Graham Gaskell

BOB & the HOOD / BOB E IL CAPPUCCIO 🇺🇸 Many people ask me why #BobDylan always wears his #hood. It's true, even at concerts, always. His reasons are his own, and it isn't my place to judge them. But I do know that this is how he feels like himself. And that is how he felt he should be with the Pope. That much I can say. An artist like him has a very deep sensitivity and a profound desire not to wear masks. That is what he felt, and that is what he did. The Pope welcomed his way of being with complete ease. You could tell from the intensity of the way they looked at each other. A beautiful experience. 🇮🇹 Molti mi chiedono perché Bob Dylan sta sempre col cappuccio? Vero, anche nei concerti, sempre. Le motivazioni sono sue e non mi permetto di giudicarle. Tuttavia so che così lui si sente se stesso. E così sentiva di diver essere con il Papa. Questo posso dirlo. Un artista come lui ha una sensibilità molto forte e il desiderio profondo di non mettere maschere. Così ha sentito e così ha fatto. Il Papa ha accolto con assoluta naturalezza il suo modo di essere. E lo si capiva dall’intensità degli sguardi reciproci. Una bella esperienza.

Today, #November4, 2026, #BobDylan was received in audience by Pope Leo XIV. Together with the editor of L'Osservatore Romano, I accompanied him to the Apostolic Palace. The meeting had the feel of history about it, and at every step I had the sense that anything could happen. Speaking of peace, Leo brought up "Go Away You Bomb." In 1963, Izzy Young, who ran the Folklore Center in Greenwich Village, was putting together a songbook against the atomic bomb; Dylan showed up the next day with the lyrics, typed. In the song, a man talks to the bomb, insults it, orders it to leave. The book never came out, and Dylan never recorded the song. In 2014, the typescript went on the block at Christie's and found no buyer, but the lyrics were published, and so a song that was never sung made its way to a pope's desk, in the company of Dorothy Day, Giorgio La Pira, and Stanislav Petrov, the Soviet officer who, in 1983, declined to pass on a missile alert that the computers insisted was real. Leo is an Augustinian. In 1967, on John Wesley Harding, Dylan had dreamed of that saint. In "I Dreamed I Saw St. Augustine," the narrator watches Augustine searching for those who have already sold their souls, witnesses his martyrdom, and realizes, with horror, that he is one of the crowd that put him to death. He wakes alone, in tears. The model was the old ballad about Joe Hill, the labor organizer executed by firing squad in Utah in 1915; Dylan put the Bishop of Hippo in his place and turned a rallying cry into an unwitting confession about our tendency to silence those who bring us the truth. Born in Chicago in 1955, Prevost grew up on the American music of those years. Jim Musselman, a classmate of his at Villanova and a Dylan devotee, recalls that the two of them talked about music a great deal, and that it was Musselman who got him to read an essay pointing to Dylan as the poetic talent of his generation. The Pope who introduced himself from the loggia of St. Peter's as "a son of St. Augustine" knows Dylan's music, and Dylan was glad to meet the American Pope.

🇺🇸 Today, I had the privilege and the joy of accompanying #BobDylan to meet Pope Leo, together with Andrea Monda. It was hard not to feel the emotion of being part of an encounter that had a real sense of history about it, with the feeling that, at every step through the Apostolic Palace, absolutely anything could happen! Carlo Feltrinelli and Susan Pullman were also with us. On July 31, Pope Leo had met with Patti Smith. I’m writing about it in L’Osservatore Romano. 🇮🇹 Oggi ho accompagnato #BobDylan da Papa Leone insieme ad Andrea Monda. Non senza l’emozione di vivere un incontro che ha il sapore della storia e la sensazione che, ad ogni passo nel Palazzo apostolico, sarebbe potuta accadere qualunque cosa! Con noi Carlo Feltrinelli, e Susan Pullman. Il 31 luglio Leone aveva incontrato Patti Smith. Ne scrivo sull’Osservatore Romano.