Dylan never moves without a credible reason. Its impact on the masses is consistent, and to see what sexagenarian quavering voice intact but the lucidity is to contemplate America in the eyes. On a political level, Dylan did, during his forty year career, more than all U.S. governments in 150 years of exercising power, making popular art all its subversive power, wealth emancipatory.
In texts of a cold irony, he had already noted the injustices of the Black community was the victim in the '60s, songs that I have commented on this blog refer to it. Even if his last official appearance at the White House dates from 1997 (invited by Bill Clinton, longtime amateur Zimm), it is worth repeating that Bob Dylan was present at the March on Washington August 28, 1963 with Joan Baez and Mahalia Jackson, where more than 200,000 peace activists gathered to denounce the scandalous treatment meted out to the community black. The composer who was then twenty years of interpretation Only A Pawn In Their Game shortly after Dr. King had delivered his famous speech "I Have a Dream".
His appearances included as part of a genuine political process are as rare as striking as they promotionnent no ideology in itself, but wish to legitimize an unwavering course of action which Dylan can not depart. The concept of poet Pasolini organic, not dependent on a party affiliation, but driven by the size of a verb that can demiurgic by the powerful blast pictures, flip the fatality of historical pressures, is an expression which, in the case of a cantor as popular as Dylan, his approach can dress without much harm to his idea of his art.
His appearance with Obama last week when his interpretation of "changing times" was not too disappointed his audience, despite a voice now damaged by the effects of time and, therefore, moving in more ways than one . Dylan, whose harrowing quest for truth and energy he has provided for the lighting and just causes unacceptable situations is not foreign to the undeniable changes in the mentality U.S.. His prose, powerful, often dreamlike, but always in tune with reality, always prophetic, denouncing and intelligently, the screen is absolutely against obscurantism Ideologically, isolationism and dogmatic rhetoric, often inefficient, political leaders.
Although Obama is the most tangible symbol that its room for maneuver true, there is no doubt that the presence of Dylan alongside a President whose existence in itself, validates and legitimizes the fury that almost mystical great creator has placed in the constant clearing of new areas of language and neutralization collective prejudices. His presence is a balm on a wound feverishly awaited historical yet very noticeable, and the promise of a bright future where the fight for justice is still more apparent as decisive lead.
hope that the new generation's interest despite some early concerns that the followers of Dylan, laziness, incomprehension, or stigma voluntary elites who have wisely tried to caricature the most gifted composer of the twentieth century to make a puppet of himself and give his incantatory lyricism of hallucinatory-like monologues (although his style is the synthesis between the absolute power of writing and anchoring temporal issues essential for corporations).
While Dylan's songs are long, haunting, deceptively uniform, her voice is very special and arrangements rather bare, but you can not switch on loafer avenues of work become necessary to maintain our moral health. Dylan must listen, appreciate his songs, decipher his words, praise his courage and estimating its fair value that the most indifferent citizen owes to his work without being able to recognize it.
A voice, a few strands in battle, a dented harmonica and guitar strings molested have given our lives and those of our parents, our own and future staining, which we will one day look at the sun, and so the truth without blinking eye before so obvious.
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