 De laatste eerste dag, als we in het voedsel met vrienden met een vrienden van de drie van jou, Bob Dylan, waarom komt Bob Dylan in termen van de counterculturen? Waarom heeft deze enorme impact van deze een enkele man op de counterculturen? Wil je de biograferen, jouw vrienden? We kunnen het ook spelen, ja. Voor mij was alles, als een vriend, ik wilde gewoon mijn vrienden zijn. Hij had een speciaal magnetisme en hij was vervolgd, zoals Picasso. Het was zoals elke rekord, hij ging in een nieuw verandering, hij was vervolgd, we vervolgden met hem. Hij was zoals, alle dingen die we dachten, hij seemed te zeggen. De manier waar we echt op wilden, het was zoals, het seemed zoals, alles wat hij deed was waar we wilden zijn. Even, als er 20 paarden van glas waren, hij had de rechte manier, hij had de rechte manier, hij had de rechte manier, en al zijn ideeën, hij gaf ons protestmuziek, hij gaf ons social awareness, hij gaf ons, seksualiteit, hij gaf ons liefde, liefde zongen, hij was nooit, hij was gewoon alles wat je wilde, zoals als je in Arthur and Boe had, suddenly living in your time. Dat is wat hij was like to me, all the people that I loved in the past, cause I lived so much in the past, finally, one of these guys was living in my time. One of these guys was alive writing poetry and giving of himself while we were alive. I could finally like a guy that wasn't dead. I think what I learned from him, you know, I was pretty top 40 and listening to Rhythm Blues and Do Up, but what he taught me was that about the sound of his voice, that he had such a strange and bizarre voice that it expanded my idea of what a voice could be, that once I got used to how he phrased in the timbre of his voice and the things he was saying and his sense of humor, you know, talking World War 3 Blues, it really gave a sense of expansion of men he kept going. I mean, I wanted to be a lonely folk singer in the backyard when I got my first guitar and, you know, a year later, especially after the English invasion, en, you know, every folky was, you know, this is the end of, you know, music, you know, oh my God, you know, these bands from England, and I was completely charmed. Yeah, and all of a sudden, here's a folky who was pretty resolute who said, yeah, I'm going to plug in. And all of a sudden these universes came together and, you know, lyrically, I mean, he took, he made lyrics into a whole other animal, even beyond what the folkies were doing and created a sound that, you know, I've certainly changed my life. I think the sound is there, but a good friend of you guys, and I know him a bit well, Harry Smith, who was important to the whole folk movement, once said that he knew that God existed when he heard Bob Dylan on the radio. It's a very hairy way of thinking things, but yes, and there was a sense that things were opening up that you could not hear anywhere else. And, you know, I mean, Dylan starts out on the folk scene and, you know, there's a lot of folk singers and it was a movement and Joan Baez had a beautiful voice and Joan Baez had a lot to do with making Bob Dylan popular. And there were lots of other folk singers around and he was one of them and he was a good one of them. But then he sits down and writes a song like A Hard Rain's Gonna Fall and that's of a whole different order poetically. I mean, when that album came out, I remember that album coming out and that song split my mind open in a way that a few other things have ever done. I mean, the cover of that album was great too because he was walking with Suzy Rotalo's girlfriend and, you know, that was so hip. I mean, you know, I wanted his girlfriend to be my girlfriend. But what was so important about that song? Why? Because Ellen Ginsberg also had something like a wedding hit song. I knew, you know, that torch has been passed to the next generation. That's true. Well, first of all, there was just the imagery, this, you know, the imagery itself. I mean, just listen to the song, any one of them. Drums of blazen, branches that are bleeding. I mean, he once said that he was trying to write, you know, every line in that song is like the first line of another song. You know, that, and it's all pulled together. And it's a song of complete bleakness and of terror and of apocalypse that ends with redemption and ends with, you know, with prophecy. And I think that's what Ellen saw in it. But I didn't figure it out at the time. All I knew were these words that were saying things that I'd never heard said before in a popular musical vein. And it was part of the democratization, I think you're talking about opening it up. I mean, Dylan made that stuff accessible in ways that other people couldn't. He brought poetry to the masses, because, I mean, for me listening to it, I mean, I had read season and hell, I had read illumination so I could see that he was, you know, hard reading is going to fall, made total sense to me because it's very Rambodian. You know, there's certain lines that are almost right out of Rimbaud. And, but he, you know, I was reading Rimbaud and probably in South Jersey, there was probably one copy of illuminations and I had it, you know, but then suddenly he is writing these songs that brings this, you know, because he cherished Rimbaud as well, brings all of his knowledge of poetry, all of his ability to synthesize all of his things that were having politically, social injustice, his love of poetry. You know, he was our alchemist. He put all of these things together and created songs that even though they were elevated, were still accessible. And, you know, so I think that was, you know, he gave us in one song, that particular song, The State of the World, Pollution, you know, Injustice, you know, all the things that, you know, crimes against children, all of these things in one song, as well as giving us poetry. And, you know, so everything was like, you know, it was almost subconsciously we were getting quite an education through one song. Dat is Pat, he said, too, I mean, and Lenny, he kept moving. I mean, he was a year ahead of everybody at one point. And that's why the people were getting so upset in part. But he kept, like Picasso, there are artists of different kinds of forms and there are people of periods who keep moving. And he never stopped. He still hasn't stopped. He's still doing it. And it's why I love him so much. So that's part of it as well. You know, he was, we were having to, he gave a, he told us a great deal, but then as soon as we caught on, he was somewhere else. And we were having to catch up with that, too. I was waiting for him.