Bob Dylan Quotes

Quotes tagged as "bob-dylan" Showing 1-30 of 48
Bob Dylan
“A man is a success if he gets up in the morning and gets to bed at night, and in between he does what he wants to do.”
Bob Dylan

Bob Dylan
“All I can be is me- whoever that is. ”
Bob Dylan

Bob Dylan
“You can never be wise and be in love at the same time.”
Bob Dylan

Suze Rotolo
“Everybody is waiting for cooler weather--and I am just waiting for you--. (Bob Dylan in a letter)”
Suze Rotolo, A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties

Bob Dylan
“Being noticed can be a burden. Jesus got himself crucified because he got himself noticed. So I disappear a lot.”
Bob Dylan

Christopher Hitchens
“The finest fury is the most controlled.”
Christopher Hitchens, Love, Poverty, and War: Journeys and Essays

Haruki Murakami
“It's like a kid standing at the window watching the rain.”
Haruki Murakami, Hard-Boiled Wonderland and the End of the World

Bob Dylan
“Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'
For the loser now
Will be later to win
For the times they are a-changin'.”
Bob Dylan

Bob Dylan
“The sun's not yellow, its chicken!”
Bob Dylan

Walter Isaacson
“Otherwise, as Dylan says, if you're not busy being born, you're busy dying.”
Walter Isaacson, Steve Jobs

Bob Dylan
“I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room.
Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.”
Bob Dylan, Chronicles: Volume One

Bob Dylan
“I had no songs in my repertoire for commercial radio anyway. Songs about debauched bootleggers, mothers that drowned their own children, Cadillacs that only got five miles to the gallon, floods, union hall fires, darkness and cadavers at the bottom of rivers weren't for radiophiles. There was nothing easygoing about the folk songs I sang. They weren't friendly or ripe with mellowness. They didn't come gently to the shore. I guess you could say they weren't commercial.

Not only that, my style was too erratic and hard to pigeonhole for the radio, and songs, to me, were more important that just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic. Greil Marcus, the music historian, would some thirty years later call it "the invisible republic."

Whatever the case, it wasn't that I was anti-popular culture or anything and I had no ambitions to stir things up. i just thought of popular culture as lame as hell and a big trick. It was like the unbroken sea of frost that lay outside the window and you had to have awkward footgear to walk on it.

I didn't know what age of history we were in nor what the truth of it was. Nobody bothered with that. If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs taught me that.”
Bob Dylan, Chronicles: Volume One

Bob Dylan
“The Duke [John Wayne] was a massive figure. He looked like a heavy piece of hauled lumber, and it didn't seem like any man could stand shoulder to shoulder with him.”
Bob Dylan

Alm Hlgh
“Take care of all of your memories. You cannot relive them. Bob Dylan”
Alm Hlgh

Bob Dylan
“She's got everything she needs; she's an artist, she don't look back.”
Bob Dylan, Lyrics, 1962-1985

Christopher Hitchens
“On my desk is an appeal from the National Museum of American Jewish History in Philadelphia. It asks me to become a sponsor and donor of this soon-to-be-opened institution, while an accompanying leaflet has enticing photographs of Bob Dylan, Betty Friedan, Sandy Koufax, Irving Berlin, Estee Lauder, Barbra Streisand, Albert Einstein, and Isaac Bashevis Singer. There is something faintly kitsch about this, as there is in the habit of those Jewish papers that annually list Jewish prize-winners from the Nobel to the Oscars. (It is apparently true that the London Jewish Chronicle once reported the result of a footrace under the headline 'Goldstein Fifteenth.') However, I think I may send a contribution. Other small 'races' have come from unpromising and hazardous beginnings to achieve great things—no Roman would have believed that the brutish inhabitants of the British Isles could ever amount to much—and other small 'races,' too, like Gypsies and Armenians, have outlived determined attempts to eradicate and exterminate them. But there is something about the persistence, both of the Jews and their persecutors, that does seem to merit a museum of its own.”
Christopher Hitchens, Hitch 22: A Memoir

Suze Rotolo
“He stilled my room, for sure.”
Suze Rotolo, A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties. Suze Rotolo

Bob Dylan
“I never took much, I never asked for your crutch, Now don't ask for mine.”
Bob Dylan

Bob Dylan
“Once upon a time You dressed so fine”
Bob Dylan

Alm Hlgh
“All I can do is be me, whatever that is. Bob Dylan”
Alm Hlgh

Bob Dylan
“I change during the course of a day. I wake and I’m one person, and when I go to sleep I know for certain I’m somebody else.”
Bob Dylan

David Ramirer
“einige gitarren, ein klavier, mikrophone von der decke, kleine schaumstoffpyramiden an den wänden. ein studio in new york an der upper east side. es ist ein warmer septemberabend draußen über der stadt. bob dylan verbrachte ihn bis etwa 5 p.m. auf der veranda seines freundes bill clinton, wo die beiden marihuana rauchten und kreatives schlafen praktizierten. bob braucht diese rituale mit freunden, bevor er ins studio geht, seit so vielen jahren, nach so vielen platten. jetzt, pünktlich um 7:34 p.m., sitzt er alleine hier im studio und schaut auf das geöffnete klavier. ähnlich wie helmut schmidt in deutschland darf auch bob dylan an jedem ort hemmungslos rauchen, selbst wenn an der wand ein großes, rot leuchtendes warnschild mit der aufschrift „do never smoke“ angebracht ist. die rauchwolken der siebenten camel filter ziehen wie magisch in den innenraum des flügels, sie stauen sich dort, scheinen sich einzunisten. vor den augen dylans aber wird das klavier zum sarg. er sieht im rauch eine spiegelung seiner eigenen gewohnt gelockten haare, er selbst daran mit dem kopf anmontiert, im besten anzug plus krawatte, eingebettet in verplüschte seitenwände. er wollte doch erste demos für die neue platte aufnehmen, nicht sich selbst im sarg visualisieren. verstimmt dämpft er die zigarette auf seinem linken unterarm aus und legt den stummel zärtlich zu den anderen auf den boden. er ist müde… das gras wirkt wohl immer noch. wie in trance steht er nun auf, verfügt sich zum flügel und platziert sich vor den tasten. im bleiernen halbschlaf geht es jetzt los.

(0201)”
David Ramirer, 2015 - fuck me tender

Ta-Nehisi Coates
“Dylan's voice was awful, an aged quaver that sounded nothing like the deep-throated or silky R&B that Dad took as gospel. But the lyrics wore him down, until he played Dylan in that addicted manner of college kids who cordon off portions of their lives to decipher the prophecies of their favorite band. Dad heard poetry, but more than that an angle that confirmed what a latent part of him already suspected. This was was bullshit.”
Ta-Nehisi Coates, The Beautiful Struggle: A Father, Two Sons and an Unlikely Road to Manhood

Gordon Marino
“I was born here and I'll die here against my will.”
Gordon Marino, Ethics: The Essential Writings

Bob Dylan
“I had no time for romance. I turned away from the window, from the wintry sun, crossed through the room, went to the stove and made and poured myself a cup of hot chocolate and then clicked on the radio”
Bob Dylan, Chronicles: Volume One

Alan Light
“Needless to say, the song ["Hallelujah"] was now a climax in every show [of the 2009 Leonard Cohen tour], received like holy scripture. It belonged in a category with seeing Bob Dylan sing "Like a Rolling Stone" or watching Bruce Springsteen perform "Born to Run"—it was an event that people simply wanted to witness, to say they had seen. It took on a power that had to do with the song's history first, its feeling second, and its details hardly at all. Every performance carried with it a sense of where this song had been, who had sung it,where and how every listener had first encountered it; it had reached a place where it was something to be experienced, rather than listened to.”
Alan Light, The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of "Hallelujah"

Bob Dylan
“But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life's mundane matters. "Who are the best musicians for these songs?" "Am I recording in the right studio?" "Is this song in the right key?" Some things never change, even in 400 years.

Not once have I ever had the time to ask myself, "Are my songs literature?"

So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.”
Bob Dylan

David Mitchell
“One spoon of Dylan makes a gallon of meanings.”
David Mitchell, Utopia Avenue

Seth Rogovoy
“My mind is confused, I shudder in panic. My night of pleasure has turned into terror. Setting the table to let the watchmen watch, eating and drinking, “Arise, officers, anoint the shield.” For thus said my Lord to me: Go, station the lookout, and let him tell what he sees. He will see a pair of horsemen...and he will call out like a lion. My lord, I stand on the lookout constantly during the day, and I am stationed at my post all the nights. Behold, it is coming: a chariot with a man, a pair of horsemen. Each says loudly, “It has fallen! Babylonia has fallen!”
Seth Rogovoy, Bob Dylan: Prophet, Mystic, Poet

Howard Sounes
“Like the Rolling Thunder Revue, The Last Waltz was fueled by cocaine. 'It was ankle deep,' says Michael McClure, who read poetry as part of the concert. 'When I look at that film, I get a coke high.' Backstage there was a cocaine room, painted white and decorated with noses cut out of Groucho Marx masks. A tape played sniffing noises. Neil Young came out to sing 'Helpless' with a white lump hanging from his nose. The producers had to hire a Hollywood optical company to have the lump removed from the film.”
Howard Sounes, Down the Highway: The Life of Bob Dylan

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