A Quote by Aurora

Bob Dylan and Leonard Cohen. They're my biggest heroes. I love everything about Leonard Cohen: his lyrics and his voice. He seems like a really clever man, and Bob Dylan does as well. He's just really cool.
For someone like me, who has grown up with Joni Mitchell and Bob Dylan and Leonard Cohen, it's hard not to invest a lot of myself in what I do.
When I started writing again, especially when I listened to French music and Bob Dylan and Leonard Cohen, I realized that these lots talked about themselves. The greatest artists, they didn't sing; they only spoke.
When I discovered Bob Dylan and Leonard Cohen, I could explore the records that inspired me on a different level and that led me to Joni Mitchell, who is maybe my favorite of all time, and Warren Zevon. Those artists that wrote the lyrics that you try for.
My friends and I took songwriting very, very seriously. My hero was and still is Bob Dylan, but also people like Leonard Cohen and Joni Mitchell and that whole generation.
There are some singer-songwriters who start out as poets. So someone like Leonard Cohen wrote and published poetry in the early 60s, but then started writing songs. Bob Dylan's a poet in the sense of bard, aoidos or vates.
We didn't have the phrase 'style icon' when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets - I liked how they dressed - and Catholic school boys.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.
Bob [Dylan] is not authentic at all. He's a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I.
A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz's Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song.
[I have] my own view about [Bob] Dylan's Nobel prize. Which is, I'm firmly in the Nay camp. I do think the award is a category error, but that's not why. Not in itself. What bothers me is the perceived status of the categories. If pop lyricists were routinely considered for the prize as are authors and poets, I'd still think it mistaken, but I wouldn't much care. But I am quite certain that Joni Mitchell and Leonard Cohen, for example, both at the very least Dylan's equals as writers, have never been in the running and never will be.
People always talk about the lyrics of Leonard Cohen, but I like his melodies. They are very defined and original.
Leonard Cohen can give you "Leonard Cohen" - the self-deprecating wit, the slow, considered speech, the perfectly-honed anecdote - Tom Waits is far more comfortable giving a journalist "Tom Waits" the character, whose conversation is really a series of strange tales, learned or ad-libbed.
I've always played acoustically - it's how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you.
If they made a movie about Bob Dylan, I would love to play a young Bob Dylan; I mean, I've got the wild hair.
I was comparatively late in understanding Bob Dylan's overwhelming importance as a songwriter. Everybody who does my job exists in the shadow of Bob Dylan. There are two categories: Dylan and everybody else. It's as simple as that. And it's going to be that way until he dies.
As a bit of loner, prone to melancholy, with a questionable sexuality, I found great solace in the words of-Dylan, Joni, John Prine and Leonard Cohen. The darker the better.
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