Bob Dylan’s Loving Legacy
A Creative Calling…
What is it that makes an individual steer away from the norm? Quit school, or jobs. At first appear crazy to most, but later on, they are seen as genius. I believe it is intense passion and an internal compass that won’t let go. Drive. That feeling that you just know you have to do something even when everyone else thinks you’re being wildly foolish.
Bob Dylan had such a strong passion for his hero, Woody Guthrie, that he quit school to go visit him in a psychiatric ward. Who does this? I know my parents would kill me if I’d tried to do this. I’m no Bob Dylan, but imagine a woman from a traditional family of public school educators quitting school to go visit their musical hero or heroine in a psych ward in the 1950’s. It still would be seen as absurd today, but possibly less so because Mr. Dylan did it first. I can only imagine the bravery and determination it took for Mr. Dylan to seek out and find the man who made popular modern folk music, and music as an artistic form of political activism.
Dylan’s 1962 debut album has a version of “House of the Rising Sun” which brings me to tears. Listen to this song and tell me it doesn’t move you for the singing alone, but add in the ease at which he modulates the tempo and rise and fall of the acoustic guitar chords as he sings with such emotion. It is easy to listen again and again and feel deeply moved and simultaneously soothed. Dylan is a young, determined singer, storyteller and song-writer first, copying his heroes, but with a lot to say about humanity and life that he eventually makes this art form his own. Rhythm guitar and harmonica drive the story and message on, and keep the sound flowing, like a train or river. This was the style of Guthrie and countless gospel and blues musicians from the south. This style of guitar playing creates a beat and flow that is easier to sing on top of. It can be sped up or slowed down as needed, but generally, it is chords strummed repeatedly in a way that remains rhythmic and flowing throughout the full length of a song. It’s not as easy to master as it may at first appear. Many can learn to sing or play guitar, but to combine the two is much more difficult.
Dylan’s passion for his folk music heroes is well understood in listening to “Song for Woody”, also from his first album created in 1962 when he was only twenty years old. He mentions Guthrie’s contemporaries, cowboy and singer, Cisco Houston, Sonny Terry, who was an African American blues harmonica player, and “Lead Belly”, or Huddie William Ledbetter, an African American folk and blues singer and twelve string guitar player active from 1903 to 1949. Lead Belly sang blues songs about love, loss, prison and racism(Including a song about Hitler). He also had a huge influence on folk singer Pete Seeger and rock guitarist, Kurt Cobain. I have a son that is obsessed with digital EDM and gaming music, jazz keyboard playing in the way that I imagine Bob was obsessed with guitar and folk music at that time in his life. There isn’t a day that goes by where something isn’t being created or produced. I only wish my son would learn more about songwriting, music history and activism as Mr. Dylan did at the same age. The comparison, I present to point out the extraordinary maturity and sense of mission Mr. Dylan had at such a young age. The past two years with the pandemic haven’t been great for young musicians who wanted to travel or meet their guitar heroes. To be alive now is quite a blessing to count.
Ginsberg and Kerouac’s writing led the drive for men and artists like Dylan, Joan Baez and Patti Smith to want to go “on the road” and leave home for New York. Just as Joyce, Ezra Pound and Gertrude Stein drew Hemingway to Paris, artists are inspired by the writers who have come before them. They want to know what it was like to be where these writers were eating, drinking, seeing the world when they wrote certain books or songs. In this way, culture, in the form of celebrity writers, artists and musicians, drive people to a place. This could be for long-term stays, extended education or short-term tourism. Musicians wanted to be where the music scene was, whether that was New York, San Francisco, Tennessee, Memphis, Austin… They moved to the cities where they could play in the streets and be heard. There was no Spotify, internet or iTunes. Everything had to be remembered in books, sheet music or your head. Record players and 8 track tapes were heavy and not portable. People mastered music instruments by playing and learning from each other in person rather than on line. Hence the strong desire to travel to where the music scene was the most prolific.
Dylan’s first guitar was a Silvertone he got at age twelve after saving his allowance from working on his father’s truck. I wonder, from Sears catalog?…and what store?… Not that it matters, but the Sears catalog used to be this heavy thing, bigger than a phone book, with illustrated pictures of items, called “The Wish Book”. I remember this is how we used to pick out toys we wanted for Christmas, to show our Grandparents. It was our only source of looking up all that is out there, kind of like Google, Amazon, or any online resource is today. (ref. 1)
I take a break to look up Silvertone guitars from Sears, and sure enough, there are vintage, black and white images from the catalog, similar to what I remember, but I think by the 70’s, these were in color. A page from 1966 shows advertised “Real Folk Guitars”, an image of a dreadnaught style, simple acoustic guitar with case for $26.88. The Silvertone 3-in-1 electric is $88.88… I laugh. Why so many eights? There must be a reason for this. Actually, everything on this page ends with 88 cents… similar to today’s 99 cent endings… Just a dime more now. The ad continues:
“Calling all Teens!
You are invited to a Hullabaloo and Coke Party
on the Sears parking lot, Saturday, April 2, 2 to 5pm.
Free Cokes — Free Prizes. No admission”.
This is how Sears mass marketed guitars in the sixties, besides the catalog…
A song pops up on this page, “She Said Yeah” by the Tracers. It sounds like an early doo-wop inspired rock love song with electric guitars and males crooning in harmony from the fifties… The Moonglows, the Five Satins, but now with rock guitar.
I am now imagining, twelve year old, Bob Dylan in Minnesota in 1953, through all the four seasons, playing guitar to his favorites. He says he listened to and was inspired by Odetta, Harry Belafonte, singer-songwriters in 1957–58. The Primes, a precursor to the Temptations, were now singing. Elvis was singing “Hound Dog” in black and white tv, on the Ed Sullivan Show. Chuck Berry played “Johnny B. Goode” on electric guitar in 1958. All these founders of popular songwriting were just being presented to the world on radio and tv for the first time.
Though the electric guitar was invented in 1932 and used by large big band players and jazz guitarists from Les Paul to T-Bone Walker, It wasn’t mass produced and available in the Sears Wish Book until the 50’s, when Gibson with Les Paul, and Leo Fender made these instruments available to a wider customer base. Anyone picking these instruments up at that time was really a pioneer in technique just by existing and sticking around long enough. Six years later in 1963, the Beach Boys first wrote “Surfer Girl” and “Catch a Wave”.
Meanwhile, in London, The Beatles… who started as the Quarry Men in 1956, had evolved into the Beatles by 1960. These first electric rock bands influenced all musicians and songwriters in popular music and songwriting. But Bob Dylan was already playing Woody Guthrie’s songs and following the path of folk singers in his writing and playing style. What made Bob Dylan embrace Woody Guthrie and folk music over other contemporaries? Why did he choose to go to visit Guthrie and not Belafonte, Kingston Trio, The Carter Family and Jesse Fuller, Elvis or others? Dylan became obsessed with Guthrie and learned over two hundred of his songs before he went to find him in New Jersey and visited with him in Brooklyn, NY. There must have been a very special connection he felt there. This is the fanatical feeling one can’t quite explain that often is seen as crazy by others who don’t quite understand what makes an individual love another’s voice, phrasing, passion in their music. It’s very personal when we make a connection with another artist or musician. Did he go there just because he heard he was in the hospital and wanted to meet his hero before he passed away?
Apparently, in ’58 or so, he heard a record by Odetta in a record store, and went and traded his electric guitar for an acoustic, flat-top Gibson. Odetta was so personal and vital that she inspired Dylan to change his ways… (Odetta songs…Mule Skinner, Jack of Diamonds, Water Boy, Buked and Scorned).
(ref. 1)
Thanksgiving this year for me was getting to see Bob Dylan perform live during his “Rough and Rowdy Ways” tour at the Capital Theater 11/24/21. If you click that link for “Rough and Rowdy Ways”, you will learn all about the album, the new songs and the studio musicians who worked with Mr. Dylan. I listened to his older music for weeks before attending this concert, read and researched about his past, and then couldn’t get my hair to look right and took forever to get to the concert, like a teenager that was going to a date and was absolutely fearful of meeting such a legendary writer. I usually do nothing to my hair and don’t even think about it, so this was so strange to me. I’m not sure why this sudden nervous behavior even happened to me. In fact, I almost didn’t even go because I was going to arrive late, but I went anyway. It has been an atypical time in history for everyone, I’ve been through a lot of sad stuff, and I am trying to just give myself credit for getting out of bed and feeding myself each day.
I found a thin black purse that was my mom’s, and switched my things from the black drawstring backpack I have been using as my “purse” for at least year now. I am so far from fashionable, it is not even really something I think about because I have no money to afford fashion. I enjoy seeing “other people’s fashion” but I don’t think of it as accessible or necessary for me. Nice to have versus need to have… it’s not a high priority right now in my life, but that doesn’t mean I don’t love to see what amazingly colorful and wild creation Bjork is wearing in concert. I’m basically stuck in my childhood home, alone, and without any money since my unemployment recently ran out, so joy for me tends to be when I learn a new chord on my guitar, or have a memory of something that inspires me to write a song. Going to see Bob Dylan slightly scared me because I know a fraction of knowledge of his work. If I met Mr. Dylan in person, I wouldn’t have the slightest idea of how to talk to him, but I imagine it would be memorable. I would like to think there would be laughter and humor and honesty and story telling. Puzzles of language, history and thought to unravel and solve. Just as he did with his sixteen minute song about President Kennedy’s murder, “Murder Most Foul” in which he references well over sixty songs and artists from the past century, across all genres, from Woody Guthrie and Bob Wills, to Fleetwood Mac and The Rolling Stones. What’s most incredible to me is that our cultural icons of music and rock were born so recently. Recent, as in, just in the last hundred years, rock and roll began, electric guitars were invented, bands had the ability to tour… and these musicians changed the way we think and speak, celebrate life, honor accomplishments, dream and fundraise. It’s very surreal and emotional for me to walk into a room with a legendary musician and cultural icon, even if he is just a person, a father, a friend to many. For me, it felt very important for me to be there. I am crying as I write this because everything I felt before getting there was real; the realization of how special it was to finally feel and hear live sound from a music and cultural icon was absolutely overwhelming emotionally. What took me so long? Why didn’t I go enjoy more live concerts sooner in my lifetime? It’s almost infuriating to me. I wish I knew then what I know now about life, music and songwriting. I would have gone to more concerts and learned all I could about the artists I loved.
After showing my ID, vaccination card, and getting a wrist band, I passed through the empty lobby and into main theater of The Capitol. It was full. Standing room only all the way from the stage up through the stairways. I went down the stairs towards the stage and slid into a spot where I could see the full band, six men in black suits, almost like the cover of a Beatles or Rolling Stones album from the 60’s, but they are not wearing ties. They are all wearing solid black only, silhouetted against the backdrop of the vertical lines from the bright red stage curtain.
From left to right:
- Drummer, Charley Drayton
- Upright bass player, Toni Garnier, with a black wide brimmed hat
- Grammy winning, electric steel guitar player Bob Britt, with what appears to be, a classic black Gibson Les Paul from the 60’s(or maybe a Silvertone?), with double humbuckers, the single, elegant wave-shaped swoosh of the right-sided cut-away
- Bass guitar player, Doug Lancio
- Bob Dylan behind an upright piano
- Accordion, synth and keyboard player, Donnie Herron, to Mr. Dylan’s right
The light behind the band was a glowing red and misty vapor from a smoke machine that filled the atmosphere around them, making it have a hazy, nightclub feel, rather than the more modern “rock band”, wild and syncopated lighting that I usually see at the Cap. This was already a huge difference. An audience of hushed, gently swaying listeners was understandable as hearing Bob Dylan’s voice so clearly and filling the space of that huge theater was everything-it was an overpowering moment for me because I have only ever heard Dylan through radio or earphones, and this was incredible live sound, wrapped around you like an extra blanket on a cold night. Some might point out that Dylan’s voice has aged. He is eighty now and projects a more raspy, deep sound, but it still is positively and unmistakably Dylan. This in itself is oddly comforting; not in the way a grandfather’s voice comforts you, but in the way we appreciate the wisdom of our greatest artists.
Sadly, today’s younger generations are intentionally mean, chanting “Ok, Boomer” and detesting everything older generations have ever gone through, often citing climate change and the disasters we are dealing with now as stemming from all that older generations lived with. Having octogenarian parents myself, I understand both sides of this debate, but the point is, most did not know the things they were doing sixty years ago were so destructive or that behaviors would need to be changed to ensure our very survival. Dylan’s songs were written in a different time, but he is here today producing new material that reflects on the past. It’s beyond admirable when my own parents have retired to Florida and have never written a song in their lives. I’m sure they could talk American history with Mr. Dylan far better than I could, but I am here to learn; for the songwriting, the appreciation of lyrics and songs that have influenced so many other modern songwriters, folk and rock and roll artists. I couldn’t even believe I was there, and I don’t have the words to describe what this experience meant to me, but I will try to share a few details of the event. Actually, this point brings me to something I have been thinking about a lot when it comes to modern day music reviews. Frequently, the style of writing reviews to me is fairly dry and factual, possibly “over the heads” of those without music backgrounds. Musicologists sometimes forget that many of us have never been able to see an artist in our lifetimes, worked and raised kids and didn’t have the time to deep dive into an understanding of music theory, history and sound.
I want to reference a fairly recent and wonderful article by Jony Ive written about Steve Jobs on the tenth anniversary of his death, which ran in the Wall Street Journal 10/4/21. Jony spoke to Steve in 2005 about curiosity and learning. I bring this up because it is my opinion that writers should be able to be curious and write how they feel before knowing every detail about music or an artist. A concert is different for every individual in the room. Every ticket sold is not just a headcount or seat to fill. It’s a human being that’s being influenced and learning from this moment in time. Each artist has the chance to give a performance that is meaningful and unique to the crowd before them. What is it that makes each show special or different and memorable to me, you or the couple beside you? No one person experiences the same feelings, and I think this is a remarkable opportunity for a writer and observer of music and life. The way Jony Ive explained curiosity, or what many refer to now as “having a beginner’s mind” in his words is meaningful to me at this point in my life and writing career. Jony wrote,
“Many of us have an innate predisposition to be curious. I believe that after a traditional education, or working in an environment with many people, curiosity is a decision requiring intent and discipline. It is more comfortable, far easier and more socially acceptable talking about what is known. Being curious and exploring tentative ideas were far more important to Steve than being socially acceptable. Our curiosity begs we learn, and for Steve, wanting to learn was far more important than wanting to be right.” (ref. 2)
So, with this point made, I continue with my exploration of that which I really knew nothing about before the past few years of my life, going to live music concerts alone, just to see what I could learn. Because I arrived to this concert late, I did not know there was a “no photos, no videos” request and they had posted signs around the theater. I had not seen any of these, and did not see them until the show was over and there was a man taking them down. I didn’t even have the urge to take photos or video when I arrived though. I just wanted to blend into the crowd, be able to see, and listen. Even from where I was standing, I could make out the visage of Bob Dylan from behind the piano. Like the iconic 1966 poster created by Milton Glaser, a head of curly hair with the light highlighting the line down his nose, his mouth singing in to a microphone behind the light brown, wooden piano. The face of all his wonderful songs and ideas we have heard for decades, with no wild lights, bells or whistles. Dylan unmasked. Here he is… and that’s all that was needed. His unique voice and words really say it all. Spoken words, poetry that we want to think about and remember, from the flatlands, warm weather, hibiscus and bougainvillea in Key West, to the way every day can sometimes feel like a grain of sand. I lift my phone and record part of the song, “Key West”, before I am signaled to not record by someone on my left. It only mattered to me to have this memory that I was here, so I could write about what I saw… Remember how many musicians were on stage and look them up later on. It wasn’t for anything else, but I think it’s interesting how we decide what is meaningful to each of us in life. Some people are here with their partners or friends, after a nice dinner and drinks. Couples leaning on each other’s shoulders. Giggling when Bob says, “I don’t have anyone… Give me a kiss”… in the song lyrics. I try not to be distracted by the audience members, but there’s a women up front dancing with her hand and long finger nails. It’s hysterical to me because her hand looks like this emotive and professional, tiny dancing creature of its own, swaying to the music before the red curtain. I think when you actually are recording an event, you focus on the artist more and are less distracted by the people around you. This is one of the reasons I love recording events with my phone- I can zoom in on the artists, crop out the audience members if I want to, and can focus on the music.
I go up front for the last couple songs. I am just behind the railing now, and a sweet and happy family without face masks, are smiling and so delighted to be there and exclaim how much they loved it. They have left their jackets on the railing and I ask them if these are theirs. They almost left without them. It was great to see a happy family together, older and younger generations, enjoying this concert. It’s been hard for me to be the only one in my family here with a passion for the music world. I am unable to see my sons in California right now, and they both are musicians, but I can’t bring them to concerts with me due to finances and our distance. I know this isn’t working for me to be here, and I have not been dealing well with being away from my sons, and yet, this is probably one of the most memorable Thanksgivings because I got to be alone and attend this concert. I spent the month writing about musicians, singer songwriters and guitarists born in the month of November.
It’s really interesting to me that so many guitarists and truly significant singer/songwriters from the rock world were born in November:
- Joni Mitchell Nov 7
- Bonnie Raitt Nov 8
- Neil Young Nov 12
- Jeff Buckley Nov 17
- Clifton “Skeeter” Best, jazz guitarist who played with Ray Charles
- Duane Allman (Allman Brothers Band)
- Bjork Nov 21
- Steven Van Zandt Nov 22
- Miley Cyrus Nov 23
- Kirk Hammett (guitarist, Metallica)
- Tina Turner Nov 26
- Jimi Hendrix Nov 27
- Billy Idol Nov 30
I wrote a couple songs this month as well, and posted my “Song starts” on Instagram. I have been playing guitar since 2018, and learning how to write my own songs as I have been escaping a terribly abusive situation that feels never ending. Learning guitar and singing and writing have been the only things to keep me motivated, besides riding my bike everyday. I also had been learning about cloud technologies and training in Salesforce, but my writing about music and songwriting has really been the most significant and joyful knowledge I have gained that has helped buoy me through the storm of loss. “The Sea of Heartbreak, lost love, loneliness”… Roseanne Cash’s voice, singing with Bruce Springsteen comes to mind here.
I am standing in line for the restroom when I notice the Jerry Garcia handprint logo. Not being able to attend concerts when I was younger, I never got to see the Grateful Dead and I know very little about Jerry Garcia, except the songs, and about his Tiger guitar and other various animal-named guitars I learned about the last time I was here in September. I look up the logo and learn about Jerry having lost his middle finger on one of his hands when he was a kid, chopping wood and goofing around with his brother. Apparently, it wasn’t a big deal to him. He was so young, he just adapted and made jokes about it at school. Suddenly, I see this triangle of guitar players with missing fingers… Django Reinhardt, Jerry Garcia… and “Mr. Tambourine Man”, Bob Dylan’s friend, the drummer and guitarist, Bruce Langhorne, who played a Turkish drum he purchased in NYC with small bells inside, which made it jingle like a tambourine, as well as guitar and many other instruments. All these incredible musicians who overcame the loss of fingers and went on to become popular geniuses of the music world; not because of their disabilities, but because of their abilities and dedication to music. They were extraordinary at their art even with their missing fingers. So much so, that most would never have known they had anything different about them unless they were told about it. (ref. 3)
Bruce Langhorne (aka, Mr. Tambourine Man) played on many of Dylans’ songs and recorded with Richard and Mimi Farina, Joan Baez’s sister. I also did not know about Bruce Langhorne before this month. I am not a Bob Dylan historian, and I see online that there are encyclopedias of Bob Dylan facts. I could dig into the past Rolling Stone articles, listen to interviews with Langhorne to learn more. I find an interview with Bruce Langhorne in which he says to the reporter,
“Folk music is the music of the people. And if you look at folk music in any country in the world from any era, the instruments that are used are the instruments that are available to the people, you know, to the indigenous people. And for us in America at that time, it happened to be the electric guitar. It was like everyone had electric guitars, and there were electric guitars everywhere. And all the records that you heard featured electric guitar. So it was a perfectly natural evolution, and young, forward-thinking people like Dick and Mimi, and like Bob Dylan, had no choice but to move forward, because it was right there in their face, and they were contemporary artists. They were not traditional artists.”(ref. 4)
This is an excellent quote from Bruce Langhorne, who was raised by his mom in Spanish Harlem, NYC and spent his life working with the many folk revivalist musicians in Greenwich Village in the 60’s. Bob Dylan traveled to New York to meet his folk hero, Woody Guthrie and son, Arlo, who was 13 at the time. He impressed them because he knew all of Woody Guthrie’s songs. (Woody wrote songs in the 40’s, and wrote a song a day, sketched and journaled.) Dylan soon entered this world of working musicians, where he met and worked with Bruce, Judy Collins, Mimi Fariña, Joan Baez, Odetta and many others who sang together at outdoor folk gatherings in the early sixties that were the birth of modern day festivals.
I flip over to the Woody Guthrie website, where I find an image from his 1943 journal, “New Year’s Rulin’s” stating that one should “Write a song a day”. “Love everybody”. It’s a two page list of goals for himself and it’s quite impressive. There is a new book about Woody Guthrie highlighting these many sketches and journal entries, piecing together Guthrie’s art that was just released on November 16, 2021 by Nora Guthrie and Robert Santelli, with contributions by Douglas Brinkley, Rosanne Cash, Jeff Daniels, Ani DiFranco and Arlo Guthrie. Find the new book, “Woody Guthrie: Songs and Art • Words and Wisdom” online at woodyguthrie.org.
Woody was a political writer and story teller who wrote for and about the people. He wrote about inequalities, immigration, wars, corruption, America, trains, people and places he’d traveled. I think to remember that Bob Dylan took a chance at such a young age, left high school, moved to New York to meet Guthrie, and became a popular musician with his own songs almost immediately, performing in the 1960s at Folk Festivals with guitar and harmonica, and 60 years later, his music is equally impressive because he still has so much history and life to share with us. In this current era of darkness, pandemic and environmental issues, ghosting, cancel culture and sub tweets, there is a certain poetic grace and honesty in a Dylan song that actually feels comforting. He is a time traveler who understands the wars and depressions of the past, famines, the dust bowl, migrations and can still honor his audience with his take on it all.
On Bob Dylan’s website, the adult audience can find podcasts featuring Bob, telling stories and talking about all the different cocktails that use whiskey. He has a line of whiskey, called “Heaven’s Door” inspired by his metal art and songs. The whiskey bottles feature Dylan’s own artwork; intricate, story-telling gates he designed and built himself. Boydylan.com is a modern website, well designed, with links to videos of Dylan’s previous “lives”, such as in 1988, when he formed a band called “The Traveling Wilburys”, which was made up of rock and roll all-stars, Roy Orbison, Tom Petty, George Harrison, Jeff Lynne and Boy Dylan. A video of them singing, “The End of the Line” shows Bob seated in front, playing acoustic guitar, and the others around him, singing. Bob’s life in music is a reminder that we have to lose friends, make new friends and start over. We recreate ourselves, and yet we carry our memories with us. Artists have to keep creating, despite losses. Musicians will constantly be reminded about their past songs, people they sang with. They will need to be able to share those stories, or decide if they don’t want to talk about the past. Our music icons are in fact human beings, and not just a walking, talking catalog of their past work and lives. That’s what Wikipedia and the websites are for. We can look that stuff up. I guess my point is that music writers should be more human and caring when they write, and talk about their experiences while being less critical. At least, that’s how I want to be. Every writer is just one human opinion on a subject, after all. (ref. 5)
During this concert, I felt the youthful joy of a young Bob Dylan in “Tamborine Man” and “Tangled up in Blue” was evoked in his modern appreciation for Key West and all the music and life he has seen come and go. He is still here and he still sounds like himself, and it feels wonderful to hear his voice in a live venue, surrounded by survivors. It was such an honor for me to just be there this week, that it is hard for me to verbalize my profound appreciation of the lyrics and life choice of a songwriter that has been committed to his art and making a successful business of it since he was nineteen. He has given us over 39 albums and six decades of music. I am reminded of the words on the door to Charley’s in Paia, where Willy Nelson and Neil Young played for many years. It said, on the door… “Artists Only”. I believe this is the true essence of Dylan. He has always been an artist. A master songwriter who has painted bold and vast landscapes of epic sagas through the darkness, guiding us to survive, all with his own discipline and penchant for speaking his mind. Brave or foolish, he did it. We listened. We laughed. We loved and learned. I appreciate the genius in what Dylan has created and the guts it took to get here. I’m grateful I was able to hear his voice live because no matter how good we get at recording sound, there is still nothing like the real live immersive moment in time with an actual human singer/songwriter. The aural experience alone is incomparable. I certainly was convinced that I should go to Key West and disappear into the warmth and floral imagery for a week or two. Maybe every day is not a grain of sand, or a winding road, but maybe it’s okay to write about how we may feel at each given moment in time. How lucky we are to be alive with eyes and ears and hearts, to still be able to feel and witness in person, the loving legacy of Bob Dylan.
References:
- March 1966, “Bob Dylan Interview”, Playboy.
- Oct 2021, “Jony Ive on What He Misses Most about Steve Jobs”, WSJ.
https://www.wsj.com/articles/jony-ive-steve-jobs-memories-10th-anniversary-11633354769 - Re: Jerry Garcia handprint logo story. https://extrachill.com/2020/12/the-story-of-jerry-garcias-missing-finger.html
- Bruce Langhorne Interview with Richie Unterberger, http://www.richieunterberger.com/langhorne.html
- Website: Bobdylan.com
See also various links referenced within the article.
