist to have been seen in that light, he most certainly has not been the last.

Writing or speaking about a topic tends to make people assume you have written or spoken for a reason, otherwise why? If you have felt strongly enough to write or speak then you obviously have an opinion and care. Perhaps Dylan did not want to shoulder the responsibility of that role but he certainly did himself little favour in the first place. Of course his songs would hold no substance or notoriety if he had written about sheep in a field or the price of fresh fruit. Another of life’s one hit wonders he would have become. That was not meant to be and Dylan cannot skirt around that fact neither should he belittle his influence upon people interested in politics or music. Sometimes the pair go hand in hand and there is much to be said for the words he wrote and the meanings behind them. He seemed to fear the influence and power his words carried.

Certain people became personally outraged that he was moving away from his folk roots and his apparent representation of the 60’s but as this was a role Dylan never actively or intentionally sought so it was perhaps this progression that became a more comfortable seat for him to bench.

Dylan inched slightly away from political connotations but his songs remained socially related. Superiority and class were still relevant and apparent in his lyrics discouraging materialism and snobbery, recognising them as negative traits to possess rather than ones earning integrity and respect. The core depth of meaning in all of Dylan’s compositions are extremely intrinsic when considered effortlessly.

Realising society was changing, Dylan took in the worrying facts that violence and crime were becoming apparent in the need for personal dividend. His songs remained socially related but the politics now took a back seat. Continuing to provoke reaction, Dylan’s talent as a songwriter are indeed second to none regardless of his topic of issue.

SOURCES OF REFERENCE

Minnesota National Historical Society

Arts.guardian.co.uk

Bob Dylan and the Sixties: A Social Commentary Reflecting Politics and Existentialism, Nicole Lemieux, Spring 2006

The NewYorker Interview

Bobdylan.com