Rocker Band Quotes

...I can confidently pass up opportunities that don't make sense because there'll be better ones on the horizon, even if I have to wait.

Only sad sacks and conformists need things like no kiss on New Year's Eve to remind them to feel lonely. They're as bad as the people who need St. Patty's Day as an excuse to get drunk or Halloween to wear slutty outfits. You can feel sorry for yourself and dress like a hooker all year round: Hallmark never needs to know.

Jealousy always trumps schadenfreude! It’s a rule from the heartbreak version of ‘rock, paper, scissors.

Your twenties are the worst part of your life that you don't actually know at the time is terrible.

It's the ballads I like best, and I'm not talking about the clichéd ones where a diva hits her highest note or a rock band tones it down a couple of notches for the ladies. I mean a true ballad. Dictionary definition: a song that tells a story in short stanzas and simple words, with repetition, refrain, etc. My definition: the punk rocker or the country crooner telling the story of his life in three minutes, reminding us of the numerous ways to screw up.

I'm not big on regret - until time travel actually exists, it seems like a waste of making yourself feel bad

...because my vagina is stupid.

If anybody studying psychology wants a concrete example of what a narcissist looks like, I advise them to consider any man who cheats on his wife. These guys are the textbook me-firsters, the ones who think the rules don't apply to them, the ones who tell themselves as long as she doesn't know, there's no harm done. No woman needs to sleep with these guys. There are so many single self-absorbed narcissists who will fuck you poorly.

But more than anything, as a little girl, I wanted to be exactly like Miss Piggy. She was ma heroine. I was a plucky little girl, but I never related to the rough-and-tumble icons of children's lit, like Pippi Longstocking or Harriet the Spy. Even Ramona Quimby, who seemed cool, wasn't somebody I could super-relate to. She was scrawny and scrappy and I was soft and sarcastic. I connected instead to Miss - never 'Ms.' - Piggy; the comedienne extraordinaire who'd alternate eye bats with karate chops, swoon over girly stuff like chocolate, perfume, feather boas or random words pronounced in French, then, on a dmie, lower her voice to 'Don't fuck with me, fellas' decibel when slighted. She was hugely feminine, boldly ambitious, and hilariously violent when she didn't get way, whether it was in work, love, or life. And even though she was a pig puppet voiced by a man with a hand up her ass, she was the fiercest feminist I'd ever seen.

My advice to women who habitually gravitate toward musicians is that they learn how to play an instrument and start making music themselves. Not only will they see that it's not that hard, but sometimes I think women just want to be the very thing they think they want to sleep with. Because if you're bright enough--no offense, Tawny Kitaen--sleeping with a musician probably won't be enough for you to feel good about yourself. Even if he writes you a song for your birthday. Don't you know that a musician who writes a song for you is like a baker you're dating making you a cake? Aim higher.

Pam (from The Office) is not intimidating, like one of those women who wears makeup and tailored clothes, and has a good job that she enjoys, and confidence, and an adult woman's sexuality. There's nothing scary about Pam, because there's no mystery; she's just like the boys who like her; mousy and shy. The ultimate emo-boy fantasy is to meet a nerdy, cute girl just like him, and nobody else will realize she's pretty. And she'll melt when she sees his record collection because it's just like hers....and she'll never want to go out to a party for which he'll be forced to comb his hair, or buy grown-up shoes or tie a tie, or demonstrate a hearty handshake, or make eye contact, or relate to people who work in different fields, or to basically act like a man.

Hey! Remember the '90s? The Clintons were in office, everybody was using AOL, Will Ferrell and Cheri Oteri did "the Cheerleaders" on SNL, and everybody thought Oasis was fantastic. In hindsight, we were all a bunch of potato-salad-eating jackasses.

If you're going to be a musician's girlfriend, you have to know that your man will always love his bandmates in a way you can't even touch, because they are the guys who help him create music. You can only help him create a living human being, with your dumb uterus.

Fear can be the result of admiration, or it can be a symptom of contempt.

I've already spent ten years of my life apologizing for that band. As their manager, that's all I really did. Apologize. For years afterward I'd walk into a hotel lobby and the receptionist would call to me, 'Mr. McGhee.' And I'd run up and drop to my knees and say, 'Oh, Jesus, I'm really sorry.' They'd look at me funny and say, 'No, nothing's wrong. You have a telephone call.' And I'd breathe a sigh of relief and thank the good Lord above that I wasn't managing Mötley Crüe anymore. ~ Doc McGhee.

Piggy’s self-esteem didn’t seem to ruffle from rejection after rejection, but that bitch is like Beyoncé, who is made of steel, and possibly from outer space.

Every time I collect my mail from the paint-spattered box in the lobby and see my name printed over and over in bold black ink, I’m reminded that I’m named after a rock star. Not an endlessly cool rocker like Stevie Nicks, Joan Jett, or Madonna. No, my name is Henley Rose Evans, and my parents consciously named me after the lead singer and drummer of every boomer’s favorite easy listening band, the Eagles.

The trick to realize that the boys who talk so much about being rejected that it seems like the’re proud of it aren’t necessarily sweeter or more sensitive than the Bababooey-spouting frat bullies who line up at clubs like SkyBar to run game on girls they want to date rape. There are plenty of nerds who fear women and aren’t sensitive, despite their marketing; they just dislike women in a new, exciting way. Timid racists aren’t sensitive because they lock their car doors when they see a black person on the street. They’re just too scared to get out of the car and shout the “N” word. Fear can be the result of admiration, or it can be a symptom of contempt. When I see squeamish guys passing over qualified women when they’re hiring for a job, or becoming tongue tied when a girl crashes their all-boy conversation at a party, I don’t give them credit for being awestruck. They’re reacting to the intimidating female as an intruder, an alien, and somebody they can’t relate to. It’s not a compliment to be made invisible.

I've always found the Irish really attractive-they make wonderful writers and sexy firefighters, and if they didn't like the Red Socks they'd be perfect.

I've since met other Midwesterners, and I know the drill: They can be witty, bright, and kind, but they're not self-centered, grandiose, or emotional. They can be even-tempered, even during sh@tstorms of winter weather that render their climate unfit for life. They use relative negatives when they-re asked how they're doing, and say it 'could be worse'. They're polite enough to keep their feelings from bleeding over into messy ethnic territories. They hate margarine.

He’s a chameleon. Whatever is in, he wants to do that. He never really stuck to what made him what he was, which was rock and roll. If hip-hop is in, he’s a hip-hopper. If punk is in, he’s a punk rocker. If Tommy had fucking tits, he’d be a Spice Girl.

Within the space of a few shows you can hear the band morph between their various identities as savvy arena rockers, intense starship pilots, vaudeville nostalgists, modest American folkies, boundary-dissolving improvisers, roots-conscious spiritualists, and mind-fucking pranksters.

Listening to the radio, I heard the story behind rocker David Lee Roth’s notorious insistence that Van Halen’s contracts with concert promoters contain a clause specifying that a bowl of M&M’s has to be provided backstage, but with every single brown candy removed, upon pain of forfeiture of the show, with full compensation to the band. And at least once, Van Halen followed through, peremptorily canceling a show in Colorado when Roth found some brown M&M’s in his dressing room. This turned out to be, however, not another example of the insane demands of power-mad celebrities but an ingenious ruse. As Roth explained in his memoir, Crazy from the Heat, “Van Halen was the first band to take huge productions into tertiary, third-level markets. We’d pull up with nine eighteen-wheeler trucks, full of gear, where the standard was three trucks, max. And there were many, many technical errors—whether it was the girders couldn’t support the weight, or the flooring would sink in, or the doors weren’t big enough to move the gear through. The contract rider read like a version of the Chinese Yellow Pages because there was so much equipment, and so many human beings to make it function.” So just as a little test, buried somewhere in the middle of the rider, would be article 126, the no-brown-M&M’s clause. “When I would walk backstage, if I saw a brown M&M in that bowl,” he wrote, “well, we’d line-check the entire production. Guaranteed you’re going to arrive at a technical error.… Guaranteed you’d run into a problem.” These weren’t trifles, the radio story pointed out. The mistakes could be life-threatening. In Colorado, the band found the local promoters had failed to read the weight requirements and the staging would have fallen through the arena floor.

What was my problem, anyway? A guy asks me to call him so he knows I got home in one piece, and I want to puke on his shoes and flee the scene of the crime, maybe stopping at the good deli on the way home for a cookie. Is that normal? How was I ever going to find a boyfriend, a husband, or a man who might actually be a good father from the pool of guys I actually found attractive?

If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together. In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

Roadies waren het podium aan het volzetten met instrumenten en microfoons, en Walter deed het verhaal van Conor Oberst: dat hij al op zijn twaalfde was begonnen muziek op te nemen, dat hij nog altijd in Omaha woonde, dat zijn band meer een familie of collectief was dan zomaar een rockgroep. Van alle kanten stroomden er weer jonkies de zaal binnen, stralend van verwachting, levende illustraties van de bandnaam Bright Eyes. (Wat een stuitende kutnaam, dacht Katz. Kijk ons eens jong en onbedorven zijn.) Zijn nu totaal bedorven stemming had niet zozeer met afgunst te maken, en zelfs niet met het gevoel dat hij zichzelf als rocker overleefd had. Het was meer een soort wanhoop over de versplinterdheid van de wereld. De natie vocht momenteel smerige grondoorlogen uit in twee verre landen, de planeet warmde sneller op dan een broodrooster, en hier in de 9:30 werd hij omringd door honderden kinderen à la de bananenbroodbakkende Sarah, overlopend van argeloze verwachting, verzekerd van hun onvervreemdbare recht op... ja, op wat? Op emotie.

Like it wasn’t enough just to feel bad because he didn’t call you after his dick was inside you. Now, you have to feel bad because you’re not allowed to feel bad.

But I tried to ride out my first wave of “should-feel.” You know when you first hear bad news and your first reaction, for some reason is “OK” right before you flip your shit? Like you’re told you’re fired, or your parents are dead or the test results are positive. And you know that in a moment or two, it’s going to be a shitshow, because honest reactions come from the gut once the brain has chewed and swallowed.

First of all, I shouldn’t have ever had him come over to my apartment, if only because you don’t break up in person with somebody you like sleeping with. It’s dangerous. And if you do, yo do it in public so there’s no “one last time” sex, because that’s like saying you’re going to start a diet after you eat an entire pizza.

There are plenty of troubled, clutter souls who make you want to hurt them as much as they hurt you, even though you know they’re already suffering plenty.

When rock bands like the Rolling Stones came to prominence in the 1960s, they were perceived as dangerously anti-establishment. Some exploited this reputation by promoting social revolution and sexual hedonism. Even now old rockers in their seventies retain an aura of wildness. Yet Sir Mick Jagger and his ilk changed very little in the society they professed to loathe, and today it is common enough to find our celebrated cultural rebels enjoying multi-millionaire lifestyles based on shrewd investments. They live in large mansions. They enjoy access to the best health care. They take exotic holidays, and so on. We may love the music of Sir Paul McCartney, Sir Elton John and Bob Geldof, KBE, but now we must see that it really is “only rock and roll.” Such people are part of the kinnocratic illusion (see Chapter 7), manipulating the story of being-like-us, fighting for fairness, making the world a better place with their sonic flares in the gloom.

Having hit on this “theory,” I began to recognize checklists in odd corners everywhere—in the hands of professional football coordinators, say, or on stage sets. Listening to the radio, I heard the story behind rocker David Lee Roth’s notorious insistence that Van Halen’s contracts with concert promoters contain a clause specifying that a bowl of M&M’s has to be provided backstage, but with every single brown candy removed, upon pain of forfeiture of the show, with full compensation to the band. And at least once, Van Halen followed through, peremptorily canceling a show in Colorado when Roth found some brown M&M’s in his dressing room. This turned out to be, however, not another example of the insane demands of power-mad celebrities but an ingenious ruse. As Roth explained in his memoir, Crazy from the Heat, “Van Halen was the first band to take huge productions into tertiary, third-level markets. We’d pull up with nine eighteen-wheeler trucks, full of gear, where the standard was three trucks, max. And there were many, many technical errors—whether it was the girders couldn’t support the weight, or the flooring would sink in, or the doors weren’t big enough to move the gear through. The contract rider read like a version of the Chinese Yellow Pages because there was so much equipment, and so many human beings to make it function.” So just as a little test, buried somewhere in the middle of the rider, would be article 126, the no-brown-M&M’s clause. “When I would walk backstage, if I saw a brown M&M in that bowl,” he wrote, “well, we’d line-check the entire production. Guaranteed you’re going to arrive at a technical error.… Guaranteed you’d run into a problem.” These weren’t trifles, the radio story pointed out. The mistakes could be life-threatening. In Colorado, the band found the local promoters had failed to read the weight requirements and the staging would have fallen through the arena floor. “David Lee Roth had a checklist!” I yelled at the radio.

But the experience was also fulfilling: Paul’s new album had the variety that was his hallmark, with ballads and rockers, acoustic tracks, and high-energy electric cuts. But most importantly, where each of his post-Beatles releases had tracks that Paul knew were throwaways—throwaways that he liked, or that struck him as having a personality that earned them a place on an album, but throwaways all the same—Band on the Run had an energizing consistency, track for track.

When you think of a punk rocker, you probably picture a leather jacket and a Mohawk, but two of the biggest punk bands were the Talking Heads and Blondie.

Of course, many of the fans who came to wait for us were women. You could count on that. There were certain women who would follow the group from city to city. Others would be local girls who liked Styx, or who liked the rock scene in general. In the beginning, the number of women (or girls, it was sometimes hard to tell their age) who turned out for our performances surprised me. In time, though, you just expected it. The faces began to blur together from city to city, and for all I knew, it could have been the same group of fifty or so scantily clad women who were transported and plopped down in front of the stage door in each different city. Most of them never made it beyond the back door. The lucky ones found a way to get backstage passes. But even the ones allowed backstage rarely got attention from any of the guys in the band. After a certain point, it just gets a little monotonous—even if you’re straight and single. If you’re married, or worse yet, gay, it gets old very quickly. This meant that our road crew got very lucky, very often. If the girls couldn’t get to anyone in the band, the roadies were the next best thing. And the roadies were never too busy or too tired to take one for the team. In exchange, the girls got access to hang out backstage while Styx performed. Everyone seemed happy enough with the system. While

While reading some old articles to jog my memory for this book, I came across an article in the Chicago Sun-Times by Rick Kogan, a reporter who traveled with Styx for a few concert dates in 1979. I remember him. When we played the Long Beach Civic Center’s 12,000-seat sports arena in California, he rode in the car with JY and me as we approached the stadium. His recounting of the scene made me smile. It’s also a great snapshot of what life was like for us back in the day. The article from 1980 was called, “The Band That Styx It To ‘Em.” Here’s what he wrote: “At once, a sleek, gray Cadillac limousine glides toward the back stage area. Small groups of girls rush from under trees and other hiding places like a pack of lions attacking an antelope. They bang on the windows, try to halt the driver’s progress by standing in front of the car. They are a desperate bunch. Rain soaks their makeup and ruins their clothes. Some are crying. “Tommy, Tommmmmmmmmy! I love you!” one girl yells as she bangs against the limousine’s window. Inside the gray limousine, James Young, the tall, blond guitarist for Styx who likes to be called J.Y. looks out the window. “It sure is raining,” he says. Next to him, bass player Chuck Panozzo, finishing the last part of a cover story on Styx in a recent issue of Record World magazine, nods his head in agreement. Then he chuckles, and says, “They think you’re Tommy.” “I’m not Tommy Shaw,” J.Y. screams. “I’m Rod Stewart.” “Tommy, Tommmmmmmmmy! I love you! I love you!” the girl persists, now trying desperately to jump on the hood of the slippery auto. “Oh brother,” sighs J.Y. And the limousine rolls through the now fully raised backstage door and he hurries to get out and head for the dressing room. This scene is repeated twice, as two more limousines make their way into the stadium, five and ten minutes later. The second car carries young guitarist Tommy Shaw, drummer John Panozzo and his wife Debbie. The groupies muster their greatest energy for this car. As the youngest member of Styx and because of his good looks and flowing blond hair, Tommy Shaw is extremely popular with young girls. Some of his fans are now demonstrating their affection by covering his car with their bodies. John and Debbie Panozzo pay no attention to the frenzy. Tommy Shaw merely smiles, and shortly all of them are inside the sports arena dressing room. By the time the last and final car appears, spectacularly black in the California rain, the groupies’ enthusiasm has waned. Most of them have started tiptoeing through the puddles back to their hiding places to regroup for the band’s departure in a couple of hours.” Tommy

Because you're in a band, you go for other people in bands or in the music industry, but people don't grow up right when they're on tour all the time. They don't do the same things as someone who's been at home and gone to school and got a bunch of crappy jobs. ~Allison Robertson

I SAW a production of Sweeney Todd right after Patrick moved out, and fell for the guy in the lead role, all right? And I wasn’t critically appreciative from a safe blogging distance; I was bludgeoned and ravaged into crazytown by this seemingly random performer who shook me into fandom at an age closer to thirty than twenty. It was embarrassing:

I got into a situation with a crazy person named Ben because I had the loss of a damaged person named Alex hanging over me like a dirt cloud over Pig Pen for what had ballooned into a six-month funk. Alex’s frigidity, after the sex-free final year of my doomed relationship with Patrick, plus all the time invested and the chocolate-chip scones downed in their respective aftermath, honed me into the perfect vessel for Ben’s brand of crazy. Alex was Mrs. O’Leary’s cow, I was the lantern he kicked over, and Ben was the Chicago Fire.

Besides opening for such punk and roots attractions as the Blasters and the Plugz, they were billed with rockabilly performers like Rip Masters, James Intveld, and the Rebel Rockers, and with such other East L.A. invaders as Los Illegals and the Brat. They also made their first trip out of town as a rock group, traveling to Austin, Texas, for shows with Joe “King” Carrasco and Rank & File, the L.A./ Texas combine that would soon release their debut album on Slash; the latter, a country-skewed “cowpunk” group, featured brothers Chip and Tony Kinman of the early L.A. punk band the Dils and Alejandro Escovedo, formerly the guitarist for the San Francisco punk act the Nuns.

13. The Chemical Brothers, “Setting Sun” (1996) Everybody’s favorite song in the fall of 1996, uniting rockers, ravers, clubbers, druggers, all factions of the pop massive. The Chemical Brothers turn “Tomorrow Never Knows” into a banging techno loop, warping Ringo’s block-rocking beats into something new. “Setting Sun” is unaccountably obscure these days, considering what a fact of life it was for a year or so, but it’s a song that accurately predicted the future. There was nothing retro about it; instead of capitulating to the past, the Chemicals complimented it enough to ransack it. In this song, the Beatles aren’t legends or saints or icons—they’re a nasty drum break. The vocals were by Oasis’s Noel Gallagher, then Britannia’s biggest rock star, yet he sounded more antique than Ringo’s drums did. It was the ultimate Nineties statement of the Beatles as a right-now thing as opposed to a good-old-days thing.

This has always been a city of thoughtful rogues, greedy do-gooders, irreverent theologians, socialist entrepreneurs, hedonistic environmentalists, sensitive newspapermen, philosophical rockers, and high-minded sensualists. And through the years, these mavericks have carried, like an unruly band of Olympic torchbearers, the rebellious, restless, life-affirming fire that was lit in 1849.