Sounds

When John Mellencamp and Dan Rather sat down to film an interview for HDNet (televised July 1, 2007, under the name “The Plain Truth”), they could probably already hear the derogatory denunciations from the Fox News cult: “Two crazy, anti-American left-wing liars in conversation? I’d rather attend a lecture on evolutionary biology.”

John Mellencamp

Both the journalist and songwriter have been objects of right-wing scorn during the past few years. Although the specific reasons for hostility differ, they are rooted in the same emotion: intolerance. Many on the right side of the political fence dare not climb over for a peek at Mellencamp or Rather, because of their’ perceived “liberal bias.”

Dan Rather’s bias is still unproven, despite all the crying and sputtering over something called “Memogate,” an incident where Rather, for a broadcast of “60 Minutes II,” reported on President Bush’s failure to report to duty while he served in the National Guard. The facts of the case have never been credibly challenged — to the best of everyone’s knowledge, the current occupant of the White House was absent from base for quite a stretch of time — but the National Guard memorandums used as visual evidence were fraudulent.

Mellencamp, on the other hand, proudly admits to his liberal bias, telling Rather he is “so liberal” that if he said “what he really thought, people would try to run him out of the country.” However, there is a caveat of irony to Mellencamp’s ideology. The singer is quick to point out that he lives in the very conservative state of Indiana. He told Rather he does not write to a liberal base but instead attempts to attract a conservative audience in the hope that a mutually strengthening dialogue will ensue.

Oddly enough, this was the songwriter’s motive for breaking his own vow to never license a song for commercial use. Mellencamp rightfully observes that radio and music television no longer has a place for aging rockers with a social conscience. After Tom Petty’s “Highway Companion,” an album Mellencamp believes to be one the best of his peers, failed to receive attention, Mellencamp realized that he may need to explore other avenues for promoting his music. Then he got a call from Chevy about using his single “Our Country” in a massive ad campaign, and the rest is 30-second marketing history.

The way Mellencamp explains it, this wasn’t a “sell out,” as critics call it, for money, but instead an effort to bolster the dialogue that he felt was slipping away from him.

As the marketplace of ideas was bought out and paved over by the marketplace of commodity and image, those whose products have meaning often find themselves having to package and polish them to make them appealing and sellable to a mass audience. It may not be hip — especially coming from someone who once made a hit boasting about fighting authority — but it was coolly pragmatic. And if the result is a wider audience listening to the words and music on his latest album, “Freedom’s Road,” then Mellencamp won something more important than the preservation of his rebellious image.

Mellencamp lusts for a diverse base of fans, which includes people who may want to insulate themselves from opposition, but who will tune in to the sports programming that aired the “Our Country” Chevy ad. Mellencamp expresses a goal of free inquiry, not conversion. He wants his conservative friends and fans not only to clap along to the beat of “Freedom’s Road,” but also to ponder the social implications with an added sense of broadened perspective.

This is the essence of democracy. Living in a democratic society, and laboring to maintain a culture that fosters the values of our founding, demands that all citizens challenge their philosophical foes, and prepare to not only handle, but welcome criticism. The prevailing attitude of American discourse is: “If you think like me, you are a person of high standing virtue. If you disagree, possessing the arrogant gall to formulate your own, unique analysis, then I will question your motives and patriotism, and look down upon you with nothing but visceral contempt.”

There is no attitude that presents a greater conflict with democracy or a softer comfort to authoritarianism.

Mellencamp believes in a better alternative. The title song states the other option with straightforward eloquence: “Freedom’s Road — If you want to take a ride then you’ve got to pay the toll.” The social contract of a democratic republic requires that everyone fulfill their obligations. The citizens listen to each other with the intentions of serious deliberation and rational problem solving, while respecting each other’s freedom, property and privacy. They also must keep a laser focus on the elected establishment to ensure that the Constitution is protected, the common defense is upheld, the pursuit of life, liberty and happiness is not obstructed, and that the other social principles we often cast aside in favor of celebrity scandal, fundamentalist dogma and inanity like “Which candidate would you rather have a beer with?” do not vanish.

It is essential that throughout this process we talk and listen to each other, despite variances in viewpoints. Mellencamp spoke to Rather about the importance of conversing with enemies abroad as well. He observed that if spouses behave toward each other with vengeance when they are upset, their marriage is not long for this world. If revenge and war isn’t a successful approach in a relationship that only involves two people, it cannot be destined to do anything but fail when it is applied to foreign policy, placing at stake the lives of millions of people in radically different cultures.

The practice of civility, tolerance, patience and peace seems logical and obvious, and it has been demonstrated as virtuous and practical throughout the course of human history. Then why is it often the road less traveled?

Rather asked Mellencamp to finish the statement popularized by National Public Radio: “This I Believe …” Mellencamp responded: “That we all can do better, and that people quit too early.” He later explained that there is “something wrong with the human spirit.” Too often when people have the opportunity to do good, “They make the smarmy choice and cause harm.” No one is immune from this indictment — not public officials, friends, family, nor the singer himself. “Something is amiss with the human spirit.”

A cursory look at a history book provides ample evidence to give Mellencamp’s observation concrete bearing. The rock star admitted as much about his life but also pointed to the bloodlust that inflicted his nation’s collective libido after the horrific tragedy of Sept. 11, which caused America to create a fiery war zone and bust through the door without first placing its palm on the outer surface.

Following the interview, HDNet replayed the concert Mellencamp performed at Walter Reed Military Hospital for soldiers who have been wounded in the war that the singer opposed from the onset. It was not only a demonstration of finely honed and crafted music, but a poignant sign of camaraderie for those who have made an unfathomable sacrifice for a policy they may or may not even support.

But, for all of the disagreements and disenchantments, they joined together at Walter Reed Medical Hospital for one night — liberal populist rock star, battle-wounded warrior, mother, father and child. It was something deeper and more meaningful than a rock concert, and more honest than a collection of facts. It was the plain truth.