A Quote by Bob Dylan

Someone handed me Mexico City Blues in St. Paul [Minnesota] in 1959 and it blew my mind. It was the first poetry that spoke my own language. — © Bob Dylan
Someone handed me Mexico City Blues in St. Paul [Minnesota] in 1959 and it blew my mind. It was the first poetry that spoke my own language.
I have this great fear of Mexico City. I won't go to Mexico City unless someone meets me at the airport and is with me. I just feel very vulnerable there.
Born and raised in St. Paul. I was a St. Paul Johnson Governor for the first quarter of my freshman year. Then I moved to Phoenix.
I'm indebted to the teachers who shaped me - from the Sisters of St. Joseph at St. Croix Catholic elementary to the monks of St. John's in Minnesota to my professors at Georgetown.
I’m indebted to the teachers who shaped me - from the Sisters of St. Joseph at St. Croix Catholic elementary to the monks of St. John’s in Minnesota to my professors at Georgetown.
Nas' Illmatic blew my mind when I first heard it. The poetry was done on such a high level that in a way, it validated our existence, our culture. He used the language of the street at the time and made it art. Art tends to be validating.
The first song I wrote and had published was titled "Just As Long As That Someone Is You". It was written in 1959, and recorded in 1965 by Jimmy Ellege. I started writing songs because I wanted something of my own to sing. I, at that time, was not aware that the songs I heard on the radio were not written by the folks singing them. I had always loved poetry, and found it easy to integrate a melody with poetry.
When we finished [training with my wife] we came to St. Paul, because St. Paul was the first place where we got a job offer and we needed some sort of a job to earn some money in order to set up our own studio. It's rather ironic that this job offer came originally through the Walker Art Center.
I'm a bluesman moving through a blues-soaked America, a blues-soaked world, a planet where catastrophe and celebration... "Joy and Pain" - sit side by side. The blues started off in some field, in some plantation, in some mind, in some imagination, in some heart. The blues blew over to the next plantation, and then the next state. The blues went south to north, got electrified and even sanctified. The blues got mixed up with jazz and gospel and rock and roll.
In the Catholic Worker we must try to have the voluntary poverty of St. Francis, the charity of St. Vincent de Paul, the intellectual approach of St. Dominic, the easy conversations about things that matter of St. Philip Neri, the manual labor of St. Benedict.
I'm not the first Christian to have a fruity past. I hesitate to compare myself to St Augustine or St Paul, but there is a precedent for this sort of thing.
I have a funny relationship to language. When I came to California when I was three I spoke Urdu fluently and I didn't speak a word of English. Within a few months I lost all my Urdu and spoke only English and then I learned Urdu all over again when I was nine. Urdu is my first language but it's not as good as my English and it's sort of become my third language. English is my best language but was the second language I learned.
After Margaret Thatcher's funeral, I spoke at a tribute meeting organised by her supporters in a pub next to St Paul's.
East St. Louis-which the local press refers to as "an inner city without an outer city"-has some of the sickest children in America. Of 66 cities in Illinois, East St. Louis ranks first in fetal death, first in premature birth, and third in infant health.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
That she does not crouch today where St Paul tried to bind her, she owes to the men who are grand and brave enough to ignore St Paul, and rise superior to his God.
Poetry is always in transformation. There are certain aspects of contemporary Italian poetry that are very preoccupied with politics and deconstruction and they don't deeply interest me. But that's the case in most cultures. We have our own Language Poetry, which doesn't interest me either.
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