Top 1200 Protest Songs Quotes & Sayings - Page 17

Songs kind of live in a timeless place for me, and since I make records I dunno, about every two-and-a-half to three years or something like that, it's just not enough to put all the songs that I have, no matter how much I put.

When I was a kid and writing more acoustic songs, I was doing it more for the attention than for the love of the music. I knew I needed to change something because I wasn't having fun and wasn't liking the songs I was writing.

The privileged classes can afford psychoanalysis and whiskey. Whereas all we get is sermons and sour wine. This is manifestly unfair. I protest, silently.

Not everybody is going to like what I do or get what I do. With as much positive, you always get the negative to deal with. I get that as well. Most of the time, I'm very honored to have a fan base that they react to my songs. My songs speak to a lot of them.

I think the idea is that every time we perform Big Red Machine music it should be different somehow - like, different people, different songs maybe, definitely different versions of the songs.

My mother's illness fitted into this protest against the treatment of the sick who could not pay, the inefficiency of commercialism, the waste, the extravagance, and the poverty.

Not every song of Lynyrd Skynyrd's was a single, but songs like 'Tuesday's Gone' and 'The Ballad of Curtis Loew' and 'Made in the Shade,' 'I Need You,' people learned those songs from the radio because radio played albums, not just singles.

My drawings and paintings were done as an act of protest; I was trying by means of my work to convince the world that it is ugly, sick and hypocritical.

While I was writing the songs for 'Fuzz Universe,' I was immersing myself in Bulgarian Female Choir music, Baroque lute and violin pieces, Johnny Cash songs about trains, cows, mules, and mining coal, the Bee Gees, and Ronnie James Dio.

I'm such a strong believer in making yourself happy. Almost in a selfish way. There are a lot of trends, and obviously you can get swept up into them. But I feel like if you just write songs you love, it can have trap beats in it or whatever's going on in the moment, but you don't stop loving songs.

I try not to write songs. I would rather emote them, and I found myself going back to my room every night while on my trip, just pouring out new songs and new stories about what I was seeing, what I was feeling.

I don't know; it's hard for me to understand people that want to get out there and protest on the first day we elect a new guy.

I also don't like to make really big records, because I feel then that the songs don't get enough space to be themselves, so I would never want to make a record that's like seventeen songs.

In many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio; we build the songs that way.

I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way. One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs. But I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.

The past is filled with people who aren't traditionally thought of as fantastic singers singing these songs that capture people; songs like 'Louie Louie.' I just aim toward that, and I think I've gotten better at it.

I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.

In my head, I actually think my songs are pop songs. I think, 'Damn, that's a pop song!' I can practice in front of the mirror with my hairbrush for as long as I want to. But when it finally comes out, it sounds avant-garde to people.

When I was doing 'In the Heights,' I was the co-music supervisor for 'The Electric Company' on PBS, so I was writing songs all day, doing the show, staying up until 3 A. M. Writing more songs, recording demos in the intermission in my dressing room.

In the early 1980s, I burned my Social Security card at the New Orleans Investment Conference in protest of the state pension system.

Once the subject matter of rock n' roll changed from cars and pop love songs to songs about really true love and the blues and death and mortality, this light bulb went off in my head and I went, 'Oh, that's what they're doing. That's kind of - that's art.'

Since I write the lyrics, I don't want to be pigeonholed into a person who's out there preaching these songs. If you read the lyrics, there isn't a story being set up for you. You have to use your imagination to get the best out of the songs - if you choose to do that.

The American public has become so conditioned by crises, by warnings, by words, that there are few, other than the young, who protest against what is happening.

Once crime was as solitary as a cry of protest; now it is as universal as science. Yesterday it was put on trial; today it determines the law.

I see clothes as an art form, and also a statement: no matter how vociferously people protest that they don't care what they wear, they sort of have to.

Workers, comrades, and you, women of the people, let not this festival of May, the second during the war, pass without protest against the Imperialist Slaughter.

That's how a lot of Tame Impala songs start out - as ideas for songs I could potentially give to someone else. I think of them with a different persona in mind; it's just a subconscious way of not being bound by what you think you are as an artist.

There are some songs where I'll have had the music for 20 years and then finally the lyric will come through. That's not common but it does happen. Then there are other songs that come really quickly.

The Orange Revolution in Ukraine is a good example of how people, who are robbed of their right to vote, can protest and put an end to dictatorship.

As for finding comfort in the zone, I'm comfortable singing what I write. I like writing emotional and slow, melodious songs. I haven't tried singing songs from other genres, but yes, I would like to give them a try.

Hit songs are mysterious and slippery beasts; few artists have a lock on them. This means that many people, like me, have become fans of songs rather than fans of artists.

I was surrounded by music in my family, surrounded by people who sang songs - every single person I knew as a child growing up had one, two, three songs they knew from start to finish.

I write simple songs, and people like that. They're mature enough to appeal to people who aren't teenage girls. Most of my fans are older, and it's nice to think the songs can appeal to middle-aged men and women.

My songs are very much a kind of psychoanalysis. I am very introspective in my songs, and I am working through, always.

I want to write songs with complete sentences. I almos have this obsession with short-changing words. I would never be so pretentious to say that my lyrics are poetry. ... Poems are poems. Song lyrics are for songs.

Even if my songs are a bit low-spirited, they make me happy. I become happy when I hear sad songs. When you sing about sad things in a beautiful way, the atmosphere turns upside down

I don't subscribe to the view that only puja numbers recorded during the '60s-'90s are enjoyed by the present-day listeners. Definitely the songs of that period are very popular even now, but the songs recorded afterwards are equally lapped up by the audience.

We need more pop songs and more empowering songs.

I suppose ever since I was about 14, I remember listening to "Sgt. Pepper's," and I remember thinking, "how do you possibly write songs like that?" I remember starting to try and write songs around that age, but just sitting around with an acoustic guitar, and try to come up with ideas for songs, and that's just what I've done ever since. I just never really stopped doing that, I suppose.

The songs of our ancestors are also the songs of our children

I started writing songs in high school and always wanted to have a band, and eventually my creative endeavors developed into Theocracy. So in some ways, you could say the vision has been there since I started writing songs.

When it came to using elements of your personal life in your work, my mother was the master, or the mistress. There were three or four songs she wrote about my father - songs about failed love.

Me and Dre did all, from Wreckin' Cru to Ruthless, all that. We started making songs first... back then it was the slow songs, techno, whatever they called it back then. 'Planet Rock,' that kinda stuff.

I saw courage both in the Vietnam War and in the struggle to stop it. I learned that patriotism includes protest, not just military service.

In 1985, I was arrested, along with my mother and brother, Martin III, in a protest against apartheid at the South African Embassy in Washington, D.C.

The Adequate Protest demands far more than protests. It calls for Great and Daring Leaps of Integrity and Courage to See.

How many songs in your life were your favorite songs but never were singles on albums?

Most people like the sad songs. Some of the oldest songs known to man are sad. Listening to a voice singing something sad is a really great way to help you to feel sad when you need to.

I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.

The opposite of corporate greed is personal generosity. Government policies that enable the former and prevent the latter are both worthy of protest.

I bought a guitar when I was twenty. But I didn't write a song until I was 25 or 26. I never learned to play others songs. I learned to play my own songs while I was learning how to make them better.

I think people are getting into these 'Empire' songs because of the emotional investment they have in the characters. You kind of feel like you know the songs already because you just watched them play out in front of you with these characters.

Music was my first love, and at Marlborough we put bands together and sang the pop songs of the day. Although I couldn't read or write music - I still can't - I taught myself to play the guitar and piano by listening to songs and working out the chords.

I write most of my songs to beats. I play around on guitar, but not enough to where I can compose my own stuff or play solos. I can accompany myself 'cause most songs are, like, four chords.

For me, my favorite Mariah Carey songs were never the singles, ever. My favorite Mariah song of all time is 'Sent From Up Above' from her first album, or 'Vanishing,' songs no one talks about.

For all its power as a protest medium, black Twitter serves a great many users as a virtual place to just hang out.

General Otis is proclaimed American Military Governor of the Philippines and I protest a thousand times and with all the force in my soul against such pretension.

I always see my songs in colors, and I'm often more inspired by movies and photographs than I am by other songs when I write my music. I'm also inspired by fashion, and I want my music to be a visual painting of what's in my mind.

I like to make up songs. And it's my opinion that all these songs mean a lot to me, but that doesn't mean I think everything needs to leave the house. If it helps me through my life and doesn't bore anybody in theirs.

Someone curating songs for you through your computer or being able to hold 10,000 songs on your watch - that convenience is pretty incredible, but so is the emotional impact of holding a Beatles record in your hand and listening to Let It Be.