Donald Trump is going to make punk rock great again.
I see a lot of connections between folk and punk music just because they're both subcorporate music - I mean, traditionally.
I want to be just a musician and songwriter, and hopefully known as a very good one. I love a lot of music that's considered folk music, but I also love a lot of music that's considered punk or considered rap. I don't mind being called a folk singer. But it seems a bit limiting. I want to be able to write whatever kind of song I want.
To make a live record - something that has a lot of life in it - is difficult. After slaving away for years in the studio, when I hear a No Age record or when I hear Yeah Yeah Yeahs' first EP or when I hear DRI or really early punk stuff, it's just so powerful, so raw - and I know how hard that is to create. It's very deceptive. It's like a Dardenne brothers film - it seems like just a handheld camera following some people around in a trailer park, but it's incredibly difficult to do that.
In the Sixties, it was mods and rockers, and hippies and casuals, whereas in the early Eighties, there was Goths, punks, mods, skinheads, New Romantics, casuals, metal heads... the streets looked completely different. You go into town now and you can't tell one kid from another - you don't know what they're into. You can sort of tell a skateboard kid because his trousers are half way down his legs, but that's about it. Back then, people wore their hearts on their sleeves. It was a really bold time.
I was not a popular girl, so being able to create punk who didn't have to be beautiful in the mainstream way helped me to get in touch with sexuality and become comfortable with the idea that I didn't have to look like Farrah Fawcett to feel attractive, to feel sexual power.
I look fondly back on renegade days of my youth. Not the partying or anything, but it's still the spirit that I have always adhered to. When I do work that I like, it feels like a great punk song, like a burst of adrenaline. I've always kept this spirit in me, or some sort of connection to it.
We were a small group of weirdos and baby punks and gays and free spirits who had to use our imaginations a lot. We only saw pictures and read zines, so we could only interpret the aesthetic and message of punk scenes around the world. We were basically the duck-billed platypuses of punk.
What the Sex Pistols made sounded like quality, because they had a big label and top engineers and producers. But punk rock shouldn't be quality; it should be f**king mania. It should be gnarled, a glorious lo-fi live sound.
In the beginning, the punk scene was so full of promise. All the bands were different, and all the sounds were different. The common denominator was that it was all very young kids doing it, and doing it on their terms. But then it became, 'You should listen to this and you should wear this uniform, and you shouldn't do this or that.' It was supposed to be about not having rules, but every generation of music gets watered down.
Punk rock was the first thing I found in my life that made me feel acceptable. The thing that got me into punk rock was the idea, "You're fine just the way you are." It sounds kind of dorky, but you don't have to make excuses for who you are or what you do. When you find something like punk rock, not only is it okay to feel that way - you should embrace your weirdness. The world is totally messed up, and punk rock was a way to see that and work with it without candy-coating it. It was saying, "Yeah, the world is this way, but you can still do something about it. Take energy from that."
I so wreak of logic and commonsense that it is obviously very refreshing in this world of otherwise soulless politically correct denial and dishonesty. God knows America would be the greatest again if she operated like the Nugent family. No takers, no whiners, no gangsters, no dopers, no drunks, no criminals, no bloodsuckers, no excuse makers, no crybabies, no punks, no Obama supporters. My entire team are dedicated to be the absolute best that we can be and as productive as humanly possible. Wouldn't that be great if all of America were like that.
As a New Yorker you can't help but be proud of the fact that so much music and culture started here. Punk rock, jazz, hip-hop and house music started here, George Gershwin debuted 'Rhapsody in Blue' here; the Velvet Underground are from New York.
A crook is a crook, and there's something healthy about his frankness in the matter. But any guy who pretends he is enforcing the law and steals on his authority is a swell snake. The worst type of these punks is the big politician. You can only get a little of his time because he spends so much time covering up that no one will know that he is a thief. A hard-working crook will-and can-get those birds by the dozen, but right down in his heart he won't depend on them-hates the sight of them.
From the beginning, there was so much pressure in the early San Francisco punk scene for everyone to be different than everyone else, to flaunt your intelligence and insights instead of every band sounding alike, like what plagues punk music in particular today.
I'm getting tired of saying hello to Stan Smith and not getting any reply. I'm cocky and confident and maybe I'm too bullheaded sometimes, but I think I have some fan and player support. I know what the others say, but I'm not that obnoxious. I am not a punk. I'm 5' 10", 155 pounds. I've got broad shoulders and I can pack a punch. Most of these guys are windbags anyway. If they ever try anything with me, I'll be to the net fast.
I was into punk, but I didn't go whole-hog. A lot of kids who grew up in small towns that were into punk music went the "safe" way - not doing drugs, being straight edge.
When the punk thing came along and I heard my friends saying, I hate these people with the pins in their ears. I said, Thank God, something got their attention.
I was a little self-centered gutter punk in the early 1980s and all I wanted to do was diss everybody.
When I was growing up, I really liked punk rock. I liked the sort of people that played really powerful music that was pretty unassuming otherwise - people who didn't dress weird or do much theatrics.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
I need punk rock. It's the medicine for me, but it's bitter and sickening. If you don't need it - if you're happy and healthy - run toward that.
Any parent would have reservations if their kid came home dressed like a skinhead, but mine understood that punk kept me focused on something when so many of my friends were out robbing 7-Elevens.
We found that if you played a bunch of punk singles in a row, people would dance like crazy and then get worn out and go somewhere else in the house. And if you played reggae all the time, people ended up leaning against the walls and nodding their head. But if you mixed it up, the floor got more and more packed, and the energy from the two types of music seemed to feed into each other, and the adrenaline from the punk, and the seductive sway of the reggae seemed to fit together.
In San Francisco, most of the older activists, especially at Berkeley, were very hostile towards punks. The music, certainly, wasn't nice and mellow for them, and neither was our look or our attitude. While in Vancouver, the two most important early punk bands, D.O.A. and the Subhumans, were both managed by former yippie activists, who saw this as a logical extension of what they were already doing.
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