Killers Lyrics Quotes

The Doors The End This is the end, beautiful friend This is the end, my only friend The end of our elaborate plans The end of ev'rything that stands The end No safety or surprise The end I'll never look into your eyes again Can you picture what will be So limitless and free Desperately in need of some strangers hand In a desperate land Lost in a Roman wilderness of pain And all the children are insane All the children are insane Waiting for the summer rain There's danger on the edge of town Ride the king's highway Weird scenes inside the goldmine Ride the highway West baby Ride the snake Ride the snake To the lake To the lake The ancient lake baby The snake is long Seven miles Ride the snake He's old And his skin is cold The west is the best The west is the best Get here and we'll do the rest The blue bus is calling us The blue bus is calling us Driver, where you taking us? The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father? Yes son I want to kill you Mother, I want to............. Come on, baby, take a chance with us Come on, baby, take a chance with us Come on, baby, take a chance with us And meet me at the back of the blue bus This is the end, beautiful friend This is the end, my only friend The end It hurts to set you free But you'll never follow me The end of laughter and soft lies The end of nights we tried to die This is the end

She was a southern girl, which is the same as saying she was insane. All southern women are insane. Some are cold blooded killers and some are harmless eccentrics, but the best of the breed exhibit both of these characteristics and always the one you expect the least at the time you least expect it.

What are the things that make adults depressed? The master list is too comprehensive to quantify (plane crashes, unemployment, killer bees, impotence, Stringer Bell's murder, gambling addictions, crib death, the music of Bon Iver, et al.) But whenever people talk about their personal bouts of depression in the abstract, there are two obstructions I hear more than any other. The possibility that one's life is not important, and the mundane predictability of day-to-day existence. Talk to a depressed person (particularly one who's nearing midlife), and one (or both) of these problems will inevitably be described. Since the end of World War II, every generation of American children has been endlessly conditioned to believe that their lives are supposed to be great -- a meaningful life is not just possible, but required. Part of the reason forward-thinking media networks like Twitter succeed is because people want to believe that every immaterial thing they do is pertinent by default; it's interesting because it happened to them, which translates as interesting to all. At the same time, we concede that a compelling life is supposed to be spontaneous and unpredictable-- any artistic depiction of someone who does the same thing every day portrays that character as tragically imprisoned (January Jones on Mad Men, Ron Livingston in Office Space, the lyrics to "Eleanor Rigby," all novels set in affluent suburbs, pretty much every project Sam Mendes has ever conceived, etc.) If you know exactly what's going to happen tomorrow, the voltage of that experience is immediately mitigated. Yet most lives are the same, 95 percent of the time. And most lives aren't extrinsically meaningful, unless you're delusionally self-absorbed or authentically Born Again. So here's where we find the creeping melancholy of modernity: The one thing all people are supposed to inherently deserve- a daily subsistence that's both meaningful and unpredictable-- tends to be an incredibly rare commodity. If it's not already there, we cannot manufacture it.

Here, then, happiness is obviously a form of strength, a subversion even, a modus of survival, even if at times it appears superficial and misplaced. Besides, for all of boxing's brutality, there is lyricism in its rhythm, too, something that dreamy, romantic Filipinos perhaps recognize. It is almost too facile to ascribe too much significance in this metaphor, but this incongruous combination of lyrical violence is default in Manila, where beauty is scarce, and which flourishes side by side with the hideous. There is pride in that stubborn independence, I think, whether it is on the canvas of a boxing ring or history. How did that killer song end again? The record shows I took the blows and did it my way.

He was a nuanced mosaic of varied influences, pulling into one body the lush humility of southern rap stalwarts like OutKast and Goodie Mob, the lyrical dexterity of Nas and Eminem, and the straight-ahead tough talk of Pusha T and Killer Mike.

The definitive characteristic of the sexosophy of Christendom is the doctrine of the split between saintly love and sinful lust. This doctrine is all-pervasive. It penetrates all the institutions of contemporary Christendom . . . The cleft between saintly love and sinful lust is omnipresent in the sexuoerotic heritage of our culture. Love is undefiled and saintly. Lust is defiling and sinful. Love exists above the belt, lust below. Love is lyrical. Lust is lewd. Love is heralded in public. Lust is hidden in private. Love displayed is championed, but championships for lust are condemned. Love is candid, and speaks its name. Lust is clandestine and euphemizes its name. In some degree or other, the cleavage between love and lust gets programed into the design of the lovemaps of all developing boys and girls.12

Sky's The Limit" [Intro] Good evening ladies and gentlemen How's everybody doing tonight I'd like to welcome to the stage, the lyrically acclaimed I like this young man because when he came out He came out with the phrase, he went from ashy to classy I like that So everybody in the house, give a warm round of applause For the Notorious B.I.G The Notorious B.I.G., ladies and gentlemen give it up for him y'all [Verse 1] A nigga never been as broke as me - I like that When I was young I had two pair of Lees, besides that The pin stripes and the gray The one I wore on Mondays and Wednesdays While niggas flirt I'm sewing tigers on my shirts, and alligators You want to see the inside, I see you later Here comes the drama, oh, that's that nigga with the fake, blaow Why you punch me in my face, stay in your place Play your position, here come my intuition Go in this nigga pocket, rob him while his friends watching And hoes clocking, here comes respect His crew's your crew or they might be next Look at they man eye, big man, they never try So we rolled with them, stole with them I mean loyalty, niggas bought me milks at lunch The milks was chocolate, the cookies, butter crunch 88 Oshkosh and blue and white dunks, pass the blunts [Hook: 112] Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want, have what you want, be what you want [Verse 2] I was a shame, my crew was lame I had enough heart for most of them Long as I got stuff from most of them It's on, even when I was wrong I got my point across They depicted me the boss, of course My orange box-cutter make the world go round Plus I'm fucking bitches ain't my homegirls now Start stacking, dabbled in crack, gun packing Nickname Medina make the seniors tote my Niñas From gym class, to English pass off a global The only nigga with a mobile can't you see like Total Getting larger in waists and tastes Ain't no telling where this felon is heading, just in case Keep a shell at the tip of your melon, clear the space Your brain was a terrible thing to waste 88 on gates, snatch initial name plates Smoking spliffs with niggas, real-life beginner killers Praying God forgive us for being sinners, help us out [Hook] [Verse 3] After realizing, to master enterprising I ain't have to be in school by ten, I then Began to encounter with my counterparts On how to burn the block apart, break it down into sections Drugs by the selections Some use pipes, others use injections Syringe sold separately Frank the Deputy Quick to grab my Smith & Wesson like my dick was missing To protect my position, my corner, my lair While we out here, say the Hustlers Prayer If the game shakes me or breaks me I hope it makes me a better man Take a better stand Put money in my mom's hand Get my daughter this college grant so she don't need no man Stay far from timid Only make moves when your heart's in it And live the phrase sky's the limit Motherfuckers See you chumps on top [Hook]

The Boss is the perfect blend of Elvis and Dylan, come from New Jersey (America’s armpit) to save the seventies from further Mellotron arabesques and Minimoog, with a stars-and-stripes ass to die for snugly fitted jeans on the cover of Born in the U.S.A., the minstrel descending the Lincoln Memorial staircase to crown Obama, the knight in shining armor for the Super Bowl halftime show, the musical equivalent to fried chicken wings and the E pluribus unum motto engraved on the national crest.

It is thus inevitable that the New Man of rock ’n’ roll was incarnated in the mid-seventies in the figure of Bruce Springsteen, a singer-songwriter whose principal merit was that of showing us the entire DNA map of American music. There is not one paradigm of modern music that he did not bend to comply with his personal narrative urgency: rockabilly, soul, rhythm and blues, punk, folk, country, pop, jazz . . . Springsteen does not change popular music, he incessantly reworks it, keeping its roots alive.

Don’t you find it ironic at all, that television pushes beer (alcohol, the number two killer drug in the world) down our throats twenty-four hours a day, with beautiful half-naked women and the promise of ‘freedom and infinite sex appeal’, while also maintaining a division of their corporate empire called ‘Standards and Practices’? Exactly what Standards are you practising. I’ve even seen these commercials during ‘in depth’ reports on the war against drugs.

I've only ever been loved like a Top 40 song- the latest hit, the hot new thing. Something fleeting, bubbly and fun; nothing serious. But just once, I'd like to be loved like a poignant, timeless ballad. With a melody that moves you and lyrics that burrow deep in your heart. Like Leonard Cohen's "Suzanne" or "Something" by the Beatles or "Speak Now" by Taylor Swift. But that never seems to happen.

The weather report keeps on Tossing and turning, Predicting and warning, And warning and warning of, Possibly it could be news publications and, Possibly it could be news TV stations. That Very same morning right next to her coffee She noticed some bleeding and heard hollow coughing and National Geographic was being too graphic, When all she had wanted to know was the traffic The worlds got a nosebleed it said And we're flooding but we keep on cutting The trees and the forests!' And we keep on paying those freaks on the TV, Who claim they will save us but want to enslave us. And sweating like demons they scream through our speakers But we leave the sound on 'cause silence is harder. And no one's the killer and no one's the martyr The world that has made us can no longer contain us And profits are silent then rotting away 'cause The consonants and vowels The consequence of sounds.