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Jack White

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I have three dads: my biological father, God and Bob Dylan.
--
From the article A Mysterious Case of the White Stripes from Rolling Stone Magazine.

 
Jack White

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The minute you try to grab hold of Dylan, he's no longer where he was. He's like a flame: If you try to hold him in your hand you'll surely get burned. Dylan's life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that's why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him — things that Dylan will never provide and will only frustrate. ... Dylan is difficult and mysterious and evasive and frustrating, and it only makes you identify with him all the more as he skirts identity.

 
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Just as the Depression left a generation of dads feeling they never had enough money, so father deprivation is leaving a generation of sons and daughters with different psychic wounds.

 
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Reporter: How many people who labor in the same musical vineyard in which you toil - how many are protest singers? That is, people who use their music, and use the songs to protest the, uh, social state in which we live today: the matter of war, the matter of crime, or whatever it might be.
Bob Dylan: Um...how many?
Reporter: Yes. How many?
Bob Dylan: Uh, I think there's about, uh...136.
Reporter: You say about 136, or you mean exactly 136?
Bob Dylan: Uh, it's either 136 or 142.

 
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The movie stars Michelle Pfeiffer as LouAnne Johnson... [h]er teaching methods are inventive. She bribes them with candy bars and free trips to amusement parks, and involves them in the words of that important poet, Bob Dylan (the Tambourine Man might have been a drug dealer!). Soon they're in the school library, finding connections between Bob Dylan and Dylan Thomas... [w]hat, exactly, will these disadvantaged inner-city kids accomplish by being bribed with candy bars and the "relevancy" of Bob Dylan? Can they read and write? Can they compete in the job market? An educational system that has brought them to the point we observe in the first classroom scene has already failed them so miserably that all of Miss Johnson's karate lessons are not going to be much help.

 
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Somewhere in the child, somewhere in the adult, there is a hard, irreducible, stubborn core of biological urgency, and biological necessity, and biological reason that culture cannot reach and that reserves the right, which sooner or later it will exercise, to judge the culture and resist and revise it.

 
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