Quotes of All Topics . Occasions . Authors
Actually, I'm the Scottish Woody Guthrie.
The Woody Guthrie 'Dust Bowl' tunes were really fascinating.
I have two mini huskies called Woody Guthrie and Edison Guthrie.
There is a dark side to Allan Guthrie, but only at the weekends.
I really like Savannah Guthrie. I think that she is a very likable person.
I loved the Woody Guthrie tradition of speaking about what's happening to the country.
Even with politics, stuff comes around again. Woody Guthrie would recognize America today.
It sounds like something from a Woody Guthrie song, but it's true; I was raised in a freight car.
I got a phone call from Douglas Campbell and from Jerome Guthrie, who offered me a job out of the blue.
I really try to play to my strengths, man. I'm never going to be Guthrie Govan: he's a brilliant player.
I can remember back as far as age 8, performing with the Boston Folk Song Society. It was a Woody Guthrie song.
Any nobody from the folk blues world could avoid being influenced by Woody Guthrie, who is actually of Scottish-Irish ancestry.
Most people think that I heard Bob Dylan first and got a cap and harmonica. Really, it was Woody Guthrie. He was so influential.
I was in my late 20s, in the process of shaping my musical outlook and what I wanted it to be about, when I first encountered Woody Guthrie.
A lot of Woody Guthrie's songs were taken from other songs. He would rework the melody and lyrics, and all of a sudden it was a Woody Guthrie song.
I went to a performance of 'The Crucible' at the Guthrie when I was a sophomore in high school, and I knew right away that that's what I wanted to do.
My musical heroes are people like Pete Seeger and Woody Guthrie who wrote and sang real songs for real people; for everyone, old, young, and in between.
A lot of my training is in classical theatre; I've done a lot of classical plays in New York and also at the Guthrie and here and there across the country.
People were talking about songs of the common man in order to make the common man. With Woody Guthrie and Lead Belly, they were so common it was just uncommon.
We don't need another Woody. Even Bob Dylan knew he couldn't be Woody Guthrie... I like Woody Guthrie fine, but I don't need the 50th generation version of it.
Growing up, I listened to a lot of American singer/songwriters, so a lot of Tom Waits, Paul Simon - also Woody Guthrie and Bob Dylan. And bands like Vampire Weekend.
Like most kids, I grew up singing 'This Land Is Your Land' in grammar school, but with the most radical verses neatly removed. This was before I knew it was a Woody Guthrie song.
I came along and was a teenager in the Depression, and nobody had jobs. So I went out hitchhiking, when I met a man named Woody Guthrie. He was the single biggest part of my education.
I absorbed the vinyl of Woody Guthrie, Pete Seeger, Jack Elliott, to Michael McClure and then into the Beat poets, Allen Ginsberg. At campus, we were absorbing that stuff. We looked to America.
There's a view of Montana writing that seems stage-managed by the Chamber of Commerce - it's all about writers like A. B. Guthrie and Ivan Doig. It used to bother me that nobody had a scene where somebody was delivering a pizza.
My father was a painter. There was a lot of singing. We hung around with a lot of folk musicians. My family knew a lot of great folk musicians of the time, like Woody Guthrie, Paul Robeson, Leadbelly. They were all people we knew.
Irish fathers still have certain responsibilities, and by the time my two daughters turned seven, they could swim, ride a bike, sing at least one part of a Woody Guthrie song, and recite all of W. B. Yeats's 'The Song of Wandering Aengus.'
What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.
I got my Equity card at 24 at the Guthrie Theatre in Minneapolis, and they asked me to join the company. I was content and happy working in the company there for a long while until I really started to feel as if I hit a bit of a glass ceiling artistically.
Though I acted in hundreds of productions, appeared at the Guthrie Theatre and on Broadway in Amadeus, I discovered in my thirties that I didn't really like stage acting. The presence of the audience, the eight shows a week and the possibility of a long run were all unnatural to me.
What created democracy was Thomas Paine and Shays' Rebellion, the suffragists and the abolitionists and on down through the populists and the labor movement, including the Wobblies. Tough, in your face people... Mother Jones, Woody Guthrie... Martin Luther King and Caesar Chavez. And now it's down to us.
The Guthrie Theater is a beast. It has 1,300 seats, and I couldn't act there. I always felt I was acting too small. I'd always have to fight to get the gumption to act bigger. There's a weird trick to it. You don't want to overwhelm the first six rows. You don't want to starve the back. I could never get it.
I spent two years at the Guthrie Theater in Minneapolis, and then some New York types saw me there as Benvolio in 'Romeo and Juliet.' They sent me some enticing letters - about why didn't I come to New York? - and since it was well below zero that winter in Minneapolis, it didn't take much to get me to leave.
The first songs I learned were 'It Takes a Worried Man' and Woody Guthrie's 'Grand Coulee Dam,' 'Rock Island Line' - those kind of American folk songs that were probably on the edge of blues. After that was Eddie Cochran and Chuck Berry songs. And then I heard Muddy Waters, Jimmy Reed and Big Bill Broonzy on the radio.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
