.

Bob Dylan Gives Press Conference in San Francisco, Part II

Page 2 of 4

Right before that.
Uh – the ash is creeping up on me somewhere – I've lost – lost touch with myself so I can't tell where exactly it is.

Was that an inadvertent evading of the question?
No, no –

What do you feel about the meaning of this kind of question and answer session?
I just know in my own mind that we all have a different idea of all the words we're using – uh – y'know so I don't really have too much – I really can't take it too seriously because everything – like if I say the word "house" – like we're both going to see a different house. If I just say the word – right? So we're using all these other words like "mass production" and "movie magazine" and we all have a different idea of these words too, so I don't even know what we're saying.

Is it pointless?
No, it's not pointless. It's – it's – you know, if you want to do it, you're there – then that's not pointless. You know, it doesn't hurt me any.

Classic Black and White Shots of Bob Dylan

Is there anything in addition to your songs that you want to say to people?
Good luck.

You don't say that in your songs.
Oh, yes I do, every song tails off with "Good Luck, – I hope you make it."

Why couldn't you – uh –
Who are you? [Laughter] Get the camera on this person here.

What do you bother to write the poetry for if we all get different images? If we don't know what you're talking about.
Because I got nothing else to do, man.

Do you have a rhyme for "Orange"?
What, I didn't hear that.

A rhyme for "orange".
A-ha . . . just a rhyme for "orange"?

Is it true you were censored for singing on the Ed Sullivan Show, etc. etc.
I'll tell you the rhyme in a minute.

Did they censor you from singing what you wanted to on the Ed Sullivan Show?
Yes. It was a long time ago.

What did you want to sing?
I don't know. It was some song which I wanted to sing and they said I could sing. There's more to it than just censorship there. They actually said I could sing the song, but when we went through the rehearsal of it, the guy came back afterwards and said that I'd have to change it and he said, "Can't you sing some folk song like the Clancy Brothers do?" And I didn't know any of their songs and so I couldn't get on the program. That's the way it came down.

Have you found that the text of the interviews with you are accurate to the original conversations?
No. That's another reason I don't really give press interviews or anything, because you know, I mean, even if you do something – there are a lot of people here, so they know what's going on – but like if you just do it with one guy or two guys, they just take it all out of context, you know, they just take it, split it up in the middle or just take what they want to use and they even ask you a question and you answer it and then it comes out in print that they just substitute another question for your answer. It's not really truthful, you know, to do that kind of thing, so I just don't do it. That's just a press problem there.

Do you think the entire text of your news conference today should be printed in the newspaper?
Oh no, nothing like that, nothing like that. But this is just for the interview, you know, when they want to do interviews in places like Omaha, or in Cincinnati, man, you know. I don't do it and then they write bad things.

Well, isn't this partly because you are often inaudible? Like, for most of this dialogue you have been inaudible, and now when you are touched personally by the misquotation, your voice rises and we can hear you.
Yeah, well, I just realized that maybe the people in the back there can't hear me, that's all.

I was just going to ask you – in your songs you sing out –
Yes I do.

And whether . . .
You see the songs are what I do – write the songs and sing them and perform them. That's what I do. The performing part of it could end, but like I'm going to be writing these songs and singing them and recording them and I see no end, right now. That's what I do – uh – anything else interferes with it. I mean anything else trying to get on top of it making something out of it which it isn't, it just brings me down, and it's not, uh – it just makes it seem all very cheap.

Well, it made me feel like you were almost kind of doing a penance of silence here . . .
No, no.

The first half.
I'm not one of those kind of people at all.

You don't need silence?
No, no silence. It's always silent where I am.

Mr. Dylan, when you're on a concert tour how many people travel in your party?
We travel with about 12 people now.

Do the number of people seem to go with the amount of money you're making?
Oh, yes, of course.

Bob Dylan on the Cover of Rolling Stone, 1969-2012

Is that known as Dylan's Law?
We have the band, we have five in the group. And we need other things; we have to – it's a lot of electronic equipment now, a lot of different things which have to be taken care of so we need a lot of people. We have three Road Managers and things like that. We don't make any big public presentations though, like we never come into town in limousines or anything like that. We just – uh – go from place to place, you know, and do the shows. That's all.

You fly in your own plane?
Yes, yes.

Do you have to get in a certain type of mood to write your music?
Yeah, I guess so. A certain type of mood, if you want to call it that.

Do you find that you are more creative at a certain time of the day?
Yes, yes, I feel that way.

Like a night writer?
I would say night has nothing to do with it.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

prev
Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.

X

We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Long Walk Home”

Bruce Springsteen | 2007

When the subject of this mournful song returns home, he hardly recognizes his town. Springsteen told Rolling Stone the alienation the man feels is a metaphor for life in a politically altered post-9/11 America. “Who would have ever thought we’d live in a country without habeas corpus?” he said. “That’s Orwellian. That’s what political hysteria is about and how effective it is. I felt it in myself. You get frightened for your family, for your home. And you realize how countries can move way off course, very far from democratic ideals.”

More Song Stories entries »
 
www.expandtheroom.com