I'll dance to anything: Bob Marley or rap.
There has been a ton of excellent music in this period (along with a few misses), evoking scenes like a bar-room brawl at a border-town dive, a washed-up singer in a smoky lounge, and the scenes of violence in Bob Dylan latter-day music videos.I think the ethos of this period is best summed up in the 2001 song "Summer Days".
In late [Bob] Dylan, music is the key to immortality, even though the summer days are long gone.
[Bob] Dylan's many quotations from classic American roots music (that song is from an album aptly titled Love and Theft) join the aging poet to a tradition that preceded him and hopefully will outlive him as well.
[Bob] Dylan thus deserves the Nobel Prize, not just for "new poetic expressions within the great American song tradition," as the Nobel committee aptly described his work, but also for embodying the contradictions within it.
I liked Jimmy Snuka, Tony Garea, Larry Zbyszko, Bob Backlund, Bruno Sammartino, Chief Strongbow, SD Jones (even though they never let him win), Captain Lou, Ted DiBiase...Uh...I'm forgetting some people...Greg Valentine. Chris Rock and Ric Flair are the best. Ric Flair is the king.
I wanted to meet Bob Hope, and I got to know him pretty well.
I think Bob Dylan's a good songwriter. I think he's the best songwriter in the world probably.
Bob Dylan was uncomfortable being known as just a protest singer. He wanted to go back into himself and do what he wanted to do when he wanted to do it.
Even though Helen Vendler wasn't on the Harvard faculty when I came first in 1979, she was a guardian spirit; Robert Fitzgerald gave me the use of his study in Pusey Library. Monroe and Brenda Engel kept open house, Bob and Jana Kiely made me at home in Adams House. Then, too, in 1979, Frank Bidart, whom Id met in Dublin after the death of Robert Lowell he was over seeing Caroline Blackwood Frank brought me into his circle of friends, including Robert Pinsky and Alan Williamson.
Like trillions of others, if it wasn't for Bob Dylan, it would have been a different musical landscape. Pop music wouldn't have been my thing at all. I did also grow up listening to The Beatles, but I never thought of being a Beatle.
I've kept in touch with many of my former teammates: Bob Marcucci was our team manager and we bonded over our passion for baseball.
I don't know what you wanna describe as Rock 'n' Roll, but I certainly thought that 60s stuff, Bob Dylan and the Beatles, changed the world a little bit. But the effect seems to have retreated. I think it's harder than we think to change the world. These things go in cycles. It doesn't seem to have done an awful lot of good, does it? You know, all the talk of racial harmony and equality in the world... we haven't got a long way since the 60s.
[Bob Ferguson] won that huge ruling against the first version of the Muslim ban that resulted in it being stopped dead in the Ninth Circuit U.S. Court of Appeals.
How would you define [Bob] Dylan? You can't. That's a true artist. How about Ray Charles? Can you classify Ray Charles? No, you can't. He's just great, period.
I saw that [music] reflected in my mother when we listened to these records [of Bob Gordon]. And I felt it too.
I had a great year with Bob Mintzer [at Laguardia School of Arts]. Bob is great. We could have just brought the clarinet or dealt with classical stuff, or brought the flute or just dealt with comp and arranging... what a great teacher.
There are great jazz educators that I meet all the time. I met a guy named Paul Luchessi who has a high school jazz program in Fresno. And Bob Athayde who runs a junior high program in Lafayette, California. And man, we walked into these schools and Paul Luchessi said, "Jon is the composer of Paradox." A hundred or something kids started to applaud. "What? You guys know that? I'm so blown away.
I'd like to talk to Bob Marley. I'd just like to ask him what was his method. Bob is one of the greatest songwriters ever. I don't know if people understand how powerful his songs are and the simplicity and genius behind them.
Bob Dylan tends not to have geographical or chronological markers that tie a song to any specific context, so they stay alive, stay relevant.
There have been times where, let's say on LGBT issues, when we were trying to end Don't Ask, Don't Tell, and I got the Pentagon and Bob Gates, a Republican holdover from the [George W.] Bush administration, to authorize a study of how you might end Don't Ask, Don't Tell, headed up by Jeh Johnson, who at that time was a council to the Justice Department. And it was going to take a year to conduct that study, issue a report, and figure out how it might be implemented, what effect it would have on unit cohesion and military effectiveness.
The bottom line is that every single member of Congress has to get voted into office every two or six years. That means they need to look really good in their home district and state. That means good local press. That means people in their district thinking, "Man, I really don't like Congress, but I like Senator Bob."
A few years later, when I was still going to these meetings, I was also "second-acting" every Broadway show [walking in with the crowd after intermission]. I snuck in to see Grease with John Travolta in kind of a secondary part and Adrienne Barbeau playing Rizzo, into Pippin, hung out with Ben Vereen and Bob Fosse. It was an amazing time for a teenager.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
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