To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
The thing that makes [Bob] Kennedy so good is that he doesn't have a fear of losing. He was willing to go to Europe and get hammered.
Bob Dole revealed he is one of the test subjects for Viagra. He said on Larry King, 'I wish I had bought stock in it.' Only a Republican would think the best part of Viagra is the fact that you could make money off of it.
People are certainly impressed by the aura of creative power which a writer may wear, but can easily demolish it with a few well-chosen questions. Bob Shaw has observed that the deadliest questions usually come as a pair: "Have you published anything?" - loosely translated as: I've never heard of you - and "What name do you write under?" - loosely translatable as: I've definitely never heard of you.
I would like to deny all allegations by Bob Hope that during my last game of golf, I hit an eagle, a birdie, an elk and a moose.
I have always said I was Bob Marley reincarnated.
I am a critic who is pulled toward history. But Bob Dylan himself is a great historian. He is an historian who acts out history. So it always has a personal stamp. It always has a particular timbre. It always has a particular howl, or a moan, in that voice.
Songs are like fish. You just gotta have your line in the water. And it's a bad idea to fish downstream from Bob Dylan.
What always attracted me to [Bob] Dylan, and what has sustained me as a Dylan listener, or has always continued to surprise me, is his voice, the way he sings, the way he wraps his voice around certain words, the way he backs off from melodic moments, the way he moves forward to grab something in a song that, were anybody else performing it, they would have no idea it was even there.
I think I'm the oldest new Bob Dylan around. I predate Bruce Springsteen, Steve Forbat and John Prine. I was probably the first of the new Bob Dylans.
Bob Hope has a beautiful short game. Unfortunately, it's off the tee.
I first met (Bob Dylan) in '65. We've had a friendship for a long time. He decided to play on a record I was making in New York. We were just friends playing together.
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.
Bob Dylan is as influential as any artist that there has been.
I admire those old road dogs, Willie Nelson, Bob Dylan. That's their life.
If Bob Dylan really is an historian in and of himself in his work, in his performances, he is also an historian with a unique sense of humor. There's always been a bit of a stand-up comic in him.
For all his understanding of worldly concerns, when it came to fathoming the deeper meaning of his own furious activity, Sir Bob displayed the sort of laziness for which he himself had no patience in others. He appeared to have only a passing interest in the overall purpose of his financial accumulation.
I loved working with Bob Dylan.
Well, I don't let anyone record with me that is not a fan of mine or believe in my music. Everybody that records for me, from Bob Dylan on down to George Jones, everybody loves me and my music, and I knew they would do their best that they could do, and they did. I didn't doubt them a bit. There's some country people that I wouldn't want, which didn't record with me.
I’m definitely excited to have a fresh start. Talking to the coach [Bob Hartley], talking to management, they want me to have success, and that definitely makes your life easier. It keeps your mind free to just go out there and play as good as you can, instead of worrying about giving up bad goals and having to prove yourself every night – not just to the public, but to the coaching staff and everybody else. That’s definitely a nicer way to feel comfortable, if you know they have your back.
When I was playing with Bob Dylan in, like, 1966, I was, like, 20 years old.
I figure if I keep my health, I have no intention of retiring. I love to work. I want to be like Bob Hope. I want to keep on going out and doing what I love to do. Of course, I'm no Bob Hope, but I mean that feeling that you never are old and have things to offer and can be useful to somebody. I always want to be useful, I have no intentions of retiring unless I should get sick or something should happen to my husband. Other than that I'm going to work until I fall over.
Along with a lot of other things, becoming a Bob Dylan fan made me a writer. I was never interested in figuring out what the songs meant. I was interested in figuring out my response to them, and other people's responses. I wanted to get closer to the music than I could by listening to it - I wanted to get inside of it, behind it, and writing about it through it, inside of it, behind it, was my way of doing that.
I am not a demon. I am a lizard, a shark, a heat-seeking panther. I want to be Bob Denver on acid playing the accordion.
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