Punk Lyrics Quotes

Work It Harder Make It Better Do It Faster, Makes Us stronger More Than Ever Hour After Our Work Is Never Over -Harder, Better, Faster, Stronger, lyrics and music by Daft Punk

The best way to scare a Tory is to read and get rich.

Funny, cute and kissable I've found a girl that makes me lose control Every night's like the first night Never gettin' old

Fuck Tris. I would give body parts to have a guy write something like that for me. My kidney? Oh, both of them? Here, Nick, they’re yours—just write more for me. I’ll give you a start: boy in punk club asks strange girl to be his girlfriend for five minutes, girl kisses boy, boy kisses back, boy then meets girl—what did you notice about this girl? Nick, let’s hear some lyrics. Please? Ready. Set. Go.

Oh, the truth I must tell Is I'm lonely as hell Still looking for myself

Loving a band with all your heart is something you understand when it happens to you. On the surface, others can see its a petty obsession, but they'll just never know the feeling of putting so much fail into a few people on the other side of the world. It's hard to explain it to them, the listening to a song after song on repeat, the waits for new albums, the excitement and surreal sensation when you finally see them live. They don't understand why the lyric books give you a sense of comfort, or why you paste photos of them on your bedroom walls. And they can't understand why one band could matter to you so much. And you think to yourself ‘Because they saved my life’. But you say nothing, because thy wouldn't understand.

The only thing that made the music different was that we were taking lyrics to places they had never been before. The thing that makes art interesting is when an artist has incredible pain or incredible rage. The New York bands were much more into their pain, while the English bands were much more into their rage. The Sex Pistols' songs were written out of anger, wheras Johnny was writing songs because he was brokenhearted over Sable...

Poetic lyrics were important, but it felt like women sometimes hid behind poetry as a way to say something without actually saying it. I was on a mission to just fucking say it.

Yeah, You rocked my world forever I know you still remember How we felt before Yeah, We should be together 'Cause nothing could be better Than the way we were Baby, let's go back to the way we were Let's turn back the clock This time we'll take it slow You can stay the night, This time I won't let go And when the morning comes, We can start all over, over again Why did we say goodbye? Let's go back tonight

I see it all over her room. The collages, the poetry, the lyrics I’ve sent her for review, the quotes and colors everywhere… That’s the Ryen I know. But in ten years she could be Lyla. Self-serving, false, and screwing anything to forget how much she hates herself. And everything I’ve always found incredible about her will be gone.

Palmolive wrote the lyrics to ‘Newtown’ too. The song was originally called ‘Drugtown’, but I changed it to ‘Newtown’, thinking about all the new towns that are springing up around the edges of London, like Milton Keynes and Crawley. The young people growing up there are so bored, they take loads of drugs and drive around really fast or beat each other up at football matches, then they get up and commute to their dull jobs on Monday morning. Palmolive made up these great words like ‘televisina’ and ‘footballina’ as drug names, I think only a foreigner could do that.

Jim Adkins: ...There was a girl who wrote us, explaining how she felt like an outsider at her school because the punk rock kids wouldn't accept her, even though she liked us and a lot of the really obscure bands we toured with. And I just thought 'It's not worth your time to trip on this. Punk rock is and should be inclusive. That's the one thing I know. No matter what your definition of punk is, everyone would say that it's inclusive, it welcomes outsiders. Freak flags welcome. Wave 'em around. These chicks don't get it at all, don't waste your time trying to get their approval.' That's where the main idea for the lyrics to 'The Middle' came from.

PEARLS LYRICS A picture is worth a thousand words, But my thousand words slice deeper. What doesn’t kill us makes us stronger, Fuck that. I’ve become a hide and seeker. Treat others how you want to be treated, But what if tonight I want to be burned? You told us it’s better to be safe than sorry, And little sister listened, but I was the one who learned. Reap, reap, reap, you don’t even know, All you did suffer is what you did sow! Alone, Empty, Fraud, Shame, Fear, Close your eyes. There’s nothing to see out here. Do better, be more, too many, too much, I’m about to fucking choke, I can’t force it down. So string up the little wisdoms and wrap them ’round my neck, I’ll strangle myself with your pearls of wisdom and die a wreck. You told us to prepare now and play later, But what’s in here is better than what’s out there. I took an umbrella to save me from the rain, But the lightning hit, and you didn’t care. Reap, reap, reap, you don’t even know, All you did suffer is what you did sow! Alone, Empty, Fraud, Shame, Fear, Close your eyes. There’s nothing to see out here.

Maybe you are a nihilistic death-metal punk. You are deeply skeptical and pessimistic. You find meaning nowhere. You hate everything, just on principle. But then your favorite nihilistic death-metal punk band lead guitarist and his bandmates start to blast out their patterned harmonies—each in alignment with the other—and you are caught! “Ah, I do not believe in anything—but, God, that music!” And the lyrics are destructive and nihilistic and cynical and bitter and hopeless but it does not matter, because the music beckons and calls to your spirit, and fills it with the intimation of meaning, and moves you, so that you align yourself with the patterns, and you nod your head and tap your feet to the beat, participating despite yourself. It is those patterns of sound, layered one on top of another, harmoniously, moving in the same direction, predictably and unpredictably, in perfect balance: order and chaos, in their eternal dance. And you dance with it, no matter how scornful you are. You align yourself with that patterned, directional harmony. And in that you find the meaning that sustains.

You believe in authority, I believe in Myself I'm a Molotov cocktail, you're Dom Perignon

I am not alone in ranking Fresh Fruit as one of the most important albums to emerge from punk, one of only a handful that genuinely transcended genre – stretching musical and lyrical conventions while making a point, or several dozen, and jabbing funny bones the world over. This is an effort to restore its standing. Or hose off some of the guano. In fact, the history

A lack of knowledge can create more openings to break new ground. The Ramones thought they were making mainstream bubblegum pop. To most others, the lyrical content alone—about lobotomies, sniffing glue, and pinheads—was enough to challenge this assumption. While the band saw themselves as the next Bay City Rollers, they unwittingly invented punk rock and started a countercultural revolution. While the music of the Bay City Rollers had great success in its time, the Ramones’ singular take on rock and roll became more popular and influential. Of all the explanations of the Ramones, the most apt may be: innovation through ignorance.

He loved me to feel better about himself Rightfully, I mean, have you met me? He dumped me to feel better about himself Rightfully, I mean, have you met me? But I walk the beam all the way across- away from the team 'cause I'm The Boss Poetry in motion, I swear... There's no 'I' in team I got off the cross Fuck that whole damn team Mind-fuckery-bone toss All that commotion, I Dare You... I'm a mean machine Let me balance it out Gymnast won his dreams His nightmare found out Dreams run out of steam for the wicked, no doubt Dreams freak on the beam Dreams just die right out for the wicked

only said you loved me one time i cornered you... now i understand only want the tightest hand to just let go, yeah, letting you go, go, go ready, set, go ready, set, go ready, set, GO!!! Now, I'm racing so slow! Snails RRR running the show! At my own pace, LET GO! Said, pour another, Moe, I'm just tryin' to let go...

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.

The Ten Commandments of Punk Thou shalt know everything by the time thou art seventeen, with a great and sure certainty. Thou shalt proclaim the year zero and not honor the past because the new alone shall count. Thou shalt wear a garb of torn leather jacket and trousers, with accessories bearing a hint of S&M, with thy feet shod by Doc Martens. Thy T-shirt, like thy lyrics, will bear a slogan to offend. Thou shalt be bored, angry, pretty vacant, or at least faintly pissed off. Thou shalt have no more heroes, nor accept anyone in authority. Thou shalt bear an adjective for a surname like Rotten or Vicious. Thou shalt connect with thy audience so that they may invade thy stage or receive thy spit in their eye. Let them mosh. Thou shalt speak the truth in a fake cockney accent, even if thou art Irish or went to a minor English public school. Thou shalt not grow old lest thy come to realize the biggest authority thy will need to defeat is thine own self.

Pierre wakes up for good. As he's lying there yawning, he vaguely remembers a couple of false starts inspired by a ringing phone. He looks to his left. It's eleven. Next thing, he's stumbling down the hall toward his phone machine. 'Wait. Coffee,' he whispers in a shredded voice, veering back into the kitchen. He does what he has to, then plays back the messages, sips. Beep. 'It's Paul at Man Age. Appointment, twelve-thirty P.M., hour, Gramercy Park Hotel, room three-forty-four, name Terrence. Later.' Beep. 'Paul again. Appointment, two P.M., Washington Annex Hotel, room six-twenty, a play-it-by-ear, name Dennis, I think the same Dennis from last night. Check with us mid-afternoon. You're a popular dude. Later.' Beep. 'P., it's Marv, you there? . . . No? . . . Call me at work. Love ya.' On his way to the shower Pierre makes a stop at the stereo, plays side one of Here Comes the Warm Jets, an old Eno album. It's still on his turntable. It has this cool, deconstructive, self-conscious pop sound typical of the '70s Art Rock Pierre loves. He doesn't know why it's fantastic exactly. If he were articulate, and not just nosy, he'd write an essay about it. Instead he stomps around in the shower yelling the twisted lyrics. ' "By this time / I'd got to looking for a kind of / substitute . . ." ' It's weird to get lost in something so calculatedly chaotic. It's retro, pre-punk, bourgeois, meaningless, etc. ' ". . . I can't tell you quite how / except that it rhymes with / dissolute." ' Pierre covers his ears, beams, snorts wildly. Tying his sneakers, he flips the scuffed-up LP, plays his two favorite songs on the second side, which happen to sit third and fourth, and are aurally welded together by some distorted synthesizer-esque percussion, maybe ten, fifteen seconds in length. Pierre flops back in his chair, soaks the interlude up. It screeches, whines, bleeps like an orgasming robot.

punk rock doesn’t have to mean hardcore or one style of music or just singing the same lyrics,” he said. “It can mean freedom and going crazy and being personal with your art.

Along with Alice Bag (née Alicia Armendariz), front woman of the Bags, and the members of the all-Chicano, Chula Vista–bred quartet the Zeros, Humberto “Tito” Larriva was one of the first prominent Latino performers on the L.A. punk scene. Born in Ciudad Juárez, Chihuahua, Larriva had arrived in L.A. in 1975. The singer–guitarist–actor (later featured as a heavy in several of director Robert Rodriguez’s films) had founded the wound-up punk trio the Plugz, sometimes billed as Los Plugz, with Chicano drummer Charlie Quintana and Anglo bassist Barry McBride in 1978. That year, a three-track single by the band became the second release (following a 45 by the Germs) from Slash Records, the fledgling imprint of the like-named L.A. punk magazine. It prefaced the Plugz’s self-released 1979 album Electrify Me, which included a high-velocity, lyrically retooled version of Ritchie Valens’s “La Bamba.” It

My interest in these bands had as much to do with their sound and their look as it did with their do-it-yourself, or DIY, ethos and anarchist politics. It wasn’t about money for them. They sought revolution and freedom, and they approached making music as an act of political protest. These bands wanted to empower their audiences. I studied their lyrics, and, like them, I was fine with starving for my ideals. Fuck MTV and fuck major labels. Fuck commercial art. Fuck the whole capitalist system! I wanted nothing to do with any of it. All of these new records and cassettes I was discovering made music seem accessible in a way it had never been before.

Ernestina waves her hands while telling us stories, as if she’s sewing her words into the air.

Look into his brown eyes. They remind me of soil after fresh rain. Hungry for seeds to, in time, grow a harvest.

I keep it real for me not 'cause one young punk said so

Musicians are our real teachers. They are opening us up politically with their lyrics and creatively with experimental, psychedelic music. They share their discoveries and journeys with us. We can’t travel far, no one I know has ever been on an aeroplane. ... whatever they experience, we experience through their songs. It’s true folk music — not played on acoustic guitar by a bearded bloke — but about true-life experiences.

There's not much to do in a small town. Teens have to make their own fun. This usually means partying. Cheap beer. Making babies. But we had other ideas. We'd film movies. Write songs. "Attack of the Demonic Broccoli People" is a lost horror classic. Shut down by a teacher who said it was "Of The Devil." "Angie Girl" lyrics rhymed porch swing with ding-a-ling. We were the new New Romantics. I'd leave handwritten stories with confused cashiers. Pass proto-folk-punk tapes around school. You can get a lot done with no money. If the motivation is there.

I don't think gay boys can become hip-hop music stars. ...can't be soft in a solid-gold industry where punk, sissy, faggot, and bitch are lyrics that sell out concerts and generate Billboard record sales.