1) Dylan always played the role of somebody but we're never quite sure if or when he ever just played himself. Though I understand and sympathize with the desire not to be pigeon-holed as an artist and personality, I believe that he over-worked his personality-ambiguity to a fault.
2) He was a loner. I conjecture that perhaps this is the reason he played so many roles: he needed company!
So I conclude,
As for me, well, you know I'll just keep moving on,
with my comrades and company, this road occupied,
making all the difference it's less traveled by.
The next track, Poem For The Pyre, is about a trek I took from the megabus stop in downtown Richmond, VA to the Wingnut anarchist house there. I had hoped to play Protest Songs for the occupiers in Richmond, but a couple friends involved with the occupation had recently been arrested and things were a bit chaotic.
Despondent, I resolved to make instead
a sign reading "protest songs are dead",
to lay it my open heart and case
as I played to earn a place to lay my head.
Thus I could justify to join and occupy,
to add my flame to this conflagration;
but as I soon learned, the fuel was out-burned
with two wingnut incarcerations.
Moving along, the next track, "it's a post-industrial world," stars both literal and figurative occupiers. The protagonist is presumably an occupier, pulling a stunt on Disney's "it's a small world" ride not unlike the TV studio takeover perpetrated by the character V in V for Vendetta. And the family scenes at the beginning and end of the track feature the voice acting of actual Occupy Raleigh demonstrators; but the father character is clearly antipathetic to the tactics of the occupier (if not the message admonishing "cruelty and injustice, exploitation and greed), whereas the son whispers "occupiers are cool."
The next track with connections to the Occupy movement, Everyman Awakened, doesn't explicitly mention the occupy movement at all. But the whole song is about what brought us out to Zuccotti Park during the early days of OWS. It concludes with an Everyman occupier waking up at ZP, "piercing the heart of Manhattan with vision for community." Click here to read all the lyrics.
Finally, the last song with connections to Occupy is the one that I didn't write myself, Siyahamba; but the inspiration to use it came from my participation in the #NoNATO protests organized by Occupy Chicago. And though I can't claim authorship on this one, I do believe that the single line in the song puts words to that which we're up to in the Occupy movement:
Siyahamb' ekukhanyen' kwenkhos'.
We are marching in the light of God.