Bang Lyrics Quotes

She's like a bullet through an ocean, I still remember how you moved so slow, You tried to kill me with a shot gun, Bang! Now we're even, We don't stop till someone's bleeding!

Oh, there ain't no love, no Montagues or Capulets Just banging tunes and DJ sets And dirty dancefloors and dreams of naughtiness I Bet that You Look Good on the Dancefloor

Yeah, you can be the greatest You can be the best You can be the King Kong banging on your chest

I woke up in bed with two teenage vampires. I don't think they had even asked me in. I don't know how I had ended up sleeping sweetly between them. Neil was banging on the door with some clothes for me. My dress had been shredded in the night. Not by the vampires though, there are other things that bite.

We have all lived through that shriveling moment when a parent walks into a room and repeats, with sardonic disbelief, a couplet picked up from the stereo or the TV. 'What does that mean, then?' my mother asked me during Top of the Pops. "Get it on / Bang a gong"? How long did it take him to think of that, do you reckon?' And the correct answer - 'Two seconds, and it doesn't matter' - is always beyond you, so you just tell her to shut up, while inside you're hating Marc Bolan for making you like him even though he sings about getting it on and banging gongs.

I need music. Give me angsty lyrics, the heartfelt plucking of strings, passionate and world-weary pleas. Give me the banging of keys, the staccato of backbeats, the gift of swing and swoon. If I slice open my heart and put the rhythm to song, will she hear it?

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

SUGA explains what was behind the lyrics of “Born Singer”: ______I remember in the week after we debuted, Bang Si-Hyuk said, “We should make a record of how we feel right now,” “We should make it into a song.” He said that, as time went by, we wouldn’t remember these emotions. So when we were at the broadcasting station, I wrote down the lyrics on a notepad.

I get awkwardly sturdy with a frigid liquid backbone. I get swept in the pressure cooker, tryin' to paddle back home...i'm gonna be a big bang, gotta be, never bottle me up in a probably...i huddle in a tunnel of big dreams, i think big things. I'm gonna burn w/ this little light of mine & a prime concern to earn thanks, I'm gonna be a Big Bang...' --Big Bang

在澳办毕业证咨询【Q微2026614433】办（UTS高仿毕业证UTS毕业证成绩单认证书）购买悉尼科技大学毕业证2021最新版本文凭。 Ruby Falls will sweep you headfirst into the life of Eleanor Russell, an actress setting up house in the glamorous Hollywood Hills with her handsome new husband, Orlando. Secrets abound in this bang of a book, a haunting tale sure to give readers chills. A stunner with some serious Gothic vibes." --Kimberly Belle, internationally bestselling author of "Dear Wife" and "Stranger in the Lake" "A tribute to Daphne du Maurier's Rebecca, this unnerving story about a Hollywood starlet haunted by her past will captivate you right up until the shocking ending. A must-read for anyone who loves an expertly plotted thriller with multidimensional characters." --Emily Liebert, USA Today bestselling author of "Perfectly Famous" "In 1968, young Ruby Russell loses her father while touring an underground cave. She recalls the moment his hand left hers, and nearly twenty years later, his disappearance remains a mystery. Ruby has reinvented herself as Eleanor Russell, married the man of her dreams, and is acting in a feature film. But as her new life begins to go awry, the mystery surrounding her past and present collide in a well-crafted and head spinning twist that I did not see coming. Ruby Falls is a skillfully plotted page turner!" --Wendy Walker, national bestselling author of "Don't Look for Me" "What a lovely ride! With fun twists and whip-smart language, clever Deborah Goodrich Royce leads readers down a familiar path--until she doesn't. Lyrical and filled with page-turning suspense, I gulped every word and enjoyed every bite. I promise Ruby Falls will become your next favorite book!" --Maureen Joyce Connolly, author of "Little Lovely Things" "Ruby Falls is a fantastic combination of a sweeping Hollywood story folde

I hate to admit it I still miss you How could I forget? I promised you I hate to admit it It’s hard to understand How could I forget The day you lied to me?

The menu: legendary deep-fried Turkeyzilla, gravy, stuffing, mashed potatoes, cranberry sauce, and green beans. The theme: dysfunction. “So,” Elysia said to Lex’s parents with her ever-friendly grin, “how are you?” “How do you think they are?” Ferbus whispered. She kicked him under the table. “I mean—um—what do you do? For a living?” Lex’s mother, who hadn’t said much, continued to stare down the table at the sea of black hoodies while picking at her potatoes. Lex’s father cleared his throat. “I’m a contractor,” he said. “And she’s a teacher.” “Omigod! I wanted to be a teacher!” Elysia turned to Mrs. Bartleby. “Do you love it?” “Hmm?” She snapped back to attention and smiled vacantly at Elysia. “Oh, yes. I do. The kids are a nice distraction.” “From what?” Pip asked. Bang smacked her forehead. Lex squeezed Driggs’s hand even tighter, causing him to choke on his stuffing. He coughed and hacked until the offending morsel flew out of his mouth, landing in Sofi’s glass of water. “Ewww!” she squealed. “Drink around it,” Pandora scolded. “So! I hear New York City is lovely this time of year.” Well, it looks nice, I guess,” Mr. Bartleby said. “But shoveling out the driveway is a pain in the neck. The girls used to help, but now . . .” Sensing the impending awkwardness, Corpp jumped in. “Well, Lex has been a wonderful addition to our community. She’s smart, friendly, a joy to be around—” “And don’t you worry about the boyfriend,” Ferbus said, pointing to Driggs. “I keep him in line.” Mrs. Bartleby’s eyes widened, looking at Lex and then Driggs. “You have a—” she sputtered. “He’s your—” Ferbus went white. “They didn’t know?” “Oops!” said Uncle Mort in a theatrical voice, getting up from the table. “Almost forgot the biscuits!” “Let me help you with those,” Lex said through clenched teeth, following him to the counter. A series of pained hugs and greetings had ensued when her parents arrived—but the rest of the guests showed up so soon thereafter that Lex hadn’t gotten a chance to talk to them, much to her relief. Still, she hadn’t stopped seething. “What were you thinking?” Uncle Mort gave her a reproachful look. “I was thinking that your parents were probably going to feel more lonely and depressed this Thanksgiving than they’ve ever felt in their lives, and that maybe we could help alleviate some of that by hosting a dinner featuring the one and only daughter they have left.” “A dinner of horrors? You know my track record with family gatherings!” He ignored her. “Here we are!” he said, turning back to the table with a giant platter. “Biscuits aplenty!” Lex grunted and took her seat. “I’m not sure how much longer I can do this,” she whispered to Driggs. “Me neither,” he replied. “I think my hand is broken in three places.” “Sorry.” “And your dad seems to be shooting me some sort of a death stare.” Lex glanced at her father. “That’s bad.” “Think he brought the shotgun?” “It’s entirely possible.” “All I’m saying,” Ferbus went on, trying to redeem himself and failing, “is that we all look out for one another here.” Mr. Bartleby looked at him. Ferbus began to sweat. “Because, you know. We all need somebody. Uh, to lean on.” “Stop talking,” Bang signed. Elysia gave Lex’s parents a sympathetic grin. “I think what my idiot partner is trying to say—through the magic of corny song lyrics, for some reason—is that you don’t need to worry about Lex. She’s like a sister to me.” She realized her poor choice of words as a pained look came to Mrs. Bartleby’s face. “Or an especially close cousin.” She shut her mouth and stared at her potatoes. “Frig.” Lex was now crushing Driggs’s hand into a fine paste. Other than the folding chairs creaking and Pip obliviously scraping the last bits of food off his plate, the table was silent. “Good beans!” Pip threw in.

Rebellious"™ You're a barefoot odyssey, perched on a granite counter. Perched on edgeless intensity and arched reasoning. Why do I succumb to valiant persuasions? Just shatter me with your mammoth reality, break me into shards you think will clatter. But, I'm not made of material gravity I'm a symphony of notes looking to burst free! Call me lyrical, call it mercy, call this poetic justice and end my dispassionate existence so criminal. Bang your gavel against my criminalistic loins, I'm guilty of animalistic tendencies and tamed to humanoid inadequacies. I can shatter you in all aspects, and put you back in form in all retrospectives. I do not care to mold you into material to use as an art plateau. My hilly curves canvas's your mighty sword, burst free! Sing to me! Write me your lies. I beckon to endure your truths passionately, injustice webbed upon us is it poetic? Or law abiding? Where will it begin? Where will it end? Time has frozen around me, and all I can think of is this consumption of you. Wholely intoxicating, and wholely seductive. And I can't decide; When your limbs are apart and pinned displayed like a canvas to be ravaged, will you be entirely vulnerable to my demonstrations? Or will you swallow me whole? Swallow you, wallow in you... I'm invaded by your touch. Caught up! Caught up! Caught up! So caught up to us. I say; just lay down my body, tie up my mind, spank my assets, kisses so low and divine. This hasn't yet fully begun, and for sure won't end soon. So meet in our place of desire this noon, when footsteps cross the moon. Darkness descends during daylight when I draw the curtains tight, shutting out the world that claims our time. Now you're mine, you can't escape me, you can't escape this! I won't let you! Now you're a convoluted odyssey subdued by ministration firm, tender, meticulous, smitten, sensitized and shackled. You're a richly tainted taste of sin. A resolute candle of insatiable inspiration. Whose wick lit quick, whose burn smoulders on. Lights out, darkness nears and you burn within me. If I'm a sin, get on bended knees. Prey on me, and you're forgiven. To hell with Mary I want to cum quick see? Rebel no more, we've found retribution! Call it retribution, call it mercy, call this poetic justice, call this confession. I want the marks of your claws to escort me out the door. I want the ruthless indulgence of rebellion tattooed across your psyche! Exhale my name, and blow the flame out! I'll lay and lay som more, till the next time my rebellious lover comes through the door...

You play beautifully,” she told him, although the music was obscurely classical and, because there were no lyrics, unmemorable to her. But the compliment was like a drop of water on the dry wool of his face. His cheeks seemed to soften, color, even swell. “I hope it doesn’t disturb you,” he said. She held out her hand, the thin string of the bakery box looped around her wrist. “Not at all,” she said, although three or four times now she had hung on her husband’s arm to keep him from banging the broom handle against the ceiling. “We enjoy it,” she said. And then, at a loss for a more substantial compliment, she added, “You must have some beautiful piano.

One does wonder, however, what Gallo would have made of Dylan's tribute to him; and one receives a possible answer in [Donald] Goddard's book, where Gallo's ex-wife describes borrowing a hundred bucks from Joey's father to buy records so that the Prince of Brooklyn, always a fan of contemporary music, could catch up on what had been happening in soundsville during that decade he'd been away reading [Wilhelm] Reich in the slams: 'He got especially mad over a Byrds album called "Chestnut Mare" that I wanted him to hear. "Listen to the lyrics," I said. "They're so pretty, and so well done." "I don't want to hear any fags singing about any fucking horse," he says--and he's really venomous. "It's not about a fucking horse," I said. "If you'll listen, it's about life." But he doesn't want to hear about life either. . . . Next thing I know, he jumps out of the bathtub, snatches the record off the machine, stomps out in the hall stark-naked and pitches it down the incinerator.