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Most of all, Dylan’s voice - both sonically and artistically - can’t be understood without first taking in “The Anthology of American Folk Music,” a compilation of 78 r.p.m. The young Dylan at Newport has a bit of what Walt Whitman, in his poem “Song of Myself,” called the “barbaric yawp,” the voice of the untamed, the “untranslatable.” It’s very much a product of the singer’s northern Minnesota upbringing, an adaptation of the voices from the worlds of rock ‘n’ roll and gospel that he beamed in from faraway radio stations as a kid late at night. It’s a reminder that Dylan in many ways paved the way for the generations of artists since he arrived who define themselves by speaking up.ĭylan’s contemporary voice is a rasp, but then it was never particularly pleasing, nor was it intended to be. In 2020, Dylan resurfaced with another album, “Rough and Rowdy Ways,” that asked much the same question. Kendrick Lamar didn’t have all the answers in “Alright,” but the 2015 song turned into a soundtrack for the emerging #BlackLivesMatter movement because it so eloquently voiced a community’s anxiety and pain: “Wouldn’t you know, we been hurt, been down before/When our pride was low/Looking at the world like ‘Where do we go?’”
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Songs such as Run the Jewels’ “Walking in the Snow” and Shamir’s “In This Hole” to Angelica Garcia’s “Jicama” and SAULT’s ”Sorry Ain’t Enough” report from the front lines and raise a series of questions: “Who are we?” “How did we get here?” “What kind of people do we want to be?”
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Today, there’s another wave of protest music upon us, as young artists channel their anxiety, sadness and rage over the state of things into songs that dare us to change the world, or at least think differently about it. Murray Lerner, a young director with a poet’s heart, documented Dylan’s reinvention over three consecutive appearances at the Newport Folk Festival in 1963-65 in the extraordinary documentary, “The Other Side of the Mirror.” Dylan never looked back, but his transformation of protest music endures. Dylan started asking questions in his songs instead of providing answers. Then something strange happened on the way to the coronation. By the time he was 23 he had written songs such as “Blowin’ in the Wind” and “The Times They Are A-Changin’,” and the folk establishment was anointing him as its savior. More than 50 years ago, Dylan was invading the dreams of the folk movement. “I’ll let you be in my dreams if I can be in yours,” she posted on Instagram back then, crediting Dylan’s 1963 song “Talkin’ World War III Blues.” Yes, Kendrick Lamar, who upon the release of his 2015 masterpiece, “To Pimp a Butterfly,” declared, “I wanted this record to be talked about the same as Bob Dylan was talked about.” Two years before, Pharrell Williams had described Lamar as “this era’s Bob Dylan.”Īnd how about Beyonce? She was citing Dylan and quoting his lyrics as an inspiration as she was preparing her 2013 album, “Beyonce,” a feminist celebration that changed the course of her career. His influence flows through everyone from the Beatles and Jimi Hendrix to Kendrick Lamar and Beyonce. And he dared to think pop music could be art. Instead, he challenged our conception of how a singer should sound and what a song could say. Inconvenient truths mean forgoing such comforts.
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Dylan never thought of himself as a crowd-pleaser or a universally beloved pop star. The endless hype about Dylan from diehard fans, English professors, critics and other nerds (I’m guilty as charged) is enough to prompt eye-rolls from those who never got it, who can’t get past the voice, the wordy songs, the cryptic lyrics. They punch up, in the voice of a poet who sounds like a dirt farmer. His songs question authority, confront institutional thinking with skepticism, mock the all-knowing.
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His songs could be characterized as an instructional manual in critical thinking, except he’d cringe at the idea that he is anybody’s teacher, let alone their savior, as he was once called. If I had to distill Bob Dylan’s “message” to a single sentence, it would be this: Think for yourself.