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On pre-conversion 1978-world-tour Bob, Clinton Heylin posing in one of his manifestations as the Holy Spirit in Behind the Shades:
If Dylan was on the run from the White Goddess he would need a strong patriarchal religion to hang onto.
In one of the two 1978 Rolling Stone interviews with Jonathan Cott this one published 16 November in response to Cotts question about Changing of the Guards treacherous young witches lyric, Bob Dylan replied: I meet witchy women. Somehow I attract them. I wish theyd leave me alone. Wilfrid Mellers in A darker shade of pale: A backdrop to Bob Dylan (1984) says Oh, Sister:
. . . shedding its evangelical tinge, emerges as a Tex-Mex number acrid in sonority and remorseless in tangoed rhythm, with gibbering and wailing voices off. The effect is sinister, perhaps because the song seems to have become a conflict between Dylans Christian Father and his sad-eyed lady earth goddess. Some such tension is latent in many of the gospel songs; indeed the fundamental ambiguity which makes Dylans work so rewarding is precisely this matriarchal-patriarchal synthesis or reconciliation.