Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.
One of the best moments of any Liars show is hearing the crowd squawk 'We're doomed! We're doomed!' on cue during 'We Fenced Other Houses with the Bones of Our Own.' Maybe not the most uplifting audience sing-along in the indie rock world, but one of the most reliably entertaining.
Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss; Liz Lemon just works here.
Just as Bowie, Zeppelin, etc., became rock stars by remaking themselves in the image of the California girls, the Go-Gos became rock stars by pretending to be the Buzzcocks and the Sex Pistols. Jane Wiedlin always said her biggest influence was growing up in L.A. as a Bowie girl.
'The Queen Is Dead' is not merely the Smiths' best album, but it is one of those timeless, perfect, inexhaustible artifacts that could only have been made by a gang of sullen, sun-deprived rock & roll boys fighting off adulthood tooth and nail.
The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
Working with Tracy Morgan on '30 Rock' is really great. I love Tracy. He's wonderful. Well, until his fish tank caught fire - his apartment burned up and flooded my apartment. We live in the same building, but I'm eight floors below him and we had to evacuate.
When you are a rock star in front of 20,000 people, you receive instant gratification. A rock star on tour is a king in his domain.
The difference between blues, jazz, rock n' roll and rap is that rap stayed poor. Even the white rappers are poor. It's scarier to look at poor people; it makes everyone uncomfortable. Their pain is something that people would like to see swept under the rug.
I don't want to see old people doing rap or rock and roll. It makes me cringe.
Anyone who's 71 years old would look ridiculous singing rock.
Being in a rock n' roll band was like being in a Sherman tank. Nothing got to you. You were surrounded and protected by men.
I left rock and roll professionally at about 49. That's too long as far as I'm concerned. Some people can do it; it depends on what you were.
The way I paint is similar to rock in that you don't stand around and say, 'Gee, what are they talking about?' Rock is simple, blunt, colorful. Same with my paintings. You don't stand back and wonder what it is. That's Jim Morrison, that's a panda, that's a scene on the West Coast. It's not abstract.
You either evolve or you don't. I don't like old people on a rock n' roll stage. I think they look pathetic, me included. And the fact that I represent an era means I can't just go out there and do all new stuff. They would all say, 'Sing 'White Rabbit,'' and I'd say no? That's rude.
Actors, movie stars, rock stars, I can meet them with no worries - but with footballers I go weak at the knees. All of them.
Rock n' roll is dream soup, what's your brand?
When I was younger, I felt it was my duty to wake people up. I thought poetry was asleep. I thought rock 'n' roll was asleep.
I was never a singer, I can't play any instruments, I had no training. Plus, I was brought up in a time when all the great rock stars were male. I didn't have any template for what I was doing. I did what I did out of frustration and concern.
Music television is all about the media-oriented version of what it is to be a rock star; it's not about what Bob Dylan or Jimi Hendrix were about - which included great images, sure, but they had spiritual and political and revolutionary content, too.
What I wanted to do in rock'n'roll was merge poetry with sonic scapes, and the two people who had contributed so much to that were Jimi Hendrix and Jim Morrison.
Why do people want to know exactly who I am? Am I a poet? Am I this or that? I've always made people wary. First they called me a rock poet. Then I was a poet that dabbled in rock. Then I was a rock person who dabbled in art.
I think the rock'n'roll myth of living on the edge is a pile of crap.
I don't care where the Cure is placed in the pantheon of rock. I don't care if we're perceived as relevant. We're never worried how we fit in. I don't even want to fit in.
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