Quotes of All Topics . Occasions . Authors
You have to know that you're the best whether anybody else tells you that or not. And that you'll be around, in one way or another, longer than anybody else. Somewhere inside of you, you have to believe that.
May God bless and keep you always, May your wishes all come true, May you always do for others And let others do for you. May you build a ladder to the stars And climb on every rung, May you stay forever young.
Let me ask you one question Is your money that good Will it buy you forgiveness Do you think that it could I think you will find When your death takes its toll All the money you made Will never buy back your soul
May you grow up to be righteous, may you grow up to be true. May you always know the truth and see the lights surrounding you. May you always be courageous, stand upright and be strong. May you stay forever young.
And I’ll tell it and think it and speak it and breathe it And reflect it from the mountain so all souls can see it Then I’ll stand on the ocean until I start sinkin’ But I’ll know my song well before I start singin
I don't need your organization, I've moved your mountains and I've marked you cards, but Eden is burning. You better get ready for elimination or else your hearts must have the courage of the changing of the guard.
How many roads must a man walk down, Before you call him a man? How many seas must a white dove sail, Before she sleeps in the sand? Yes, and how many times must the cannon balls fly, Before they're forever banned?
My father probably thought the capital of the world was wherever he was at the time. It couldn't possibly be anyplace else. Where he and his wife were in their own home, that, for them, was the capital of the world.
I've been up the mountain and I had a choice. Should I come down? So I came down. God said, Okay, you've been up on the mountain, now you go down. You're on your own, free. Check in later, but now you're on your own.
I just wanted a song to sing, and there came a point where I couldn't sing anything...nobo dy else was writing what I wanted to sing. I couldn't find it anywhere. If I could I probably would never have started writing.
And I hope that you die And your death'll come soon I will follow your casket In the pale afternoon And I'll watch while you're lowered Down to your deathbed And I'll stand o'er your grave 'Til I'm sure that you're dead
Princess on the steeple and all the pretty people, they're drinking, thinking that they got it made. Exchanging all kinds of precious gifts and things, but you'd better lift your diamond ring, you'd better pawn it, babe.
Come you masters of war You that build all the guns You that build the death planes You that build the big bombs You that hide behind walls You that hide behind desks I just want you to know I can see through your masks.
Anybody can be specific and obvious. That's always been the easy way. It's not that it's so difficult to be unspecific and less obvious; it's just that there's nothing, absolutely nothing, to be specific and obvious about.
The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The new order is Rapidly fadin'. And the first one now Will later be last For the times they are a-changin'.
Madonna, she still has not showed, we see this empty cage now corrode, where her cape of the stage once had flowed, the fiddler he now steps to the road, on the back of the fish truck that loads, while my conscience explodes.
With your silhouette when the sunlight dims Into your eyes where the moonlight swims, And your match-book songs and your gypsy hymns, Who among them would try to impress you? -Bob Dylan, "Sad-Eyed Lady of the Lowlands” (1966)
They say everything can be replaced, Yet every distance is not near. So I remember every face Of every man who put me here. I see my light come shining From the west unto the east. Any day now, any day now, I shall be released.
Praise be to Nero's Neptune The Titanic sails at dawn And everybody's shouting "Which Side Are You On?" And Ezra Pound and T.S. Eliot Fighting in the captain's tower While calypso singers laugh at them And fishermen hold flowers.
There are those who worship loneliness, I'm not one of them In this age of fiberglass I'm searching for a gem The crystal ball up on the wall hasn't shown me nothing yet I've paid the price of solitude, but at last I'm out of debt
You breathed on me and made my life a richer one to live, when I was deep in poverty you taught me how to give. Dried the tears up from my dreams and pulled me from my hole, quenched my thirst and satisfied the burning in my soul.
The worth of things can't be measured by what they cost but by what the cost you to get it, that if anything costs you your faith or your family, then the price is too high, and that there are some things that will never wear out.
Now the wintertime is coming The windows are filled with frost I went to tell everybody But I could not get across Well, I wanna be your lover, baby I don't wanna be your boss Don't say I never warned you When your train gets lost.
The confessional singer-songwriter movement of the 1970s was in full swing, and Bob Dylan's emotional album [ Blood on the Tracks] resonated with the times. There would be other hits, but never the same alchemy of emotion and time.
Passion is a young man's game. Young people can be passionate. Older people gotta be more wise. I mean, you're around awhile, you leave certain things to the young. Don't try to act like you're young. You could really hurt yourself.
We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.
Gates appeal to me because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.
I'd been going though his trash. He knocked me down. I was glad to see him, even though he was banging my head against the sidewalk. Afterwards these bums come over and say, 'Did he get much money?' I say, 'Money'? That was Bob Dylan.
My songs are personal music, they're not communal. I wouldn't want people singing along with me. It would sound funny. I'm not playing campfire meetings. I don't remember anyone singing along with Elvis, Carl Perkins or Little Richard.
That's another way of writing a song, of course. Just talking to somebody that ain't there. That's the best way. That's the truest way. Then it just becomes a question of how heroic your speech is. To me, it's something to strive after.
Despite everybody who has been born and has died, the world has just gone on. I mean, look at Napoleon -but we went right on. Look at Harpo Marx -the world went around, it didn't stop for a second. It's sad but true. John Kennedy, right?
Once I can focus in on something, I just play it in my mind until an idea comes from out of nowhere, and it's usually the key to the whole song. It's the idea that matters. It's like electricity was around long before Edison harnessed it.
Jesus tapped me on the shoulder and said, Bob, why are you resisting me? I said, I'm not resisting you! He said, You gonna follow me? I said, I've never thought about that before! He said, When you're not following me, you're resisting me.
You have to look at every one of your songs and be able to identify with them in a meaningful way. You can hardly sing your songs unless you're in them. If you want to fake it, go ahead. Fake it if you want. But I'm not that kind of singer.
People have different emotional levels. Especially when you're young. Back then I guess most of my influences could be thought of as eccentric. Mass media had no overwhelming reach so I was drawn to the traveling performers passing through.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
I accept chaos. I am not sure whether it accepts me. I know some people are terrified of the bomb. But then some people are terrified to be seen carrying a modern screen magazine. Experience teaches us that silence terrifies people the most.
Bob Dylan wasn't a big star early on; it was the release of his Greatest Hits album in 1967, and the mainstream success of the stoner anthem "Rainy Day Women #12 & 35" ("Everybody must get stoned!"), that really put him on the mainstream map.
Oh, the inmates and the prisoners I found they were my kind And it was there inside the bars I found my peace of mind But the jails they were too crowded Institutions overflowed So they turned me loose to walk upon Life's hurried tangled road
We are singing today of the WIPE-OUT GANG - the WIPE-OUT GANG buys, owns & operates the Insanity Factory - if you do not know where the Insanity Factory is located, you should hereby take two steps to the right, paint your teeth & go to sleep.
An artist has got to be careful never really to arrive at a place where he thinks he's AT somewhere. You always have to realize that you're constantly in a state of becoming. And, as long as you can stay in that realm you'll sort of be alright.
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.
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.
All right, I'll take a chance. I will fall in love with you. If i'm a fool you can have the night, you can have the morning too. Can you cook and sew. make flowers grow. Do you understand my pain? Are you willing to risk it all or is your love in vain?
Well, the moral of the story, The moral of this song, Is simply that one should never be Where one does not belong. So when you see your neighbor carryin' somethin', Help him with his load, And don't go mistaking Paradise For that home across the road.
Old New York City is a friendly old town From Washington Heights to Harlem on down There's a-mighty many people all millin' all around They'll kick you when you're up and knock you when you're down It's hard times in the city Livin' down in New York town
I don't know if I call myself a poet or not. I would like to, but I'm not really qualified to make that decision, because I come in on such a back door, that I don't know what a Robert Frost or a [John] Keats or a T.S. Eliot would really think of my stuff.
I dug it, New York City, all-the streets and the snows and the starving and the five-flight walkups and sleeping in rooms with ten people. I dug the trains and the shadows, the way I dug ore mines and coal mines. I just jumped right to the bottom of New York.
Feeling funny in my mind, Lord I believe I'm fixing to die Well, I don't mind dying But I hate to leave my children crying Well, I look over yonder to that burying ground Look over yonder to that burying ground Sure seems lonesome, Lord, when the sun goes down
I need all kinds of songs - fast ones, slow ones, minor key, ballads, rumbas - and they all get juggled around during a live show. I've been trying for years to come up with songs that have the feeling of a Shakespearean drama, so I'm always starting with that.