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history professor sean wilentz explores the historical and cultural influences of bob dylan s songwriting. barnes & noble in new york city hosts a talk that lasts for an hour. thank you all for coming out on this very dark and rainy night. it s really great to be here. thank you for that lovely introduction. i m going to open my water now, better than later. so i ve read this book about bob dylan. it is not, contrary to what you may have read, a biography. it is not a biography of bob dylan. there are lots of biographies of bob dylan to suit every inclination. this is not one of them. this is more of a meditation. bob dylan start, his career, that his art primarily. the book had its origins many decades ago, which you can read about and talk about, but it really got its start about, let s see, just about nine years ago. out of the blue i got a phone call asking me to write something for bob dylan s website about an album he had coming out. and my first reaction was, you kno
strom thurmon called it misogyny iation, and that was in the 60s and 70s, and a time when social barriers between white people and black people were tumbling, and i know in the generation of my sons, who are 27 and 20, they have tumbled. it s just not there or they don t feel it s there they ve grown up in integrated settings. they have gone to schools where diversity has been taught as a good thing, and so there s a growing number of biracial americans, and it is hard to give specific numbers. what interests me is something that president obama, who was one of these groups with this group he belonged to several of these groups, actually. one of the things he said if you recall his race speech during the campaign in philadelphia, and he said something i m paraphrasing here this is during the first reverend wright eruption. the said, could i no more disown the reverend wright than i could disown my own mother. he eventually did disown the reverend wright. but the poi