Top 1200 Rubber Bands Quotes & Sayings - Page 2

You never know that this is the moment when you're in the moment. When I was sixteen I moved to a smaller town in Vermont, and at that time I didn't have a band to play in. So I was forced to play in Top 40 bands and fraternity bands and wedding bands. That was all pop music, but I was listening to Weather Report and classical music. Then I went to Berklee College of Music in 1978, and you had Victor Bailey there, and Steve Vai. And suddenly I was among my ilk.

I definitely grew up on a lot of American bands. I didn't really know that there were any decent Australian bands until I was around 20.

I know that there are a lot of sort of silly things that one thinks as a music listener about bands. I am a fan of many bands.

I came up playing in both punk rock bands and hip-hop bands, and I found a more universal way of reaching people, especially with music that has a message to it.

Some of the best trades come when everyone gets very panicky. The crowd can often act very stupidly in the markets. You can picture price fluctuations around an equilibrium level as a rubber band being stretched -- if it gets pulled too far, eventually it will snap back. As a short-term trader, I try to wait until the rubber band is stretched to its extreme point.

I'm 24, and a lot of people my age grew up listening to bands that were big and making it from around here. I was going to Flaming Lips and Chainsaw Kittens concerts when I was 12, and getting my mind blown at a young age... and maybe for people in bands, there's irreparable damage from those kind of things, and it turns out weirder bands.

In high school, I listened to The Jam, stuff like that, a lot of English bands, really. And then I got into anarcho-punk bands that nobody had heard of.

Most bands are commercial enterprises. But I'm not in one of those bands.

There are so many bands I am starting to see: Waterparks, Potty Mouth - they're all garage bands that started in the garage. Kids are loving them.

It was awesome growing up in New Orleans because there were great metal bands, there were great hardcore bands, there were great thrash metal bands in the middle '80s and what-not. But then, take me out of New Orleans, and I moved to Fort Worth in 1987, and there's a scene there, too. And Texas absolutely has a different sound.

There are so many bands that after their second record are headlining music festivals, and they're still... suited to playing in a tent. Very few bands when they headline a festival can pull it off.

I never understood bands saying Nirvana had anything to do with derailing their career. Maybe those bands didn't have the goods.

It's all a progression towards hopefully one day making a record that can be the definitive you can offer. Some bands come in with that at first, and the great bands never really stray from that. I want to earn my stripes.

I get my inspiration from a lot of bands actually. I really like AC/DC, Nirvana, Led Zeppelin and new bands. I like The Pretty Reckless.

Rock bands were never newsworthy. In the '60s and '70s, rock bands weren't in the newspapers because they weren't considered mainstream; they wouldn't sell papers.

A lot of bands have the enthusiasm kicked out of them by playing really dreary pub venues that just churn bands through.

I look at bands like the Beach Boys, Hall & Oates and Blur, and those are the bands I want to be in company with because their songwriting is intelligent, and yet you don't need to be a musical genius to pick it up.

We've toured with so many bands, and we've noticed that there are a few of them... Metallica, Rammstein, Tool - those aren't bands, those are events.

There are many great bands of perception in the universe. There are both organic and inorganic bands of perception.

I didn't expect major labels would embrace MySpace, and the original idea for music on the site was the unsigned bands, the independent bands.

I've always gravitated naturally towards a little bit of a heavier thing, having been in punk bands and metal bands before I ever got into pop.

He was the freeman whom the truth made free; Who first of all, the bands of Satan broke; Who broke the bands of sin, and for his soul, In spite of fools consulted seriously.

Most of the bands that I really hold in my heart - you don't think about them as bands; they're just the soundtrack of your life.

"Anybody have money?" Frank checked his pockets. "Three denarii from Camp Jupiter. Five dollars Canadian." Hedge patted his gym shorts and pulled out what he found. "Three quarters, two dimes, a rubber band and - score! A piece of celery." He started munching on the celery, eyeing the change and the rubber band like they might be next.

I was in punk bands when I was a kid, and then I would do stand-up in between bands - which wasn't any different from my singing.

We were watching bands like the Ramones and Blondie and other bands beginning to ignite.

Growing up in San Diego, I can remember going with my brother to see bands like Pennywise and NOFX - good punk bands that were fast and tight.

On our first album, 'Sounding the Seventh Trumpet,' we were listening to more obscure heavy metal bands and hardcore bands.

I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.

Some bands today have the experience of really working together and honing their craft. And other bands are very much like, 'I just got a guitar for Christmas, let's start a band.' And you can hear the difference.

Not many people are able to say that they had in their professional career the chance to perform in two bands that won Grammys and were multiplatinum bands.

I would love to see Regina Spektor, Bjork, and some really cool-sounding festival bands like 'Metric' and 'The Cardigans,' who are one of my favorite bands.

I think it’s really important, and it’s a lesson I didn’t learn until my late teens: Whatever bands that you love, go find out what bands they love, and what bands turned them on, and then you really start getting into the human aspect of it because the further back you go in time the less technology you had, and consequently the better records you had. There’s this incredible library of music thank god.

I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.

Back in the days, the groups and the bands that we listened to were like Earth, Wind and Fire, Santana and Grateful Dead. We don't have a lot of those bands anymore.

A lot of bands change, and a lot of bands break up, but only a few grow.

The rewriting is always crucial to what I do; whenever I do a scene, I always tell myself that this isn't final and that I can do it again, better. The pacing is probably from experience. I've always liked gradual disclosure. I keep thinking of my rubber-band theory. You have a rubber band that you keep pulling and pulling and pulling, and just at the moment of snapping you release it and start another chapter and start pulling again.

And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.

Well that's probably what'll end up happening: a load of really good musicians who can't afford to be in bands, who have to have day jobs, you know what I mean? And then that's when you start losing a lot of the live touring bands.

The only thing I say I consciously do is I definitely make an effort to work on different styles of music: not working on too many post-rock bands, or too many heavy bands, or too many folk bands, or just whatever. I have no desire to be known as somebody that just works on a single style of music and would rather avoid it, actually.

I started playing guitar at, like, 12 or 13 and just rock bands mostly. I had a punk rock band and hard core bands and all that.

There's a lot of bands that don't release an album every year. There's a lot of bands that take three, four or five years off here and there, but they don't say 'hiatus,' so no one really notices it.

That's what bands like Pink Floyd and bands like Rush and even the Metallica of this world have, which is long, ambitious songs that pull in all different directions.

Like a lot of the newer bands, like the more poppy kinda bands, although they make really good records and they produce them really great and everything, they don't really deliver onstage. And I think that's where like the heavier bands kinda score.

I was in bands many years ago, so that's where it started. I played in bands, sang backing vocals and all the rest of it.

There are many unidentified bands in the spectra of stars. Wide bands are produced by some complex molecules in the interstellar space.

I definitely make an effort to work on different styles of music: not working on too many post-rock bands, or too many heavy bands, or too many folk bands, or just whatever. I have no desire to be known as somebody that just works on a single style of music and would rather avoid it, actually.

I've always been a fan of the band setting. I've always been a believer in bands, and I've always been in bands. That's where my comfort zone is. So to stand outside of that, that was never my intention or goal. I never had the dream of, 'I'm gonna go into all these bands as a spring board for my solo work.' But life takes you on different journeys sometimes. I ended up playing a bunch of songs and some of them I really liked.

Too many bands practice in their garage, play a couple of shows locally, and expect opportunities to appear from the sky. Bands have to push, work, grind, and struggle to make it happen on their own.

Britain, as a pop music nation, used to have this very 'empire' kind of attitude. We used to 'invade' the world with our bands, you know? That's obviously changed, because in Europe they're much more interested in bands speaking their own language. Especially in France and Germany. They're starting to develop their own bands much more.

Some bands write and it is just the singer and the guitarist that do it all and then the rest of the band follows their vision. This is cool, and as you know I have been part of a few amazing bands that did this and I am not complaining.

I walk up and down the rows. The heads look like rubber halloween masks. They also look like human heads, but my brain has no precedent for human heads on tables or in roasting pans or anywhere other than on top of a human bodies, and so I think it has chosen to interpret the sight in a more comforting manner. - Here we are at the rubber mask factory. Look at the nice men and woman working on the masks.

Certain punk bands were influential because I thought, If they can do that then I can .Hanging around those bands was how I started my first band - In Praise of Lemmings.

Wrapping rubber bands around a watermelon is not journalism. It is entertainment. But the key to success in media has always been a broad mix of serious reporting and entertainment. The New York Times does not make its money on reports about Iraq and Syria. It makes money on its gardening section, food and, yes, stories about cats. "The Today Show" is a very successful program because it is a mix of the celebrity chef and the crazy pet who does the rolls and serious news and interviews.

I hated it so much as a child. I just didn't like it when punk bands went metal, it really bothered me. It was happening left and right in the 1980s. It started I think with D.C. bands - G.I., Soul Side, they went metal. Right at that time, R.E.M. was coming out, these more kinda feminine bands, and I was more drawn to that than to go metal. And you remember MTV, with the bad metal. But even Metallica, it just wasn't my direction.

People think this is a competition between bands, when the reality is the more successful bands the better.

People in bands should have a responsibility not to moan, not to complain about being in bands. Things could be a lot worse, you know?

It's very tough to give advice because it's tough out there for everybody but for a girl it's even tougher, because I don't think the glass ceiling has changed at all in the past 30 years. Otherwise the radio would be covered with girl bands, or girls in bands, so I don't think much has changed on that level. But I think that bands can still have a lot of success trying to go another route.

When you look at bands like Take That, who have come back bigger than ever, you can see there will always be a market for good pop bands.

Within you there are thousands of rings of luminosity, bands, and each one is a universe of perception. In the average person's lifetime, they might just open up two or three, maybe four of those bands.