In Todd Hayne’s movie “I’m not there”, Bob Dylan tries various identities on for size, physically manifested by different actors, including a black child and a woman (superbly played by Cate Blanchett) and musically and lyrically manifested by his incredible songs. One is left wondering if there is at the core, any one true Dylan, or if he is nothing but a soulless chameleon. It’s an abstract, chilly movie, but I think it accurately captures the abstract, chilly character of Dylan, who has never been comfortable with his celebrity and especially his pigeonholing as a spokesman for his generation.
What a lot of people don’t realize about Dylan–and I can’t fault them, because it’s a disheartening realization–is that he is not a passionate, sensitive creature baring his soul. What he is is a consummate craftsman. Look at all the songs he has churned out over the years, with remarkable facility–love songs, ballads, protest songs, some works of astounding genius, others quite ordinary, but all of them decent and singable. He could write commercial jingles. He could write for Broadway shows. Because of his ability to channel diffuse and inchoate emotions into music and lyrics, the natural tendency is to impute those emotions to him. But that isn’t necessarily the case. A lot of the time I think he’s simply reporting on what he sees. Or else he’s playing with technique, which is why he has that irritating tendency of changing around his songs every time he performs them.
What Dylan doesn’t seem to understand and appreciate is that his songs, once he creates them and sends them out into the world, take on a life of their own apart from his personal and limited artistic intent. They mean whatever his audience takes them to mean and become larger and more significant when reflected in their consciousness. When I first heard the song Mr. Tambourine Man (a few years after he actually wrote it) I was blown away by the way this human being could distill all my longings into four verses of a song. This epiphany about the power and words of music has stuck with me. I listened to to that song every night of high school, down in my basement room on my plastic record player, and that feeling of transcendence and escape has stuck with me too. When I read, a couple years ago that the TAMBOURINE Dylan based his song on was on display at Paul Allens rock and roll museum, I was stunned. He was actually writing a song about a man who played a tambourine?? That was what the song was about?? Maybe to Dylan, but fortunately not to me.
So now I’m going to bring the conversation around to Barack Obama, because I think I see some parallels here. Obama also has the power to channel words–if not music–that move people, and people see in him a reflection of what they want to see. They see a charismatic leader, a rescuer, another voice of a generation, when what he actually is is a consummate politician. Which leads me to wonder what is at the core of his protean character, if there is any there there. But I also wonder: how much does it really matter?
Changing the course of our sick society is a job too big for any one person. Our country is huge and diverse; our needs complex; our agendas differing and conflicting. Change is as much cultural as political. If Obama can help us harness the best in ourselves–and I think as a nation we’re ripe to be harnessed–and we all work hard to make positive change in our particular areas of expertise and passion–does it really matter that he’s more a facilitator than a visionary? Visionaries get frustrated by their inability to translate dreams into reality. They don’t know how to smile and shake hands and remember names. They don’t get elected President. Sometimes they can accomplish wonderful things, but all too often they burn out and fade away. Maybe a facilitator is the change we need.
I can’t tell you how many times during the eight long years of the Bush Administration that I found myself humming Masters of War, or A Hard Rain’s Gonna Fall, or other songs Dylan wrote forty-some years ago. He might not have written them from the heart, but I hear them from the heart, and that matters a whole lot more.
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