A Quote by Bob Geldof

When I hit 11 so did the careers of Dylan and the Stones. A year later it was the Who and the Kinks. — © Bob Geldof
When I hit 11 so did the careers of Dylan and the Stones. A year later it was the Who and the Kinks.
I was a huge Beatles fan. The Stones, Dylan. Later on, I got into Stevie Wonder, and Bill Withers - he's one of my heroes. Al Green, too.
The society that produced The Who, The Stones, Dylan, Paul McCartney and later on people, like myself, is over. The materialistic society that produces these kinds of bombastic performances that don't have any value or musical meaning, is very conspicuous, look at me, I'm rich, dig my brand. That's what missing, Bob Dylan made us feel worthy, I try to do the same thing. Respect for the audience with music that is meaningful and soulful. Go for what moves you and not necessarily what you think will be commercial.
I think when I was a kid, and I was in England and it was all about The Stones, The Who, The Kinks and The Beatles and that's what my dad was into.
Bob Dylan is my idol. Everybody has that person growing up that made them see things a little differently than they did before, Dylan is that guy for me. My dad gave me the 'Blonde on Blonde' album on cassette tape when I was seven or eight. It took me a while to get into Dylan's vibe, but once I did, I never looked back.
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.
It's the same when you listen to any kind of successful athlete. My older brother has a useful name for them - he calls them lottery ticket careers. I are engaged in what he calls these lottery ticket careers. On the one hand it's very, very unlikely that you're ever going to hit it. On the other hand if you do hit it, you really hit it. You have to be engaged with it, though, maybe you're entire life. And if you never actually do hit it? You kind of jovially lie yourself along the way and recognize that it may produce things outside the hitting it kinds of goods, I suppose.
Not to sound arrogant, but what I did in one year, others couldn't do in their entire collegiate careers.
When I hit my 20s, I struggled to make it. I got married at 19, and my daughter, Je'Niece, was born a year later. I worked blue collar jobs during the day and comedy clubs at night, and I was earning about $25 a year doing stand-up.
Before I joined Kraftwerk in 1971, I played guitar in a band called Spirits of Sound, whose members included (at times) amongst others singer Wolfgang Riechmann (Sky Records released his only solo album Wunderbar shortly after his death in 1978) and drummer Wolfgang Flür (later on Kraftwerk, now solo). The music of S.o.S. in the mid 60's first was the English pop and rock music of the times (Beatles, Kinks, Rolling Stones ).
I like The Beatles and I like The Kinks and I like The Rolling Stones and I like Led Zeppelin and I like Black Sabbath.
My name is Dylan simply because my parents did not know before I was born if I would be a boy or a girl, and Dylan was a name that worked in both cases.
Songwriters, you have to work - you have to wait for residuals. You have to pray that the song's going to be a hit. And then a year later, you might get a check.
One year, I did 10 or 11 pilots of TV shows that never went anywhere.
I always felt different as a kid, and the Kinks were like, 'Yeah, we're the Kinks.' Celebrate your difference; don't be afraid of your sense of humor, or your personality, or who you are. It emboldened me.
Some things hit close to home with people, and it's going to be hard to tell someone who lost somebody on 9/11 that a 9/11 joke is funny.
Rolling Stones came later for me. I was a Beatles guy. All of us were pretty much more along the lines of Beatles guys than we were Stones or Elvis.
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