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May 31, 2010


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A similar question about Dylan's insistance on remaining a "man of mystery" came up in the first session of my Dylan Workshop this morning. Maybe these lines from "Maggie's Farm" say it best: "Well, I try my best/To be just like I am/But everybody wants you/To be just like them."

He wants the focus on his music, not on his personality. He is the opposite of, say, a Norman Mailer.

I think there was a transformation, though, after the Ed Bradley 60 Minutes interview. In Scorsese's No Direction Home (2005), he seemed to pull off his mask for most of the time.

By the way, I held up your excellent book during the workshop and quoted you particularly on the interpretation of "Like A Rolling Stone."

What "Scorcese film"?

I don´t know whether Scorcese directed Raging Bull or not, but he certainly had next to nothing to do with NDH. Dylan recorded the interviews before he hired Scorcese to cut together old footage from DLB etc.

Issues like this show the lack of honour of big name directors.

Shameful. Shaming, too.

Lee--thanks for your comments, and for discussing my book!

To F.E. Mattimoe: You're right that Scorcese didn't direct the film in the normal sense and that the interviews were there already, but he was important in the sense that he took an enormous amount of material and structured it into a coherent and interesting film. He was an editor, but in the very editing he was, in a loose sense, directing the story.

Dylan's notorious jousts with journalists??
There were some famous ones in the mid 60s but that's, ahem,45 years ago. Since then I have collected every interview I could find and put into a binder. It's the size of the NYC phone directory. In my collection there are maybe a couple of so-called jousts. Mostly he is open and candid and he loves to talk about music with an intelligent and informed journalist. I stopped reading your blog after "jousts" because it's obvious you are stuck inside of a cliche ridden view of the man.

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I left it
on when I
left the house
for the pleasure
of coming back
ten hours later
to the greatness
of Teddy Wilson
"After You've Gone"
on the piano
in the corner
of the bedroom
as I enter
in the dark

from New and Selected Poems by David Lehman

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Ringfinger was nervous
Pinky terrified
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