Quotes of All Topics . Occasions . Authors
Growing up in the icy isolation of Hibbing, Minn., Dylan, who was still Robert Allen Zimmerman then, found comfort in the country, blues, and early rock 'n' roll that he heard at night on a Louisiana radio station whose signal came in strong and clear.
His belief in the power of music to convey ideas - not just entertain - has filtered down to musicians in every field, from alt-rock to hip-hop, from Bruce Springsteen and U2 to Arcade Fire and Kanye West. Popular music is different because of Johnny Cash.
Even though The Cure helped pioneer the jangly, dance-oriented guitar and keyboard style it continues to embrace, there are other bands that now employ the post-punk style with greater flair. This leaves The Cure's live presentation seeming a bit anonymous.
He [Johnny Cash] always wanted to use his music to lift other people up, to say no matter how much trouble, there's hope. That was always his message in his songs. That's why he and [Bob] Dylan bonded so much, because they were both trying to do something meaningful.
Elvis Presley, The Rolling Stones, David Bowie and The Sex Pistols may come and go, but rebellion remains a key part of the rock n' roll experience. However, that rebellion - the outgrowth of a youthful search for independence and identity - doesn't always take the same form.
I really thought I knew Johnny Cash. I thought I didn't need to spend a lot of time researching his life. But I wasn't within 50 miles of knowing Johnny Cash. I knew he was a good guy and a dedicated artist, but I didn't know the demons, the struggles he had in his personal life.
I first met Michael in the early days of the Jackson 5 at the family home in Los Angeles, and the memory that stands out is that Michael, as cute and wide-eyed as an 11-year-old could be, was eager to get through the interview so he could watch cartoons before having to go to bed.
I thought the message of the artist was more important than the writing style. I tried to be clear; I wanted everyone to be welcome. I think some of the more serious writers wrote to a more elite audience than that. They're the ones who were defining the seriousness of rock n' roll.
It's important to realize that everybody who went into country music, and most everybody who went into rock and roll in the '50s, they had no more goal than a hit on the jukebox. Johnny Cash from the very beginning had a goal that he wanted to make music that lifted people's spirits.
It's important to realize that everybody who went into country music, and most everybody who went into rock and roll in the '50s, they had no more goal than a hit on the jukebox. Johnny Cash, from the very beginning, had a goal that he wanted to make music that lifted people's spirits.
John Cougar Mellencamp - I didn't like him in the beginning. I liked some of the stuff around the 'Scarecrow' period. I go back and forth on him all the time, but I think he's a good artist. I don't know if he's a great artist or not, but he rose above his original level of achievement.
What's amazing is how rock n' roll lasted. It started losing its commercial power in the late 1990s. But think of swing, which we think of as this big music before rock n' roll. It only lasted five years in total. So, rock going 50 years is amazing, because young people want new things.
At the 'L.A. Times,' I always wanted to write about artists I thought were meaningful. So I interviewed Bob Dylan, John Lennon, Bruce Springsteen, U2, Stevie Wonder, Michael Jackson, Eminem, White Stripes. And I could understand how almost everybody I interviewed had a sense of artistry.
I don't want to be the cranky old guy, but a lot of critics are too forgiving of mediocre artists. When you see these 'American Idol' people on the cover of 'Rolling Stone' being written about as serious artists, there's something wrong with that. You can erase them from the history of rock n' roll, and you wouldn't notice.
In 1980, after 10 years at 'The Times,' I was at a crossroads in my personal life. I loved my family, but I was also so obsessive about my work that I found myself devoting more and more time to it. I wanted to be everywhere there was a good story, and that meant I had to choose between that and being with the family on important days.
One of my great frustrations for 35 years at the paper was the fact I couldn't play a record for the reader when I was writing about an artist. How can you describe the beauty of Emmylou Harris' voice without hearing it, the sensual lilt of a Duane Allman guitar solo without actually hearing it, or the growl of Johnny Rotten without hearing it?
Artists frequently argue that videos trivialize a song and that touring for months at a time works against the creative process, not to mention maintaining a normal lifestyle. Doing something about these complaints, however, is rare because promotional videos and touring are considered essential elements in building multimillion-unit album sales.
I haven't felt the excitement for so many years. I feel guilty beyond words about these things. When we're back-stage and the lights go out, and the manic roar of the crowd begins, it does not affect me. The fact is, I can't fool you. It isn't fair to you or to me. The worst crime I can think of is to trick people by faking it, and pretending to be having 100% fun.
I learned how difficult it is to be an artist. There are always compromises. The record company wants you to do this, your fans want you to do this, your family, you can't concentrate on your work. It's a hard thing to be an artist and not give up. That's why I have so much respect for people like Dylan and Neil Young and Tom Waits, because they keep at it. I have a new respect for a true artist.