(no subject)
Here 'tis; my Bob Dylan and social change essay. It's behind the cut, and it's quite long. It came out to just over seven pages with 1.5 spacing. Read it if you'd like (*COUGH*Suzanne*COUGH*). :)
Written by an American Poet from the 20th Century
Bob Dylan Voicing Social Change
Over the past several decades, Bob Dylan has written and recorded music. Since the start of his career in 1962, fans and critics have spent countless hours studying and analyzing his work. In the beginning of Dylan’s sudden switch from urban folk to rock music in 1965, he primarily wrote about social change and one who is beginning to come of age. Two songs that are most common to Dylan’s theme of social change is “Like a Rolling Stone” and “Maggie’s Farm” (both released in 1965). However, there are two others that are just as important and relevant to the changing times but have a more subtle way of articulating such a message, and those songs are “Mr. Tambourine Man” (written in 1964; released by Dylan in 1965) and “Rainy Day Women #12 and 35” (released in 1965).
Dylan, born Robert Allen Zimmerman, was born into a Jewish family of Ukrainian descent in Duluth, Minnesota on May 24, 1941. When he was six years old his family moved to Hibbing, a small suburban town just outside Duluth. In the 1970s Dylan left the practice of Judaism and converted to a version of born-again Christianity. To this day, Dylan says he doesn’t follow any organized religion.
Shortly before Dylan began to become widely known among the locals, he changed his name from Zimmerman to Dylan in honor of Welsh poet, Dylan Thomas. Although the reason behind the change is unknown, many speculate it was to avoid prejudice and discrimination for his Jewish background and coming from Minnesota (the state was very anti-Semitic). Zimmerman or Dylan, he is still a popular house-hold name nearly five decades later.
When Dylan was 10 years old, he began taking piano lessons. He grew frustrated right away because he knew it would take him a long time to able to play the songs he liked and wanted to play. Luckily he began playing the piano again soon enough for his career to take off! He was also given an acoustic guitar by his mother when he was 10 years old and began playing almost immediately. With his newly found and cherished instruments, Dylan was already writing his own music and songs by the age of 19. Although he always wrote poetry, it wasn’t until this time when he realized they could be put to music and sung.
Dylan’s early music career began hopping from coffee house to coffee house playing urban folk music, which primarily consists of an acoustic guitar and harmonica. Dylan got his inspiration from 1940s singer, Woody Guthrie, who would later become his mentor and one of his dearest friends.
Although Dylan received much acclaim, praise, and the title “The voice of the generation” with his urban folk sound, he risked it all at the annual Newport Folk Festival in 1965 when he introduced the crowd to “some friends of (his)” and began wailing away to “Like a Rolling Stone,” which has a completely different sound and feel than his well-known works as a Folkie, for this is an all-out rock-n-roll song. He was booed by fans and was often called a “traitor.” Luckily for his fans’ sakes, he performed the second half of his set with his harmonica and acoustic guitar-the right music for a folk festival (Starr and Waterman 282). The fans were certainly relieved and happy for those last few songs.
Tragically Dylan could have lost it all on July 29, 1966 when he returned to the States from his European tour. Shortly after his return he was in a near fatal motorcycle accident. Luckily he survived and continued to write poetry and music and release his work. However, it would be another eight years when he would make another public appearance (Scorsese No Direction Home).
“Like a Rolling Stone,” which was hacked down to four verses from its original 50some, was a major turning point in Dylan’s career and signified social change in several aspects? Not only was this Dylan’s cross over from urban folk to rock-n-roll, but the song was a pivotal turning point demonstrating the major growth of rock-n-roll. Dylan also claims that all his songs that were written prior to this one were only leading him to write “Like a Rolling Stone.” The lyrics were also crucial in understanding the change in society. “Like a Rolling Stone” is about social change because it is primarily about an individual who is coming of age and preparing to venture out on their own.
The first verse to “Like a Rolling Stone” reads, “Once upon a time you dressed so fine; you threw the bums a dime in your prime, didn’t you? People’d call, say, ‘Beware, doll, you’re bound to fall,’ but you thought they were all kiddin’ you. You used to laugh about everybody that was hangin’ out. Now you don’t talk so loud; now you don’t seem so proud about having to be scrounging for your next meal.” This verse explains how the subject had it easy up until this point in their life, but now they need to fend for themselves. Upon this new change, they will soon discover the hardships of supporting themselves and realize that it’s not quite so pleasant.
The first half of verse two to “Like a Rolling Stone” reads, “You’ve gone to the finest school all right, Miss Lonely, but you know you only used to get juiced in it. And nobody has ever taught you how to live on the street, and now you find out you’re gonna have to get used to it.” What Dylan is saying is the subject took everything for granted, but they are now discovering what life is truly like by having to work for what they want in life. The verse is completed the following lyrics: “You said you’d never compromise with the mystery tramp, but now you realize he’s not selling any alibis as you stare into the vacuum of his eyes and ask him, ‘Do you want to make a deal?’” This is taking a step forward to leaving behind the life you once lived by compromising all you once knew and making sacrifices to get to where you want to go and receive what you want.
The chorus to “Like a Rolling Stone” reads, “How does it feel? How does it feel? To be on your own; with no direction home; like a complete unknown; like a rolling stone?” This is the most crucial, and almost most honest, because this is often how people feel when they are starting to live their own life. When a person goes through a major life change on their own, they often feel lost and confused and it’s much easier to lose focus of where they are going, allowing other things to get in the way. With this, it is very important that you have a purpose to your life rather than just drift in the wind . . . like a rolling stone.
Dylan’s 1965 hit, “Mr. Tambourine Man” (covered by The Byrds one year prior) is another example of Dylan’s important work in writing about social change. “Mr. Tambourine Man” is rumored to be a code word for a drug dealer with the narrator as the drug addict. Back in the 1960s it was taboo to write and sing about drugs, so the artist often used codes to avoid chaos from fans, critics, and their record label. Although there is no confirmation of such speculation, this rumor still serves its importance in the changing times.
For discussion’s sake, let’s assume this song is about drugs. The song immediately begins with the chorus: “Hey! Mr. Tambourine Man, play a song for me. I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me. In the jingle jangle morning I’ll come following’ you.” The entire chorus has a secret code behind it: “Mr. Tambourine Man” is the drug dealer; “Play a song for me” is the subject asking for “the goods;” “In the jingle jangle morning I’ll come followin’ you” would translate to the addict still experiencing a high from the drugs, but they’re starting to come out of it and am beginning to experience a withdrawal. When any addict has a withdrawal to what it is they’re addicted, they have uncontrollable shakes/tremors, which is where the “jingle jangle” comes from. The rest of the lyric is about the addict returning to Mr. Tambourine Man for more of the drugs to support their habit.
The end of the second verse is another relevance to the possibility of the song being about a drug dealer and their customer. It reads: “I’m ready to go anywhere, I’m ready for to fade into my own parade. Cast your dancing spell my way, I promise to go under it.” This means the addict will experience the side effects/symptoms of the drug(s) while under the influence of whatever the drug dealer provides them.
Whether or not this song is about drugs, its importance to social change is massive. Since the release of “Mr. Tambourine Man,” singers and songwriters began to openly experiment with drugs which altered their style of singing and songwriting. For example, Dylan introduced The Beatles to marijuana in 1965. From there The Beatles began experimenting with LSD, and John Lennon, unfortunately, grew to become a heroin addict years later. A famous song by The Beatles that has a code is their 1966 hit “Got to Get You Into My Life,” which is Paul McCartney’s ode to marijuana. And just one year later, The Beatles’ 1967 single “Lucy in the Sky with Diamonds” was rumored to be about LSD because of the initials of the song title and their recent confession to freely experiment with the drug.
Not only did artists begin to experiment with drugs and use them to alter their crafts, but the general public also began to openly speak about and experiment with drugs.
Dylan’s 1965 hit song, “Maggie’s Farm,” could possibly be about the much-anticipated end to the unfair and unequal treatment toward African Americans. This song was written and released during the growing intensity of the Civil Rights Movement, and there are clues that this song just may be about the hopeful victory of everyone being treated like equals.
The song begins with the lines, “I ain’t gonna work on Maggie’s Farm no more. No, I ain’t gonna work on Maggie’s Farm no more. Well, I wake up in the morning, fold my hands and pray for rain. I got a head full of ideas that are drivin’ me insane. It’s a shame the way she makes me scrub the floor. I ain’t gonna work on Maggie’s farm no more.” This makes it quite clear that the song is going to be about a person who hates their job and dreads working it every single day and wants so desperately to get out there and do whatever it is that they want to do on their own terms. Let’s say this song is about slavery/the unfair treatment of African Americans; Maggie is one of the masters/slave owners; the farm is just that: the plantation; the shame about scrubbing the floor is being ordered to do work that the worker knows they are being stooped to do while they know they are capable of achieving so much more; and the protest line, “I ain’t gonna work on Maggie’s farm no more,” may be the conclusion to their long struggle to gain acceptance among the others in the majority race, saying, “I am now (or will soon be) my own person in the eyes of the law, so you cannot order me to do anything anymore. No, I ain’t gonna work on your farm no more!”
The lyrics to the second verse of “Maggie’s Farm” also supports the possibility of the song being protest by an African American and/or slave worker. It reads, “I ain’t gonna work for Maggie’s brother no more. No, I ain’t gonna work for Maggie’s brother no more. Well, he hands you a nickel, he hands you a dime. He asks you with a grin if you’re having a good time. Then he fines you every time you slam the door. I ain’t gonna work for Maggie’s brother no more.” Doing the labor for others for a nickel and dime is working for slave wages and the protestor is taking a stand by refusing to go through with it anymore, declaring that not only the pay is unfair, but the treatment is, as well.
The fourth verse has a line that reads, “Well, she talks to all the servants . . .” which refers to Maggie’s ma. The key word is “servants,” which is more of a polite word for “slaves.”
Four lines in the middle of the final verse reads, “Well, I try my best to be just like I am, but everybody wants you to be just like them.” This may apply to slavery/the unethical treatment toward the African Americans because they were all seen as equals to one another, but were viewed as unequal to the majority race/their master(s), despite the fact that they may have had different talents and interests from those outside of their particular working environment and race. The way they view themselves from the others is deemed pointless to Maggie and her family because the family could not care less what the servant wished to do, think, and say, so unfortunately for the servants, their thoughts and wishes do not even matter.
Throughout the duration of Dylan’s career, several artists have covered Dylan’s work, including Joe Cocker’s rendition of “Dear Landlord” to Eric Clapton, and later Guns N Roses, cover of “Knockin’ on Heaven’s Door” to several recording artists doing their own version to “Blowin’ in the Wind” (which has been covered over 100 times). This all began in the summer and fall 1965 when artists began to either cover Dylan’s songs or began to mimic his songs and style (Starr and Waterman 283).
Nearly five decades later, recording artists still admire Dylan and all he has done to the face of music. When “Like a Rolling Stone” was first released, radio stations only played the first two verses because it was long for its time (and the longest 45 r.p.m. pop single ever released). Later on radio stations began playing the full song (which runs at six minutes in length), paving the way for other artists to record songs at such a length (Starr and Waterman 287). One mention worthy song is “Hey Jude” by The Beatles, which was released in 1968 and runs for seven minutes and eleven seconds. Not only did “Like a Rolling Stone” by a role in social change, but it also changed the way musicians could express themselves in the exact way in which they desired because it effectively put an end to restrictions on a song’s subject matter, length, and poetic diction (Starr and Waterman 284).
Dylan has also done collaborations throughout his career. He was a frequent companion to fellow folksinger, Joan Baez, and was even a member of the 1980s group, The Traveling Wilburys, who included George Harrison, Jeff Lynne, Tom Petty, and Roy Orbison.
Dylan’s writing continues to influence up-and-coming artists, as well as those who have been around for years. Although the songs he wrote had a strong message and relevance for their time, they continue to serve great importance to today, as well. His songs can still be heard on radio stations around the world, on movie soundtracks (“It’s All Over Now, Baby Blue” can be heard in the 1999 movie, “Girl, Interrupted” and “Mr. Tambourine Man” is played during the 1995 drama, “Dangerous Minds”), and his poems and lyrics are taught in classrooms. With this, there is no doubt that Dylan is an important figure in our culture, both past and present, and will definitely continue on in the future generations to come whether the world approves or not. Dylan also is not ready to back down and leave his talent and legacy behind for he once said, “I consider myself a poet first and a musician second. I live like a poet and I’ll die like a poet.”
Written by an American Poet from the 20th Century
Bob Dylan Voicing Social Change
Over the past several decades, Bob Dylan has written and recorded music. Since the start of his career in 1962, fans and critics have spent countless hours studying and analyzing his work. In the beginning of Dylan’s sudden switch from urban folk to rock music in 1965, he primarily wrote about social change and one who is beginning to come of age. Two songs that are most common to Dylan’s theme of social change is “Like a Rolling Stone” and “Maggie’s Farm” (both released in 1965). However, there are two others that are just as important and relevant to the changing times but have a more subtle way of articulating such a message, and those songs are “Mr. Tambourine Man” (written in 1964; released by Dylan in 1965) and “Rainy Day Women #12 and 35” (released in 1965).
Dylan, born Robert Allen Zimmerman, was born into a Jewish family of Ukrainian descent in Duluth, Minnesota on May 24, 1941. When he was six years old his family moved to Hibbing, a small suburban town just outside Duluth. In the 1970s Dylan left the practice of Judaism and converted to a version of born-again Christianity. To this day, Dylan says he doesn’t follow any organized religion.
Shortly before Dylan began to become widely known among the locals, he changed his name from Zimmerman to Dylan in honor of Welsh poet, Dylan Thomas. Although the reason behind the change is unknown, many speculate it was to avoid prejudice and discrimination for his Jewish background and coming from Minnesota (the state was very anti-Semitic). Zimmerman or Dylan, he is still a popular house-hold name nearly five decades later.
When Dylan was 10 years old, he began taking piano lessons. He grew frustrated right away because he knew it would take him a long time to able to play the songs he liked and wanted to play. Luckily he began playing the piano again soon enough for his career to take off! He was also given an acoustic guitar by his mother when he was 10 years old and began playing almost immediately. With his newly found and cherished instruments, Dylan was already writing his own music and songs by the age of 19. Although he always wrote poetry, it wasn’t until this time when he realized they could be put to music and sung.
Dylan’s early music career began hopping from coffee house to coffee house playing urban folk music, which primarily consists of an acoustic guitar and harmonica. Dylan got his inspiration from 1940s singer, Woody Guthrie, who would later become his mentor and one of his dearest friends.
Although Dylan received much acclaim, praise, and the title “The voice of the generation” with his urban folk sound, he risked it all at the annual Newport Folk Festival in 1965 when he introduced the crowd to “some friends of (his)” and began wailing away to “Like a Rolling Stone,” which has a completely different sound and feel than his well-known works as a Folkie, for this is an all-out rock-n-roll song. He was booed by fans and was often called a “traitor.” Luckily for his fans’ sakes, he performed the second half of his set with his harmonica and acoustic guitar-the right music for a folk festival (Starr and Waterman 282). The fans were certainly relieved and happy for those last few songs.
Tragically Dylan could have lost it all on July 29, 1966 when he returned to the States from his European tour. Shortly after his return he was in a near fatal motorcycle accident. Luckily he survived and continued to write poetry and music and release his work. However, it would be another eight years when he would make another public appearance (Scorsese No Direction Home).
“Like a Rolling Stone,” which was hacked down to four verses from its original 50some, was a major turning point in Dylan’s career and signified social change in several aspects? Not only was this Dylan’s cross over from urban folk to rock-n-roll, but the song was a pivotal turning point demonstrating the major growth of rock-n-roll. Dylan also claims that all his songs that were written prior to this one were only leading him to write “Like a Rolling Stone.” The lyrics were also crucial in understanding the change in society. “Like a Rolling Stone” is about social change because it is primarily about an individual who is coming of age and preparing to venture out on their own.
The first verse to “Like a Rolling Stone” reads, “Once upon a time you dressed so fine; you threw the bums a dime in your prime, didn’t you? People’d call, say, ‘Beware, doll, you’re bound to fall,’ but you thought they were all kiddin’ you. You used to laugh about everybody that was hangin’ out. Now you don’t talk so loud; now you don’t seem so proud about having to be scrounging for your next meal.” This verse explains how the subject had it easy up until this point in their life, but now they need to fend for themselves. Upon this new change, they will soon discover the hardships of supporting themselves and realize that it’s not quite so pleasant.
The first half of verse two to “Like a Rolling Stone” reads, “You’ve gone to the finest school all right, Miss Lonely, but you know you only used to get juiced in it. And nobody has ever taught you how to live on the street, and now you find out you’re gonna have to get used to it.” What Dylan is saying is the subject took everything for granted, but they are now discovering what life is truly like by having to work for what they want in life. The verse is completed the following lyrics: “You said you’d never compromise with the mystery tramp, but now you realize he’s not selling any alibis as you stare into the vacuum of his eyes and ask him, ‘Do you want to make a deal?’” This is taking a step forward to leaving behind the life you once lived by compromising all you once knew and making sacrifices to get to where you want to go and receive what you want.
The chorus to “Like a Rolling Stone” reads, “How does it feel? How does it feel? To be on your own; with no direction home; like a complete unknown; like a rolling stone?” This is the most crucial, and almost most honest, because this is often how people feel when they are starting to live their own life. When a person goes through a major life change on their own, they often feel lost and confused and it’s much easier to lose focus of where they are going, allowing other things to get in the way. With this, it is very important that you have a purpose to your life rather than just drift in the wind . . . like a rolling stone.
Dylan’s 1965 hit, “Mr. Tambourine Man” (covered by The Byrds one year prior) is another example of Dylan’s important work in writing about social change. “Mr. Tambourine Man” is rumored to be a code word for a drug dealer with the narrator as the drug addict. Back in the 1960s it was taboo to write and sing about drugs, so the artist often used codes to avoid chaos from fans, critics, and their record label. Although there is no confirmation of such speculation, this rumor still serves its importance in the changing times.
For discussion’s sake, let’s assume this song is about drugs. The song immediately begins with the chorus: “Hey! Mr. Tambourine Man, play a song for me. I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me. In the jingle jangle morning I’ll come following’ you.” The entire chorus has a secret code behind it: “Mr. Tambourine Man” is the drug dealer; “Play a song for me” is the subject asking for “the goods;” “In the jingle jangle morning I’ll come followin’ you” would translate to the addict still experiencing a high from the drugs, but they’re starting to come out of it and am beginning to experience a withdrawal. When any addict has a withdrawal to what it is they’re addicted, they have uncontrollable shakes/tremors, which is where the “jingle jangle” comes from. The rest of the lyric is about the addict returning to Mr. Tambourine Man for more of the drugs to support their habit.
The end of the second verse is another relevance to the possibility of the song being about a drug dealer and their customer. It reads: “I’m ready to go anywhere, I’m ready for to fade into my own parade. Cast your dancing spell my way, I promise to go under it.” This means the addict will experience the side effects/symptoms of the drug(s) while under the influence of whatever the drug dealer provides them.
Whether or not this song is about drugs, its importance to social change is massive. Since the release of “Mr. Tambourine Man,” singers and songwriters began to openly experiment with drugs which altered their style of singing and songwriting. For example, Dylan introduced The Beatles to marijuana in 1965. From there The Beatles began experimenting with LSD, and John Lennon, unfortunately, grew to become a heroin addict years later. A famous song by The Beatles that has a code is their 1966 hit “Got to Get You Into My Life,” which is Paul McCartney’s ode to marijuana. And just one year later, The Beatles’ 1967 single “Lucy in the Sky with Diamonds” was rumored to be about LSD because of the initials of the song title and their recent confession to freely experiment with the drug.
Not only did artists begin to experiment with drugs and use them to alter their crafts, but the general public also began to openly speak about and experiment with drugs.
Dylan’s 1965 hit song, “Maggie’s Farm,” could possibly be about the much-anticipated end to the unfair and unequal treatment toward African Americans. This song was written and released during the growing intensity of the Civil Rights Movement, and there are clues that this song just may be about the hopeful victory of everyone being treated like equals.
The song begins with the lines, “I ain’t gonna work on Maggie’s Farm no more. No, I ain’t gonna work on Maggie’s Farm no more. Well, I wake up in the morning, fold my hands and pray for rain. I got a head full of ideas that are drivin’ me insane. It’s a shame the way she makes me scrub the floor. I ain’t gonna work on Maggie’s farm no more.” This makes it quite clear that the song is going to be about a person who hates their job and dreads working it every single day and wants so desperately to get out there and do whatever it is that they want to do on their own terms. Let’s say this song is about slavery/the unfair treatment of African Americans; Maggie is one of the masters/slave owners; the farm is just that: the plantation; the shame about scrubbing the floor is being ordered to do work that the worker knows they are being stooped to do while they know they are capable of achieving so much more; and the protest line, “I ain’t gonna work on Maggie’s farm no more,” may be the conclusion to their long struggle to gain acceptance among the others in the majority race, saying, “I am now (or will soon be) my own person in the eyes of the law, so you cannot order me to do anything anymore. No, I ain’t gonna work on your farm no more!”
The lyrics to the second verse of “Maggie’s Farm” also supports the possibility of the song being protest by an African American and/or slave worker. It reads, “I ain’t gonna work for Maggie’s brother no more. No, I ain’t gonna work for Maggie’s brother no more. Well, he hands you a nickel, he hands you a dime. He asks you with a grin if you’re having a good time. Then he fines you every time you slam the door. I ain’t gonna work for Maggie’s brother no more.” Doing the labor for others for a nickel and dime is working for slave wages and the protestor is taking a stand by refusing to go through with it anymore, declaring that not only the pay is unfair, but the treatment is, as well.
The fourth verse has a line that reads, “Well, she talks to all the servants . . .” which refers to Maggie’s ma. The key word is “servants,” which is more of a polite word for “slaves.”
Four lines in the middle of the final verse reads, “Well, I try my best to be just like I am, but everybody wants you to be just like them.” This may apply to slavery/the unethical treatment toward the African Americans because they were all seen as equals to one another, but were viewed as unequal to the majority race/their master(s), despite the fact that they may have had different talents and interests from those outside of their particular working environment and race. The way they view themselves from the others is deemed pointless to Maggie and her family because the family could not care less what the servant wished to do, think, and say, so unfortunately for the servants, their thoughts and wishes do not even matter.
Throughout the duration of Dylan’s career, several artists have covered Dylan’s work, including Joe Cocker’s rendition of “Dear Landlord” to Eric Clapton, and later Guns N Roses, cover of “Knockin’ on Heaven’s Door” to several recording artists doing their own version to “Blowin’ in the Wind” (which has been covered over 100 times). This all began in the summer and fall 1965 when artists began to either cover Dylan’s songs or began to mimic his songs and style (Starr and Waterman 283).
Nearly five decades later, recording artists still admire Dylan and all he has done to the face of music. When “Like a Rolling Stone” was first released, radio stations only played the first two verses because it was long for its time (and the longest 45 r.p.m. pop single ever released). Later on radio stations began playing the full song (which runs at six minutes in length), paving the way for other artists to record songs at such a length (Starr and Waterman 287). One mention worthy song is “Hey Jude” by The Beatles, which was released in 1968 and runs for seven minutes and eleven seconds. Not only did “Like a Rolling Stone” by a role in social change, but it also changed the way musicians could express themselves in the exact way in which they desired because it effectively put an end to restrictions on a song’s subject matter, length, and poetic diction (Starr and Waterman 284).
Dylan has also done collaborations throughout his career. He was a frequent companion to fellow folksinger, Joan Baez, and was even a member of the 1980s group, The Traveling Wilburys, who included George Harrison, Jeff Lynne, Tom Petty, and Roy Orbison.
Dylan’s writing continues to influence up-and-coming artists, as well as those who have been around for years. Although the songs he wrote had a strong message and relevance for their time, they continue to serve great importance to today, as well. His songs can still be heard on radio stations around the world, on movie soundtracks (“It’s All Over Now, Baby Blue” can be heard in the 1999 movie, “Girl, Interrupted” and “Mr. Tambourine Man” is played during the 1995 drama, “Dangerous Minds”), and his poems and lyrics are taught in classrooms. With this, there is no doubt that Dylan is an important figure in our culture, both past and present, and will definitely continue on in the future generations to come whether the world approves or not. Dylan also is not ready to back down and leave his talent and legacy behind for he once said, “I consider myself a poet first and a musician second. I live like a poet and I’ll die like a poet.”