Bob Dylan's Tribute To Medgar Evers Took On The Big Picture "Only a Pawn in Their Game," Dylan's response to Evers' assassination, highlights the victimization of poor whites and blacks alike.

Bob Dylan's Tribute To Medgar Evers Took On The Big Picture

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As part of NPR's look back at the summer of 1963, we'll also be tuning into the music of that time: the songs, the singers and the emotions they conveyed about who we were and where we were going.

We begin today with a young Bob Dylan, who was just starting his career when he heard the news that Medgar Evers had been killed. Dylan responded with a song that he eventually performed at the March on Washington in August of 1963. It was called "Only a Pawn In Their Game."


BOB DYLAN: (Singing) A bullet from the back of the bush took Medgar Evers' blood. A finger fired the trigger to his name. A handle hid out in the dark. A hand set the spark. Two eyes took the aim behind a man's brain. But he can't be blamed. He's only a pawn in their game.

CORNISH: Sean Wilentz is a historian and Dylan biographer at Princeton University and he joins me now to talk about the song. Welcome, Sean Wilentz.

SEAN WILENTZ: Great to be here, Audie.

CORNISH: So, Dylan is only about 23 when he writes this song. Walk us through the lyrics, the story that Dylan is trying to tell here.

WILENTZ: Well, from the beginning, actually, we're not so much with Medgar Evers, we're with the man who killed him. And the whole point is the killer is guilty, yes, but he's not the person to blame. There's rather a much larger system that's out there, and that's what the song is really about.


DYLAN: (Singing) For the politician's gain, as he rises to fame and the poor white remains on the caboose of the train. But it ain't him to blame. He's only a pawn in their game.

WILENTZ: It's a sort of standard left-wing take on what Southern segregation and racism was all about, that it isn't simply a matter of hatred. It isn't simply a moral question. It's a political question, an economic question. He says, you know: The South politician preaches to the poor white man, you got more than the Blacks, don't complain.


DYLAN: (Singing) But the poor white man's used in the hands of them all like a tool

CORNISH: And how did people react to this song at the time?

WILENTZ: Well, it's interesting. I mean, it's not - it wasn't a song that played naturally into the moral dramaturgy of the civil rights movement, you know, which was very much about the righteous civil rights workers, black and white, against an obdurate segregationist system. This dug a little deeper and made people think a little bit more.

I mean, imagine, you know, writing a song in the immediate aftermath of Medgar Evers' assassination and giving an empathetic reading of the killer, at least an understanding what's going inside the killer's mind. And that's what he's doing. But he's doing it with a man that most people would like to do...


WILENTZ: ...very terrible things to 'cause they're so angry at him.


DYLAN: (Singing) And he's taught how to walk in a pack, shoot in the back with his fist in a clinch, to hang and to lynch, to hide 'neath the hood. To kill with no pain like a dog on a chain, he ain't got no name. But it ain't him to blame. He's only a pawn in their game.

CORNISH: Sean Wilentz, and writing at the time of the writing of this song, the Civil Rights Movement was well underway. There are lots of protest songs out there in different genres. What's significant about the Dylan's moment here?

WILENTZ: Well, I think Dylan is an artist in a way that nobody else was. I mean, music meant a lot to the movement - "We Shall Overcome," I mean Baronese Johnson(ph). It's a musical all over the place. But mostly it's about raising your spirits. It's keep your eyes on the prize, that kind of thing.

Dylan's writing a different kind of art, not just in the sense of art because it's beautifully written, but because he actually had that ability to enter into other people's - lots of different peoples' brains and souls and see them in collision.

CORNISH: Sean Wilentz, thank you so much for speaking with us.

WILENTZ: It's been a real pleasure.

CORNISH: Sean Wilentz is a historian at Princeton University.

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