“Bobby had an impish charm that older women found endearing, though my mother was immune. He was aware of it and used it when he could. But in general he was shy around people. He had a habit of pumping the air with his knees, a kind of marching in place, whether standing or sitting—all jumpy. Onstage he did it in tune to the music. He looked good, despite his floppy clothes. He had a natural charisma, and people paid attention to him.
At the height of his Woody Guthrie phase, he talked through his teeth and when he laughed he would toss back his head and make a cracking ha ha sound or a small ha, with fingers covering his mouth. His walk was a lurch in slow motion. He had a touch of arrogance, a good dose of paranoia, and a wonderful sense of the absurd.
It was very important t him at that time t write as he spoke. Writin like speech an without havin any punctuation or t write out the word to.
We got on really well, though neither one of us had any skin growing over our nerve endings. We were both overly sensitive and needed shelter from the storm. But Bobby was also tough and focused, and he had a healthy ego. The additional ingredients protected the intense sensitivity. As an artist he had what it took to become a success.»”
— Suze Rotolo, “A Freewheelin’ Time”