“You couldn’t help being influenced by Dylan.”

The very funny thing about “Like A Rolling Stone” is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument.

The “Highway 61” album [of Bob Dylan] was produced by Bob Johnston if I’m not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson.

So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.

I mean just out and out crooks. And the next generation had a little more finesse. But I mean those first wave of people, you know, definitely would take all your money, no doubt about it.

Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.

Finally a breath of fresh words founded in hardcore, intelligent research.

Producing Bob Dylan was pretty much a spectator sport.

I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after “Like A Rolling Stone”.

And a little slate that came out of the wall that you could actually write on. And a door that locked from the outside.

Tom Wilson had produced jazz records and was a Harvard educated.

The [Bob] Dylan sessions were very disorganized, to say the least. I mean, the “Like A Rolling Stone” session I was invited by the producer to watch.

Only through sheer ambition did I end up playing on [Bob Dylan sessions] and the fact that I could do that is a testament to how disorganized it really was.

My influences were mostly gospel. So I was playing my twisted Jewish equivalent of gospel music over his twisted equivalent of rock and roll music. And it was a very excellent marriage.

The first generation from the ’50s that were in 1650 [Broadway] were pretty much all crooks,

And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.

Still being ambitious to want to play on the record, I was a mediocre keyboard player. And uh, I seized the opportunity and played the organ.

Sorry, am I being rude?” she asks. “I’m used to saying whatever is on my mind.

Dauntless: being brave in the midst of fear.

All I can do is stand still- I feel like if I just stand still, I can stop it from being true, I can pretend that everything is all right.

Without her presence nothing would have being, because she is the essence of the existence of the first unto the last being.

Creativity is not merely the innocent spontaneity of our youth and childhood; it must also be married to the passion of the adult human being, which is a passion to live beyond one’s death.

The creative act arises out of the struggle of human beings with and against that which limits them.

I grew up in a very loud and dramatic household, and we loved being in the spotlight.

We could almost say that being willing to be a fool is one of the first wisdoms. So acknowledging foolishness is always a very important and powerful experience. The phenomenal world can be perceived and seen properly if we see it from the perspective of being a fool.