Top 1200 Protest Songs Quotes & Sayings - Page 20

The Men at Work thing is always there, it's always going to be there. It's not something I consciously think that much about anymore. The thing that stays with you is the songs, which is a good thing for me, because the songs are the things that stand the test of time.

Peaceful protest is a hallmark of our democracy. It has been in impetus for social change throughout our history.

I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.

When I was a young hippy, I thought marching naked would be a strong protest, but I don't think it would be as effective now.

It's different every time you write. Sometimes it might be harder than it was the day before. I don't like forcing it, but sometimes, if you force it a little bit, it helps you to push forward, and you get inspired in a way. I've written songs in an hour. And there are songs that have taken me six months.

Every journalist loves a peaceful protest -whether it makes news, shakes up a political season, or holds out the possibility of altering history.

It wasn't like we cut songs out; we cut bits of songs, bits of action or bits of whatever. So we would have to go back in get a full orchestra re-orchestrate it, re-score it, re-record it. It's a massive job. But, if there's a demand we can always discuss it.

I think 'Lovin' Feelin' was probably one of the most - probably in '64 and '65, one of the more dramatic love songs for these kids to grab hold of. I mean, they had been listening to, you know, kind of cute songs, and 'Lovin' Feelin' was just a strong, powerful song.

We're Cheap Trick, and the majority of people know about three songs, and the real huge fans know about eight. There are 292 songs people have never heard.

I've been watching Park Hyung Sik since his ZE:A days. I know all of their title songs and even got tested on their songs by Park Hyung Sik.

There are a lot of talented Punjabi singers in Bollywood and we are also using a lot of Punjabi songs and reprise versions of these songs in our films and I have also sung quite a few of them.

I sought to reform minstrelsy among refined people by making words suitable to their taste, instead of the trashy and really offensive words which belong to some songs of that order. ... Some of my songs should be performed in a pathetic, not a comic style.

I like to sing. I write music. Country songs. You have to if you're in Nashville. It's part of the lease. You sign a lease that says, I will write country songs and pay my rent on time.

People try to make a big deal, like I don't want to play my old songs. That's not it. I don't want to play my old songs if that's my only option. That's a different thing.

For our third album, 'Love Frequency,' we've gone back to our old style. The album is full of songs that people can sing along to. They're songs full of hooks.

My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.

I went along and basically learned a few of the songs they were doing at the time, which were quite a few of the songs we ended up doing on our first album.

Lust is about satisfaction. Love is about sacrificing, serving, surrendering, sharing, supporting, and even suffering for others. Most love songs are actually lust songs.

At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.

I basically make my living writing songs, so I've been able to go around in my trailer. If I got tired of a place, I could move on and roam around. It's a nice environment for writing songs, as opposed to sitting at a recording studio console all day.

When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.

Having not really written any generational songs - I think maybe two or three of the songs that I've ever written have any bearing on the age of the listener. My stuff tends to be far more concerned with the spiritual and with subjects like isolation and being miserable.

One of the powers of a sit-in is its visibility and potential to mobilize public opinion; the way the protest is reported in the media can have a powerful influence over its eventual success or failure.

Citizens who live or work near protest sites or marches have every right to be free of violence from protesters, and they should never be subjected to destruction of property.

Every good journalist is aware that his trade may one day go the way of phrenology-and, what's more, the population will hardly protest the extinction.

The effect of sincerity is to give one's work the character of a protest. The painter, being concerned only with conveying his impression, simply seeks to be himself and no one else.

We have parties at my house. My girlfriends and I play our iPods, with all of our favorite songs. We pick our songs and jump up on the counter and dance, and do runway stuff, and we take video with my camera. When I'm with my girlfriends, I act like I'm 19.

Before we really started writing our own songs in the James Gang, we'd play covers, and then, in the middle of them, we'd go for a jam for four or five minutes. At some point, we had six or seven of those sections, and we didn't need to cover other people's songs anymore.

My dad grew up in Pittsburgh in the '50s, and he used to sing Four Seasons songs on the stoop. He made me listen to Cousin Brucie - the guy who broke the Four Seasons on the radio. So I knew all of their songs, but I didn't know they were all by the same group.

My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.

I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.

I too complain ceaselessly in my heart and in my words too. My very life is a protest. Against government, for instance.

My favorite songs are my favorite songs because they just feel like a certain moment, or a certain photo, just a snapshot for whatever three or four minutes the song is.

We will not keep silent, even if the Formula One is taking place. We will protest for human rights and freedom.

There is a vast need for all types of protest today, whether it be civil disobedience, or whether it be on a - more conventional variety.

There's a lot of songs and songwriters out there - you have to make something stand out to pitch songs. Sometimes you have to be bold and just try something different. And just stick with it - don't give up if nothing happens.

It's so funny because I listen to songs that I recorded that I didn't really know anything about at the time. Later on I'm starting to feel the songs. Sing them first, feel them later.

The songs were there before the band was there, and it's my songs. And it's like, we're not in the 1950s. We can't call ourselves, like, 'The Revolvers' - it just doesn't work that way. And 'The Lukas Graham Band' just sounded wrong.

I started listening to and playing other music in the '90s. It was after hearing other bands, like Bad Religion, cover Ramones songs that I started to like our songs again.

I am a big Beatles fan. And, you know, unbeknownst to anyone, I used to be one. But I have no problems of putting titles and lines from other songs in my songs, because they're great lines and great titles.

In life you can get a feeling which is part of a person, the same as in the songs. Music is almost our representation of our fantasies and so our songs are representations of our fantasies.

Most Christmas carols have no obvious religious content, or at least that's noticeable to most people. I mean, it is almost by definition, a cultural phenomenon, all these songs, even though they point to this very religious holiday. They're not religious songs in effect anymore.

Writing the songs and producing the songs and arranging them and recording them is your canvas and your palette and your brush.

I am the product of the sustained indignation of a branded grandfather, the militant protest of my grandmother, the disciplined resentment of my father and mother, and the power of the mass action of the church.

The West German population would protest passionately if it knew what secret meetings between the federal chancellor, McCoy, and foreign and Nazi generals are planning.

My father was a businessman, but my mother was an intellectual. She cared about culture, politics, and philosophy, so I became interested in the protest aspect of Latin American art.

I think the Democrats are right to protest, but I don't think Jeff Sessions is so far out of the range of normalcy that he shouldn't be confirmed.

When I sang the line, 'Songs about Old Ireland.Songs about being young again.I wish I was young again,' twice people cried. I saw them.

I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.

Many times, people have come up to me after singing some songs, and they'd say, 'Richie, do you know what you did?' And I'd say, 'What?' And they'd go, 'I wrote these songs down for you to sing, and you sang them all in a row.' But that's the kind of communication that happens, you know.

I'm not bashing people who write songs that are just 'get on the dance floor and party party', I understand why people need those songs too, but I don't really write lyrics like that.

I don't write songs, songs write me. ... Writing a song can be agony or ecstasy. It can take half an hour or half a year. ... The popular song is America's greatest ambassador.

There is civil disobedience against the military machine, protest against police brutality directed especially at people of color.

Monastic life thus became a living protest against the secularization of Christianity, against the cheapening of grace.

I thought that I wrote songs and wrote music, and that was sort of what I thought I was best at doing. And because nobody else was ever doing my songs, I felt - you know, I had to go out and do them.

There are areas of official life in the United States that are similar to Russia. For example: disbursement of protest, and the way American prisons are run, which is pretty tough.

I'd probably be a super wealthy guy if I had sat around writing songs and getting them placed like everyone else I know. But I write songs about people or after I meet them and they're somewhat biographical - they're fiction but also non-fiction.

I just love to see the crowd reactions when I drop certain songs. There's some songs that you just know are going to pull out some serious emotions with people, and I love seeing that.

Early in my career, people wanted to hear music about protest, about trying to change things.

The public has heard the stereotypical love songs a million times, and they've heard the stereotypical life-or-death songs millions of times. It's good to mix it up a little bit.