The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.
I want to be the Bob DeNiro of the Jurassic.
I wanted to move on. I wanted to do acting. The next thing I did after [MADtv] was a good hybrid of that. I did this show with Bob Odenkirk and Derek Waters (creator of Comedy Central's "Drunk History") and it was a little homegrown thing that we shot and then we sold it to HBO. We made a pilot and HBO didn't pick it up, but then we made all these webisodes. This was before streaming stuff online made any sense. (The episodes are available on YouTube). Nobody even knew how to watch things on the internet.
I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.
I think we need to sort of broaden our definition of poetry, which maybe it's a good thing that they just gave this Nobel Prize to [Bob] Dylan because blurring the lines of song lyrics and also hip-hop for me is like some of the greatest uses - most innovative uses of language in my lifetime.
I've always loved the fact that Bob's [Dylan] been able to sustain his mystery over 50 or 60 years.
The things that I loved about Bob's [Dylan] music - and I describe him in the book as the father of my country, which he really is - were things that just didn't fit when I went to do my job. You know, I'd come out of a somewhat different circumstance and shoes - the clothes just didn't fit.
Bob Dylan had been a big sort of presence in my life but I'd never quite registered what he was trying to tell me. He was always this kind of figure, a sort of bear-like figure in the corner of the room. You know, every time I imagined what Bob Dylan looked like, he looked a bit like Steve Earl used to look - with the beard.
Bob Barr is not crazy enough for my taste.
I've had mentors who were kind of the troubadour singer-songwriters, like Merle Haggard, Loretta Lynn, Joni Mitchell, Bob Dylan and Neil Young, and that's just what I've always liked - people who would talk real honestly about their lives and their circumstance.
That's the best way to feed the human mind. That's how Bob Marley did it. He never put it in your face. After you got the groove, you were just singing the hooks, because you thought it was cool.
Bob Marley stood for universal peace and love. He tried to break racial barriers.
After a fellow gets famous it doesn't take long for someone to bob up that used to sit by him in school.
but right now it's Bob Dylan Bob Dylan Bob Dylan all the way.
I went deep inside myself. I had time to explore my beliefs and because of that I'm stronger. Bob Marley (March 1981)
I think Bob appreciated my outfit. He made me buy the more expensive pendant. You might think that was to my disadvantage, but I accept that status comes with a price.” “Not usually so immediately.” I shake my head. “You better not be hitting on federal agent ladies. They’ll arrest you.” His grin widens. “I like handcuffs.” I groan. “There is something seriously wrong with you.” “Nothing that a night being worked over by a hot representative of justice couldn’t fix.
The "joker" here ["All Along the Watchtower" ] is the older [Bob] Dylan himself, whining about exploitation, and the thief's rejoinder re-contextualizes the earlier critique into the religious frames that would become more prominent as time went on.
Garrett must have sensed I was awake. "Hey Detective," he said to Uncle Bob, who was now trudging across the grating toward us. "I think we're losing her. I have no choice but to perform mouth-to-mouth." "Don't you dare," I said, my lids still in lockdown.
The exploitation and superficiality of mainstream America is the object not of [Bob] Dylan's hipster scorn, but of an apocalyptic parable of holy fools and righteous thieves - the kind of imagery that Dylan's later work would explore more fully.
I´d read fantasy if they had simple names like Jane and Bob from Wagga," I say. "Why does it have to be Tehrana and Bihaad from the World of Sceehina?" Jimmy looks at my mother and rolls his eyes. "No wonder they call her bimbo behind her back." And my mum laughs. And because of that, Mark Viduka, the soccer player, stops being my brothers hero, and Luca and Pinocchio run after Jimmy like he´s their idol.
So I started shoveling Bob's driveway, which is a strange thing to do at a New Years Eve Party
Along with some of the worst music of Bob Dylan's career ("Self-Portrait," 1970), this period produced some gems - including many songs recorded with The Band in '67 but not released until years later.
In 1975,Bob Dylan was almost 10 years past his prime - and then he released the best album of his career, Blood on the Tracks. Written and recorded amid a painful divorce, Blood on the Tracks is proof that heartbreak makes great art - just as many of the albums that followed were the opposite.
After becoming famous once again - a 1976 song, "Hurricane," even marked a return to protest songwriting - [Bob] Dylan got addicted to drugs, found Jesus, left Jesus, and put out a lot of swill.
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