Quotes About Music

A person native to the twenty-first century can't really reconcile why anyone would pay $13.25 for twelve fixed songs that could only be played on specific high-end electronics serving no other function; the majority of all recorded music can now be instantly accessed anywhere for less than $10 a month.

And this is not a criticism of coolness: by and large, the musical component of rock isn't nearly as important as the iconography and the posturing and the idea of what we're supposed to be experiencing. If given the choice between hearing a great band and seeing a cool band, I'll take the latter every single time; this is why the Eagles suck.

The nineties were (and shall always remain) the absolute zenith for bands whose goal was selling records.

The Disco Group ABBA": They were beards and teeth and natural breasts and whiteness. I

Priscilla, Queen of the Desert needed ABBA to invent gay Australians. The

Normal consumers declare rock to be dead whenever they personally stop listening to it (or at least to new iterations of it), which typically happens about two years after they graduate from college.

There are three facts about Fugazi you must know: It only plays shows where age IDs are not required. It charges $5 admission to its shows, always. It will never, ever sign with a major record label.

The most popular single in the world was "Livin' la Vida Loca," a song about how Pro Tools made Puerto Ricans gay.

Every generation wants to be the last. Every generation hates the next trend in music they can't understand. We hate to give up those reins of our culture. To find our own music playing in elevators. The ballad for our revolution, turned into background music for a television commercial. To find our generation's clothes and hair suddenly retro.

You turn up your music to hide the noise. Other people turn up their music to hide yours. You turn up yours again. Everyone buy s a bigger stereo system. This is the arms race of sound. You don't win with a lot of treble.

If you're ever in a big hotel lobby, and they start to play The Blue Danube Waltz, get the hell out. Don't think. Run.

No one wants to admit we're addicted to music. That's just not possible. No one's addicted to music and television and radio. We just need more of it, more channels, a larger screen, more volume. We can't bear to be without it, but no, nobody's addicted. We could turn it off anytime we wanted.

In all seriousness, Archer claims that if you, as a living, alive person, hear the song You're the One That I Want from the musical Grease three times in a single day - seemingly by accident, whether in an elevator, on a radio, a telephone hold button, or whatever - it indicates that you'll surely die before sunset.

Because the only frontier left is the world of intangibles, ideas, stories, music, art. Because nothing is as perfect as you can imagine it.

That's the big letdown you'll notice about filming a movie: No underline music. No mood music.

It's music as wallpaper, utilitarian, music as Prozac or Xanax to control how you feel. Music as aerosol room freshener.

Personne ne veut reconnaître que nous sommes des drogués de musique. Ce n'est tout bonnement pas possible. Personne n'est drogué de musique, de télévision, de radio. Simplement, il nous en faut plus et plus, nous en avons besoin, plus de chaines, un écran plus grand, plus de volume. Nous ne supportons pas de nous en passer, mais, non personne n'est drogué. Nous pourrions l'éteindre dès que nous le voudrions.

In all seriousness, Archer claims that if you, as a living, alive person, hear the song "You're the One That I Want" from the musical Grease three times in a single day—seemingly by accident, whether in an elevator, on a radio, a telephone hold button, or wherever—it indicates that you'll surely die before sunset. In contrast, the phantom odor of scorched toast merely means that a deceased loved one continues to watch over you and protect you from harm.

Think of a story as a stream of information. At best it's an ever-changing series of rhythms. Now think of yourself, the writer, as a DJ mixing tracks. The more music you have to sample from—the more records you have to spin—the more likely you'll keep your audience dancing.

Every generation wants to be the last. Every generation hates the next trend in music they can't understand. We hate to give up those reins of our culture. To find our own music playing in elevators. The ballad for our revolution, turned into background music for a television commercial. To find our generation's clothes and hair suddenly retro.

The music and laughter eat away at your thoughts.

It's an amazing feeling to think that people actually took time out of their lives to learn the words to our music. The adulation and sound of the crowd can be overwhelming, but the idea is to perform like you're performing for one person. Whether you're performing for 3 people or 30,000, you have to be 100 percent there. By

that glam-band dream-balladry of that Argentine band that Evil Elvis used to listen to (Babasónicos!).

Together, they placed Trigger in a case all its own, clearing out the gold records that hung there. ("Gold records are bullshit," Pete said, throwing them behind them in a pile. They clattered as they fell—not the sound of metal against metal, but the sound of garbage against garbage. "Disposable. Not even real gold. Just some cheap shit vinyl they spray-paint.")