Bob Dylan

"To me, [giving the Nobel Prize to Bob Dylan] is like pinning a medal on Mount Everest for being the highest mountain."

"I relied on Bob Dylan as a seer who literally channeled the mood of the revolution. His John Wesley Harding album, named for a famous outlaw, had thrilled me the year before, especially "All Along the Watchtower," which seemed to me a coda for revolution. Some of the women in our group and many in the new women's movement had turned against Dylan and other artists for their misogyny, and I couldn't deny its presence in many lyrics."

"In the mid-'60s one of my cousins gave me a record by Bob Dylan and it was a mind-blowing experience. I loved the beat of it, the folk concerns, the pulse of the people in Dylan's music."

"Dylan is to me the perfect symbol of the anti-artist in our society. He is against everything—the last resort of someone who doesn't really want to change the world. ... I think his poetry is punk. It's derivative and terribly old hat. ... Dylan songs accept the world as it is."

"Bob Dylan took a lot of air out of the room when it came to songwriters. Everybody had a tough row to hoe distinguishing themselves once Bob invented our job."

"I saw Bob Dylan a couple of weeks ago (this being, what, December 1994?) and he was saying… “Who owns all the money? Who owns the media?”. As he travels around the world, he notices that all the media change their story every week, and someone is directing that. And “Who owns all the money?”, he was saying. And it was like he knew that he had a great deal of power, to influence people’s psyches, or minds, or thinking, or psychology, or opinion-ation, and yet his power was miniscule, compared to the power of the moguls of the media. And in America it’s only 22 people who run… who own… 80 percent of the mass-media, so that the… it would be very difficult for a poem… for a poet… to overcome that barrage of bullshit. On the other hand, poetry is the only place where you get an individual person telling his subjective truth, what he really thinks, as distinct from what he wants people to think he thinks (like a politician or someone preparing an editorial in a dignified newspaper). So if you need the historical truth of what people think inside, you have to follow Shelley (and his admonition is that poets are the “unacknowledged legislators of the race”) — or what William Carlos Williams said more acutely was, “The government is of words”. After all, the people making political speeches, they’re writing prose, if not poetry, and they are trying to get a little flowery language in there, but the language is shifty, and the language is manipulative, and people who are advertising, or even doing ordinary mass-media, are still inhibited and can’t say what they really think, but the poet can say what he really thinks, authentically, and that’s the advantage, and it’s longer-lasting than the immediate radio-broadcast or television-broadcast, because a poem is like a radio that can broadcast continually, for thousands of years. And so, in the long run, it may have an ameliorating effect on the spirit."

"What I wanted to do with Bobby was just to get him to sound in the studio as natural, just as he was in person, and have that extraordinary personality come thru. ... After all, he's not a great harmonica player, and he's not a great guitar player, and he's not a great singer. He just happens to be an original. And I just wanted to have that originality come thru."

"The minute you try to grab hold of Dylan, he's no longer where he was. He's like a flame: If you try to hold him in your hand you'll surely get burned. Dylan's life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that's why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him — things that Dylan will never provide and will only frustrate. ... Dylan is difficult and mysterious and evasive and frustrating, and it only makes you identify with him all the more as he skirts identity."

"Slight, wiry, his blond, curly hair worn long, Bob Dylan never wears a tie and never lets anyone else make decisions for him. His unshakable independence courses through his songs—some of them wryly irreverent, others harshly critical of what he regards as hypocrisy and cruelty. His voice is acrid but curiously compelling, and he has become the most influential folksinger among today's teenagers—as well as among older dissenters. [...] Now 24, he is less the angry preacher of causes than he was two years ago. His songs have become more warmly personal and more deftly witty. He is cactus on the outside and romantic revolutionary within. He has no ideology except that of inner freedom. He is his own man."

"He had a lovely voice, but he was also, I think, a great poet. And he was the background music to a lot of people of my age. I don't take a lot of stock in generational thought, as you know. I think generational solidarity is the lowest form of solidarity there is. But I think that for every decade or so, every generational set, there is a special voice. And certainly for my lot, it was him."

"My hero was and still is Bob Dylan."

"I defy you to say what he'll be doing six months from now. He's just driven by pure art. You know, his son said to me..."There is no doubt that if my dad had never made it, if he was sitting on the side of the sidewalk with his guitar and a hat out in front of him, he would be doing precisely doing the same songs. His whole career would be exactly the same." Now, there is certainly hyperbole in that, but it's kind of, sort of true... If we have anybody who's Shakespeare in our time, it's Dylan, and he just speaks to me more and more, and he once said in an interview that the purpose of art was to inspire, and when you see a Dylan show...You would think he's so good, you know—if you go see a jazz cat who's so good playing bass, you can leave that show going, "Why even pick up a bass again?" But for some reason—and I'm not the only one that feels this—at the end of the Dylan show, art just seems so good. I want to go write a play, or write a novel. I'll stay up all night and write a song. And you don't care that it's not as good. The other thing that I love about Dylan is he is a freak, not a cheerleader... Dylan just stands there and says, "I am speaking for me. Maybe some of this is true for you to. I don't know. But I'm digging so deep." All of his mining, you know, is going towards his heart and deeper into his brain. He makes no attempt, that I can tell, to say, "Oh yeah, this is gonna kill 'em. This is what they'll like." And that's where universality has to live. You can't be universal if you're trying to please other people. You can only be universal if you have so clearly who you are, and Dylan has no idea who he is, but he's still searching and he's sharing that process with us."

"The conversation was flat. Suddenly, however, Dylan leapt to his feet and started berating me. He said, for example, something like, 'You'll never understand it; it happens so fast it'll go right past you,' and more of the same. I was startled, yes, but kept on trying to ask sensible, interesting questions; the attack persisted. I shrugged and left. The whole episode was entirely unprovoked... That evening, I went to the concert. My opinion then and now was that the music was unpleasant, the lyrics inflated, and Dylan a self-indulgent whining show-off."

"Musically, Dylan's not very gifted; he's borrowed his voice from old hillbillies. He's got a lot of borrowed things. He's not a great guitar player. He’s invented a character to deliver his songs ... it's a mask of sorts."

"He's one of the great artists of the century."

"I can still picture Bob Dylan, with just a bassist, a piano player, and his guitar, tenderly reworking "The Times They Are a-Changin'." When finished, he stepped off the stage, shook my hand, gave a little grin and bow in front of me and Michelle, and vanished without a word."

""The stage is the only place where I'm happy." But this has its own sadnesses, like so much love. He is the one person who has to be at a Dylan concert and the one person who can't go to a Dylan concert."

"A day doesn't go by when I don't listen to Dylan or at least think about him and his art. I just think we're terrifically lucky to be alive at a time when he is."

"Five years ago [Dylan] played a concert here at the university and I had no hand in arranging it; I was told about it rather late and could have killed the organizers. Shortly before the concert I received word to come backstage, so my wife and I went half an hour before the show. And Dylan said: "Mr Ricks, we meet at last." My reply was: "Have you read any good books lately?" [...] and he said: "Richard III". [...] Dylan wasn't at all surprised by my question and he really did want to talk about Richard III."

"I'm gonna baptize you in fire so you can sin no more."

"Anything I can sing, I call a song. Anything I can't sing, I call a poem."

"Because Dickens and Dostoyevsky and Woody Guthrie were telling their stories much better than I ever could, I decided to stick to my own mind."

"There's no black and white, left and right to me anymore; there's only up and down and down is very close to the ground. And I'm trying to go up without thinking about anything trivial such as politics. They has got nothing to do with it. I'm thinking about the general people and when they get hurt."

"I am a writer an a singer of the words I write I am no speaker nor any politician an my songs speak for me because I write them in the confinement of my own mind an have t cope with no one except my own self."

"do Not create anything, it will be misinterpreted. it will not change. it will follow you the rest of your life."

"a poem is a naked person . . . some people say that I am a poet"

"He's a pinboy. He also wears suspenders. He's a real person. You know him, but not by that name... I saw him come into the room one night and he looked like a camel. He proceeded to put his eyes in his pocket. I asked this guy who he was and he said, "That's Mr. Jones." Then I asked this cat, "Doesn't he do anything but put his eyes in his pocket?" And he told me, "He puts his nose on the ground." It's all there, it's a true story."

"You don't necessarily have to write to be a poet. Some people work in gas stations and they're poets. I don't call myself a poet because I don't like the word. I'm a trapeze artist."

"Ohne die Songs von Bob Dylan hätte ich nie die Courage aufgebracht, oder den Größenwahn, Filme zu machen."

""Ich habe mehr Umgang mit Typen, die bis heute nur Walther von der Vogelweide kennen"

"Dylan weiß so viel wie kaum ein anderer über die alte Musik Amerikas. Er verfügt über unfassbar viel Detailwissen, vor allem aber ist sein Wissen geerdet. Das war von Anfang an der Unterschied zwischen ihm und all den anderen Folksängern, zu denen er ja gehörte."