Music has consistently played an important role in establishing American culture. Music and media are integral to the creation of cultural identity, which in turn plays a huge role in how history is written and recorded. This is a relatively contemporary phenomenon, which can be analyzed through the lens of Rock & Roll history. When analyzing the pantheon of Rock & Roll, icons such as Elvis Presley, Chuck Berry and Jimi Hendrix come to mind. Even Janis Joplin and Kurt Cobain were figures of extreme emotion that few could ever hope to replicate. He may not be the first rock star that comes to mind when you think of the '60s, but we can't underestimate Bob Dylan's impact on the counterculture. Although he never missed an opportunity to express his dislike of being called the "political voice of a generation", he is one of the most essential artists of that decade. Although overshadowed by some of his more musically gifted peers such as Jimi Hendrix, few could encapsulate such emotions as Bob Dylan. The 1960s were a revolutionary time with great social and technological changes. Acts of protest such as the civil rights movement, second wave feminism, and anti-war protests have come to symbolize the generation's desire for change. The 1960s were a contested decade for the United States; not just because of the stagnant conflict in the Vietnam desert, nor the looming threat of nuclear war with Soviet Russia, but because America was transforming internally. Bob Dylan's lyrics encapsulated the feelings of the decade like no other. He has transformed himself into the voice of an entire era and an unlikely symbol in the midst of one of the most tense periods in American history. Dylan created the songs "Masters of War" and "Blowin' in the Wind," both revolutionary in their own right, and as Dylan held a mirror up to society, he helped push Americans to investigate the true intentions of government. This leads to the question: to what extent was Bob Dylan truly the 'political voice of a generation'? Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Dylan's work can be divided into several periods. The first phase, which we might call the 'protest phase', is the period in which Dylan released his second album, The Freewheelin' Bob Dylan, in May 1963. This was Dylan's turning point as a songwriter, and many songs from this albums were labeled protest songs as the trend of writing socially conscious music was current and at the forefront of counterculturalism. Bob Dylan was one of the faces of the countercultural movement, and few artists of the folk era, and the genre as a whole, have had as significant an impact on popular culture. In previous decades, popular music was limited in terms of subject matter variation, due to social conservatism. Despite this, people have expressed themselves through music during both thriving and turbulent times. Such a strong relationship between music and culture can be seen throughout history: in the 1930s, swing music created a platform where audiences could vent their emotions in the midst of the Great Depression and political unrest, however it was not as incriminating towards specific government decisions. , like the music of the 60s. The 1960s were the age of youth, as millions of post-World War II children became teenagers and rebelled against the conservatism of the 1950s. In the 1960s, popular music was in the throes of civil rights demonstrations,drug experiences, interracial dating, wars and explicit sexual encounters. Elements that have always been a part of the daily lives of teenagers across America, but never widely broadcast through music or other means of popular culture for the masses to be exposed to. Bob Dylan's music has provided a soundtrack to social and cultural movements. of the 60s. But other artists such as Joni Mitchell and Joan Baez also released popular music that represents the ethos of the 60s, Dylan is considered the quintessential representative of the genre. Dylan's "protest phase" faltered among America's youth. Dylan's lyrics encouraged them to open their eyes to what was happening in their world and not simply accept what they hear on the news or read in the newspapers. The Freewheelin' Bob Dylan included "Blowin' in the Wind" and "Masters of War," two of Dylan's most famous songs. "Blowin' in the Wind" became an anthem for the civil rights era, while "Masters of War" effectively expresses fear and concern for the state of the United States, and more generally for the world around it during the eras of Cold War and Vietnam War. . Bob Dylan has increased the political influence the music industry has on American society in regards to the opinions he has on important current events. The song "Blowin' in the Wind" implies that to combat issues such as racial discrimination the population must first recognize the injustice and take action. the initiative to be proactive and seek the answer. Some of the questions Dylan asks are more open-ended: How many roads does a man have to travel before you can call him a man? (...) Yes, and how many years can some people exist before they can be free? (...) Yes, and how many times can a man turn his head and pretend not to see? Perhaps Dylan is referring to one of the many civil rights movements of the time (African American, Native American, Latin American, women's rights or gay rights) and that these groups of people did a lot to be denied essential human rights. How many seas must a white dove sail before sleeping in the sand? Dylan uses the reference to the “white dove” to denote peace and unity. It can also be seen as a metaphor for life, more specifically, the two white doves that fly from Noah's Ark after the flood of the earth to seek a place to rest . Some lyrics leave no room for interpretation: Yes, and how many times must cannonballs fly before they are banished forever? (...) Yes, and how many ears must a man have before he can hear people cry? Yes, and how many deaths will it take before he knows that too many people have died? This line is directed primarily at the Vietnam War. Dylan asks “how many deaths” must it take for America to take a stand against this war that kills innocent soldiers for one seemingly pointless cause. It could also apply more generally to conflicts between groups such as race, age, gender, economic status, or beliefs within America. "Blowin' in the Wind" has a very slow tempo, fitting the lyrics of the song because Dylan implies that people are unable to find solutions to serious problems because they are unwilling to seek the truth. He believes that the answers exist, somewhere, around everyone, yet they go unnoticed: The answer, my friend, blows in the wind. The answer blows in the wind. Maybe Dylan wants the world to slow down for a while to try to understand what's going on. The whole idea of ​​something "blowing in the wind" is very peaceful and the calm rhythm of the song ties in well with this concept. Despite obviously having strong ties to the civil rights movement, Dylan has never given a specific interpretation of“Blowin’ in the Wind,” leaving the meaning of the song to something more elusive. When asked about the song's inspiration in an issue of Broadside, a magazine dedicated to folk music, Dylan said: “This here isn't a protest song or anything like that, because I don't write protest songs. (…) I simply write it as something to say, for someone, by someone.” As true as this statement may be, the fact remains that something this particular someone was saying was directly associated with the racial problems prevalent in the 1960s. His lack of affiliation allows Dylan's message to have the widest possible influence, because he has no inherent bias. In contrast, the track "Masters of War" is much more damning of the government and its corrupt policies, sending a much more direct message to the American public. Written in the winter of 1962-1963, the nation was stuck in a contrasting time period; a time when many Americans were uncomfortable with the status of the Vietnam War and the Cold War. Dylan, thirty years old at the time, was one of the first to stand out and express his opinion against politicians and war profiteers. The song was a bold and direct protest to the Cold War that appealed to the culture's desire for change. Dylan also notes the money motivation. Describing the government's selfish actions and motivations: Come you, warlords, you who build all the weapons, you who build the death planes, you who build all the bombs, you who hide behind walls, you who hide behind desks, I just want to know that I can see through your masks. Dylan singles out war perpetrators who “hide behind desks” while soldiers risk their lives fighting, and those who try to “fool” Americans into believing that “a world war can be won.” Although Dylan's exact culprits are somewhat nonspecific, it is understood through the context of the song that Dylan's "they" represents the corporate and bureaucratic establishment. Dylan is saying that political leaders hide in the safety of their offices while sending soldiers to risk their lives and do their dirty work in the illusion of loyalty to the state. You who have never done anything but build to destroy, play with my world. 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 bullets fly fast. Those responsible for war act like war is a game, that explains when Dylan says, "You play with my world, as if it were your little toy." Dylan sees war as an issue that must be taken very seriously. He thinks military leaders should be more careful with the lives of their soldiers. Masters of War was a cold song by protest to the Cold War and the leaders who made important military decisions from inside the safety of their offices A world war can be won You want me to believe But I see through your eyes And I see through your brain.Dylan. claims that the leaders of our military seek to feed the citizens of the United States with lies, calling the government mistrustful Dylan's Masters of War elicited a massive emotional response from his listeners. It provoked disgust with the government by revealing the harsh realities of war. Through this song, Dylan attempted to enlighten his audience by telling them that the leaders who control our military ("the masters of war") are corrupt and motivated only by money, not the protection of soldiers. You set up all the triggers for the others to shoot, then you sit back and watch When the numberof deaths increases You hide in your villa While the blood of young people Flows out of their bodies And is buried in the mud. Dylan's assessment is that those in political power are ready to seek war; however, the epitome of this corruption lies in the fact that the poor who blindly follow the establishment are the ones who are sent to fight, while the powerful elite can live comfortably and safely away from the front lines. Those in charge are never forced to directly engage in the conflicts they provoke, but "pull the trigger so that others can shoot". Since these political leaders “hide in [their] mansions/While the blood of the youth flows out of their bodies and is buried in the mud,” they rarely care about the resulting suffering and death, as long as the outcome of the mission is profitable or in some way serves the benefit of the elite. You cast the worst fear that could ever be cast Fear of bringing children into the world For threatening my child Unborn and nameless You are not worth the blood That runs through your veins The Cold War and the Cuban Missile The crises were events amplified by fear : Both the United States and the Soviet Union feared taking action. This wasn't something people didn't want to live with, and especially not bring their children. You might say I'm young You might say I'm ignorant But there's one thing I know Even though I'm younger than you That even Jesus would never condone what you do. Dylan's lyrics contain many sentiments representative of young people across the country. Lines like, “You might say I'm young, you might say I'm ignorant,” are traits applicable to the segment of the population that would riot in the 1960s and join the marches on Washington and the Pentagon. Although these individuals were dismissed by politicians as idealistic and immature, young people would demonstrate to the rest of America that they were passionate and willing to fight for change. Dylan gave dissenters a voice to rally behind, he is a unifier of people through his music. The 1960s were a decade of social and political upheaval. Despite all the turbulence, there were some positive outcomes: the civil rights revolution, Kennedy's vision of a new frontier, and breathtaking advances in space helped bring progress and prosperity. However, many aspects were negative: student and anti-war protest movements, political assassinations, and riots in Los Angeles and Detroit exacerbated the population, leading to a decrease in respect for government authority. Although these people were dismissed by legislators as idealistic and immature, young Americans would prove to be enthusiastic and willing to fight for change. The tone of “Masters of War” is one of moral indignation, as government officials are chastised for their complete inhumanity: “Not even Jesus would ever condone what you do.” Dylan is saying that money cannot buy forgiveness for the corrupt and immoral decisions that politicians and war profiteers make to advance their own personal interests at the expense of others: Let me ask you a question: Is your money so good? , will they buy you forgiveness? that might, I think you'll find out When your death takes its toll All the money you've earned will never buy back your soul Dylan's reference to the soul conveys the message that everyone is equal in death. No amount of money can make up for a lifetime of unjust behavior and greed once it is over. Dylan ends the song with a direct but dark message, showing genuine hatred for warmongers and profiteers: And I hope you die And your death will come soon I'll follow your coffin Into the pale,.