They’re yours too, sort of. I shortened them. Why would I do that? Amanda. Who’s the youngest person in the Why would I do that? I’m so stupid. >> [gasps] >> Hi, I’m Keke Palmer and I’m going to watch some scenes throughout my career. Akeelah, what’s wrong? I don’t want to do the bee no more.
You don’t want to do the bee? Why not? Dr. Larabee don’t want to coach me no more. Georgia don’t want to hang out with me. And all these people are expecting me to win. And it’s just too hard, Mama. I want it all to stop. Please. Please. All right. ALL RIGHT. >> [gasps] >> OH MY GOSH. I love that little girl, you know? She was fighting for her life, okay? You know, I really, really didn’t know realize how much I was relating to Akeelah in terms of like doing my own version of the spelling bee, which was acting, which was being a kid performer,
you know? And I remember this scene specifically because I was having a hard time crying. And Angela Bassett, she was like the one that got through to me and she was sitting in front of me and she was like, “Okay, who helps you with what running your lines and get to your auditions?” And I was like, “My mom.
” And she was like, “So, your mom does everything for you? She’s the one who makes sure that you’re able to do all the things that you love?” I was like, “Yeah, I wouldn’t be able to do any of it without my mom.” And she was like, “Well, what if one day your mom said, ‘No. I’m not going to help you anymore.’ How would that make you feel?” Like she immediately helped me to tie the emotion of Akeelah, of what Akeelah was going through, to my actual life in a way that wasn’t destructive which sometimes emotional stuff can be as act for actors
when you don’t have other tools and when I think about the mentorship that Angela has shown me and what I learned from Laurence Fishburne on the set of Aquila and the Bee those are things that still have stuck to me that think in so many ways they were my first teachers in the industry. Young woman may I ask to major jacket? Well, you did.
I thought it looked familiar, but I don’t recall the buttons being orange. They weren’t. I changed them. And the pants? They’re yours, too, sort of. I shortened them. WHY WOULD I DO THAT? >> >> AMANDA SORRY, THAT’S SO FUNNY. Why would I do that? I’m so stupid. Oh my gosh. That little girl that little girl was working hard.
She was doing the best she could every step of the way. I was just giving it a 150 million percent. It’s just >> [gasps] >> I just remember this time. This was like the feeling of a dream coming true. I grew up, you know, watching Disney Nickelodeon, you know what I mean and and always being like wow, it would be so cool to to do something like that and just you know, we all did and it actually happened.
Like I remember just being like I really have my own show. Like I was just gagged beyond belief and then also with years it was this is a lot of work. It’s almost like a it’s not as bad as the movie Bedazzled, but it’s a version of that where it’s like you when you get what you wish for it also does come with responsibilities and so I remember being being like this was a lot.
I had to grow up really fast and not like in this like cliche way. I I just mean truly like I I had to not worry about having kid feelings because I was in the in a workplace. I was in doing a job, and you know, we know as adults, don’t bring your to work. You know, you can just know as an adult, that’s expected. I go in, clock in, clock out, whatever.
Like I leave it at home. But as a kid, you’re supposed to be able to be unreasonably angry, unreasonably sad, unreasonably whatever, cuz you’re a kid. But because it was so much at stake, I just couldn’t do it. As obvious as it is, kids are working like adults, nobody really wants to feel that.
So, when you’re a little kid and you and you’re like, “So, what’s going Even though you probably feel like, “Look, in order for me to get I’m going to need to be like you instead like, “I wonder what time we’re going to You have to kind of like still be a kid with it. Otherwise, people are like, you make people feel bad. And again, that’s already something too much to be thinking about.
Hey, these are my sisters. Hi, Mom. Hi. Hi, Tiffany. Hi, Tiffany. Hi, Ramona. Hi, Gary. Ah, what a time. New York pre-COVID. A different world, let me tell you that much. I had a time filming that movie. I really enjoyed it and being with all the girls. I loved being Lilly, Lilly Reinhart. We had so much fun.
Two Virgos, you know what I mean? It’s a love fest. I was so thrilled to work with Jennifer Lopez. You know, I’d always been a fan of hers. It was a big reintroduction for me as an adult, because you know, this is when people weren’t really referencing Akilah and the Bee, you know, or True Jackson VP as much anymore.
Like it was just a whole new world when I when I was an adult. It was like the everything I did as a kid kind of disappeared in a lot of ways. It was hard, because I wasn’t having the same feedback that I had as a kid, where I was just booking and booking and booking. The difficulties of of auditioning became much more realer in my teen in my teen to adult years.
And I remember this opportunity um was like a reintroduction to a whole new audience. And And then also a a remembrance to of those that maybe were like, “Oh, yeah, you know what I’m saying?” Like some movies I’ve done before where it’s like you were hers, you were hers. But like we did not rehearse on this.
This was just like us being in the same room for hours on end and and and ending up becoming close and cool, you know? Usually we didn’t practice a scenario prompt. You know, this is what’s going on and and and just do as you go. And that was kind of the vibe here. You know what I mean? It was like you’re meeting this guy for the first time.
You guys are trying to get him to, you know, get loose and get comfortable enough for you guys to put something in his drink and, you know, take every take him for everything he he’s got. And so that’s At that point, you know exactly what you need to say. I love you. You got everything on my mind. Like I could feel Is it big? You know, but you got to say and do anything that it gives somebody.
So, you know, that that’s I remember just being a scenarios prompted and then we just run with it. >> >> You got the most credible platform to tell your story. What’s that like, Oprah? Yeah. Like Oprah, for example. After that, everybody want in. Well, I’m saying there’s plenty of videos of Flying Snow online.
I saw one the other day that wasn’t on Oprah. I didn’t say Oprah. You said Oprah. You love Oprah. I think anytime you find a rhythm with the other person you’re sharing a scene with, I listen. Like I hear lines as music. And so I’m always trying to serve the scene, what the scene is meant for. If the scene is meant for exposition or this scene is meant for us to understand them.
If this scene is meant for whatever it is, I’m going to have that guide me and then I’m going to listen to the other person and see what instrument they’re playing and then I’m going to support that with what I say back and make sure that we are we’re aligned, you know what I mean? Jordan wanted wanted that hair.
He looked at my Instagram page and he said, “I think this is Emerald’s hair.” And I’m like, “Wow, like you want my natural hair for the movie?” And I remember being so like gagged by that and excited because I’ll be honest, you know, it doesn’t seem like it’s that many years ago, but like it’s still it’s been really still a thing when a black woman wears her natural hair, you know, especially when I how I came up like True Jackson VP was like weave only, you know what I mean? There was no world where I was damn near even going
to wear braids. Like it was like she had a little I had like a little weave in that I had to get in all the time. I remember just feeling like, “Wow, it’s a new world.” that I’m doing a movie first of all with someone like a Jordan Peele that a Jordan Peele exists, that we’re getting this kind of backing from a studio like Universal, and that I am going to be a queer black actress, you know, playing in this movie with my natural look.
It was just like it to me, having been in the industry for over 20 years, that was definitely like a sign that some things have changed, you know what I mean? Ain’t nobody going to get what we going to get. What we going to get? The shot. What shot? The shot. The money shot. Undeniable. Singular. The the Oprah shot. The Oprah shot? To horror of of Nope is extraction.
I think for me it’s like this idea that we can be eaten by the very things that we’re chasing. And I think about it in terms of like consumerism, spectacle, the the desire to be seen by things bigger than ourselves. And sometimes that quest within it of itself can eat you alive. Because again, sometimes you don’t know what you’re asking for.
You don’t know what you’re wishing for. And if you don’t really think hard enough on it, you could find yourself in situations where you don’t know if you’re going to get out alive. Wait. Um what are the interest rates? They’re Damn, I thought that was the year of establishment. >> Mhm. If you don’t have the money this month, you’re not going to have it next month.
This was an improv day, okay? We had lines, but like we really went in. All of us did. So, first of all, Kayla is a G. Like she is honestly insane. Like from Curb Your Enthusiasm, really everything that she’s in, she really makes it a moment and and just goes up. And she did that in this scene. I remember like just we’re all going back and forth.
Me, SZA, Kayla, just every take was different. And I don’t even know how they actually cut it together, to be honest with you. You know, we kept some of the same beats, but we would be going up up up at the end, and we were at I mean, it was just a lot of improv. It was a very fun and crazy day. You guys are old. Way too old not to understand how credit works, ladies.
Just get it together. >> Oh, sweetie, you’ll get it together. Get it together. You’ll get it together, honey. You know what? Denied. Why are you acting so uppity? YOU’RE DENIED. YOU’RE VOID. YOU’RE VOID. A lot of it was hard to keep a straight face. That’s why it’s like it’s like one of those things where I don’t know how they edited together, because on some of them we’re laughing or having to hide behind each other.
SZA was definitely like she went she was like, “Okay, guys, we have to restart real quick.” cuz we started getting just crazy. You know what I mean? You just start getting silly, because honestly, it’s a big moment of play. I’ve never seen a credit score this low. >> >> Well, I you know, I when I went to business school, I learned >> >> within the system.
You go in there, and you maybe don’t even have a chair to sit down in. And this is the place that you’re going to get help and service from. And then, sometimes the person in there might even be making fun of you. And then you got the whole thing with the interest rates, where it’s like you’re really signing me up to be in debt forever.
And it’s like you don’t there’s no financial literacy or education. Um and you wind up in these situations where you’re kind of really being set up for failure. And it’s just like I think that’s what we’re seeing the girls go through with the entire movie is, you know, they all they from the hood, you know what I mean? They’re doing the best with what they’ve got.
There’s no room for error. And I think that’s the thing is like, we’re only human. And this idea that, you know, in some areas, you’ve got to be a rose that grows from concrete, everybody deserves some grass, some sunlight, and a little bit of water. Where’s your white girl? Everybody else is in place. Stevie’s here.
Stevie’s ready. Many of those are ready, too. Hey. I know you. >> >> You don’t know me. From the club. Uh. We all know that guy. That’s a dangerous I’m telling you that. It’s bad, you know, I love the way that Boots heightens situations or or or he creates irony in a moment. Like, when people get to know like the background story of LaKeith’s character, it just becomes that much more to me relatable because we all know what that’s like.
When you meet this person and you guys are connected, but the connective tissue is kind of like traumatic, you know, but you feel the excitement and the potential of what could be, but then before you know it, it kind of sucks the life out of you. Panavision created this lens for the movie. Like, whatever they this when this moments happens, it’s like a specially created one that I don’t even know that he had, you know, necessarily in mind.
He just knows what he wants people to feel like. You’re killing me with that candy corn. I love red happy bursts. They relax me. You don’t want me anxious. Yeah, but you spit it out. It was really hot, okay? I’m wearing the like padded suit underneath, then on top of that I have like clothes like stuffed, you know, into the actual sweat pink sweatsuit that I’m wearing.
So, it was very, very hot, you know, and obviously and deeply imbalanced, you know what I’m saying? With those heels that I had on. I mean, it was actually quite fabulous as well. Like when I look at it as well, like I love the look. Like the hair and the pink. So, you know, she was kind of eating down and so was uh Naomi’s character, like Shaday.
I loved her outfit here as well. Uh I just remember us just staying true to the moment because there’s so many things that are hilarious about the scenario that I think the biggest thing that you always want to make make sure that you do is to stay grounded. It’s to be completely grounded in the moment because you don’t want to compete with the with with with our what’s happening.
The ball coming down, he would just tell me like, you know, that’s where that that was written in the script. That’s something that we, you know, you know, like this is you know, this is the big metaphor of what’s chasing her. What we all It was so relatable. We all have a ball or a monster or something like that in our lives that we are running from or we are trying to metabolize or that we it’s constantly in the back of our head.
We would talk about that all the time cuz I think that’s like so human. I remember when he went when we were matching to the van behind us. It was really a conversation about like He’s like, don’t force it. You know, but if you can hit that and make it look natural, it would be great. And so, I was definitely one to want to hit that cuz I thought it was a cool shot.
And when I see it in the movie, I really love I really love that moment. Would you say that True Jackson VP was a better VP than Dick Cheney? What the hell is Ooh, y’all are really testing me on some stuff that I I hate to say it. I hope I don’t sound ridiculous. I don’t know who this man is. I mean, he could be walking down the street.
I wouldn’t I wouldn’t know a thing. Sorry to this man. I would never understand I wouldn’t I will always be just gagged by my “Sorry to this man.” “Sorry to this man” is always I just remember I’m I’m just still to this day it’s like wow. It was like “Sorry to this man” was a movie. You know what I mean? It was a very short one, but it really was a movie in so many ways because people still come to me talking about that damn near more than anything in my catalog of films.
And it’s like yeah, it’s it’s it’s unique. Like my generation is a generation of memes, but we remember the time where that didn’t exist. So it you know, there was no way I could predict this type of media. Um so it’s like I’d be you know, it’s like a little it’s like a version of a cartoon or an avatar even though it’s me, but So once I seen the feedback, uh I was like well, I’ve got to I’ve got to give the people what they want.
Maybe I need to put this on a shirt or something. Uh people want to have this moment. You know what I mean? I think you’re always trying to figure out how to service the audience. You just never Again, it was like such a unique scenario, but I was like should I be servicing this? Should I be you know, is there more that I can give them on this because I don’t really know like I I don’t remember I didn’t remember I remember being there thinking like this is I had not seen anything like that vibe before.
Ah, wow. It’s always >> >> crazy going down memory lane. You know, hindsight is 20/20 and it’s one of those things where you know, I don’t know. I think I guess I would just say that I really appreciate any opportunity to just see him take a take a look in the past, you know, as I continue to trudge forward.
Thanks for watching.
QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.
Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.
Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.
The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.
Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.
Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.
Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.
Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.
that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music
industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.
The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.
Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.
Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.
The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.
Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.
Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.
Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.
Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.
The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.
Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.
The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.
Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.
Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.
The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.
Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.
The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.
Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.
They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.
She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.
She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.
She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.
She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it
well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.
Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.
What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.
The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.
They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.
Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.
Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and
Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.
Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.
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