There's been a streak of vengeance and carnage in all of Dylan's records except for the Christmas record, since 2001, since 'Love and Theft.' Particularly on 'Modern Times' in 2006.
I never find myself even catching lyrics until something in the sound has taken me captive. Thinking about anything else is just the pleasurable byproduct of wow.
I had tremendous fun fooling around with the way people talked about songs, just the way that became another way of understanding the world.
When you're writing criticism or thinking critically, to draw a very limited minor conclusion from solid evidence is really not thinking.
No failure in America, whether of love or money, is ever simple; it is always a kind of betrayal, of a mass of shadowy, shared hopes.
It may be that the most interesting American struggle is the struggle to set oneself free from the limits one is born to, and then to learn something of the value of those limits.
Tidak ada kegagalan di Amerika, baik cinta atau uang, yang sederhana; itu selalu semacam pengkhianatan, dari sekumpulan bayangan, harapan bersama.
When you celebrate somebody's bad work on the terms that define their good work, how can that artist have anything but contempt for an audience that can't tell the good from the bad?
Hearing things like 'Wake Up' by Lora Logic, or the Raincoats' 'In Love' - that was something I wasn't prepared for. I couldn't hear anything that came before it in the music, and I didn't want to. I was absolutely in love with its out-of-nowhereness.
I tend not to meet the people I write about because I'm not really interested in the people I write about as people. I don't want to know about their family life. I don't want to know about their bad habits or their good deeds. I'm interested in their work.
It is a sure sign that a culture has reached a dead end when it is no longer intrigued by its myths.
The Sixties are most generously described as a time when people took part - when they stepped out of themselves and acted in public, as people who didn't know what would happen next, but who were sure that acts of true risk and fear would produce something different from what they had been raised to take for granted.
After Chuck Berry died, it seemed web sites popped up like mushrooms to show where he'd taken the guitar introduction to 'Johnny B. Goode' from to prove that his music was nothing new, that it was only ignorance, or vanity, that led his listeners to think that not only was the music different - they might be, too.
Perhaps the most pernicious strain of contemporary criticism says one thing before it says anything else, says it to whatever historical event or cultural happenstance is supposedly at issue: 'You can't fool me.'
Tepuk tangan yang bergemuruh dengan kekuatan seperti itu Anda mungkin mengira penonton hanya menderita musik sebagai alasan untuk tepuk tangan.