I'm not as self-destructive as Dylan Thomas, but I've certainly been around that behavior enough to have found it a release. The thing that I really enjoyed was being able to play misery.
I'm not Welsh and I didn't know that much about Dylan Thomas , and I saw that he's a huge icon of Welsh-ness.
I like lots of songs, and I find it quite interesting to do [cover songs] from time to time. My first solo hit was in 1973, the Dylan song “A Hard Rain’s Gonna Fall.”
Bob Dylan's Christianity has been allusive, idiosyncratic, and never the sort to place him on anyone's side in any Kulturkampf.
Dylan Landis knows how to unnerve a reader, even as she's appreciating being unnerved. Rainey Royal thrums with sex and power. A brave, exquisite book.
I remember Bob Dylan saying in an interview that at a certain point he'd had to learn to do consciously what he'd previously done unconsciously or automatically. That resonates.
Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.
I heard Pete Seeger records when I was a kid. I saw Bob Dylan when I was about 12. The first song I ever learned to play was a song by Phil Ochs.
I always knew that sooner or later there would come somebody like Woody Guthrie who could make a great song every week. Dylan certainly had a social agenda, but he was such a good poet that most of his attempts were head and shoulders above things that I and others were trying to do. ... If I had an address, I'd send him a birthday card saying, 'keep on going.'
Blonde on Blonde by Bob Dylan I heard when I was 13. It was one of those things where it was like, "Hey, the world is much bigger than you imagined as a little kid."
Ironically, this was Bob Dylan's period [1967-74] of greatest fame.
But there's a thin line between songwriting and arranging. ... Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too. ... And I think it's safe to say that the single very impressive figure to me was Merle Haggard. ... Dylan can do no wrong. ... Glenn Gould was my hero. Glenn Gould was my idol. I loved him. ... I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.
I've always been amused by [Bob] Dylan; I don't think he's been amused by me.
When I first knew Bob Dylan, he lived in the Village. And for a man who, years after, would disdain publicity or any attempts at interviews, whenever I'd write something about him, he'd be on the street corner saying, `When's it going to run? When's it going to run?' But I must say that album that was - it was the second album he did, and though I've never been a fan of his guitar-playing, he did - I have to admit, he did catch the Zeitgeist of the time.
When I approached one of his secretaries for an interview, I was told that Bob [Dylan] didn't want to see me anymore because of what my wife Margot [Hentoff] had written.
I got Joan Baez to talk and Alan Ginsberg and some of the guys in the band. And by the end of the piece, another emissary came and said, `Bob [Dylan] is willing to speak to you now.' And I said with great pleasure, `No, thanks. The piece is over.'
I guess I haven't talked to Bob Dylan since before then [interview to Rolling Stones]. I follow his career.
She smiled, turning toward Alek. "You don't know what a friend you have in Dylan.
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.
It was wonderful, a stunning happy ending to what began as another tragic rock & roll story, as if Bob Dylan had been arrested in Miami for jacking off in a seedy little XXX theater while stroking the spine of a fat young boy.
I moved to leave, and Dylan actually grabbed me by my shoulders. I was so surprised that I forgot to karate-chop his elbows and break his arms.
Friend, my enemy, I call you out. You, you, you there with a bad thorn in your side. You there, my friend, with a winning air. Who pawned the lie on me when he looked brassly at my shyest secret. With my whole heart under your hammer. That though I loved him for his faults as much as for his good. My friend were an enemy upon stilts with his head in a cunning cloud. -Dylan Thomas
The thing about Bob Dylan's performative essence is that he keeps singing these old songs as well as the new songs, and the old songs become new with new arrangements and new contexts as time goes by.
And Flock Rule Number Two is, Don't argue with Max or you'll live to regret it." I spun and stomped out to the clearing, turning back for one last jab at Dylan. "And by the way, you clearly DON'T know me better than Fang does. Do you see Fang arguing with me? No, you do not." Fang rolled his eyes.
[Peter] Tchaikovsky's "1812 Overture" was my first go-to song in terms of getting into the zone and getting ready and then I quickly gravitated to rock and roll music in the mid-'60s with the Grateful Dead, Bob Dylan, Neil Young, The Beatles, Crosby, Stills & Nash, The Rolling Stones, Carlos Santana. So many of them are still around and still going strong. I go out to see them all the time.
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