Best 365 quotes of Bruce Springsteen on MyQuotes

I heard a political message in rock music. A liberation message. A message of freedom. I heard it in Elvis' voice.

I held four clean aces. I had youth, almost a decade of hard-core bar band experience, a good group of homegrown musicians who were attuned to my performance style and a story to tell.

I imagined the hard things that pulled us apart Will never again, sir, tear us from each other's hearts.

I know I ain't nobody's bargain, but hell a little touchup and a little paint.

I know your mama she don't like me, cause I play in a rock and roll band.

I leave pansies, the symbolic flower of freethought, in memory of the Great Agnostic, Robert Ingersoll, who stood for equality, education, progress, free ideas and free lives, against the superstition and bigotry of religious dogma. We need men like him today more than ever. His writing still inspires us and challenges the 'better angels' of our nature, when people open their hearts and minds to his simple, honest humanity. Thank goodness he was here.

I like narrative storytelling as being part of a tradition, a folk tradition.

I looked at myself, and I just said, well, you know, I can sing but I'm not the greatest singer in the world. I can play guitar very well, but I'm not the greatest guitar player in the world... And so I said, well, if I'm going to project an individuality, it's going to have to be in my writing.

I'm a synthesist. I'm always making music. And I make a lot of different kinds of music all the time. Some of it gets finished and some of it doesn't.

I met a girl and we ran away, I swore I'd make her happy every day. And how I made her cry, two faces have I.

I'm interested in what it means to be an American. I'm interested in what it means to live in America. I'm interested in the kind of country that we live in and leave our kids. I'm interested in trying to define what that country is.

I'm just tired and bored with myself.

I'm ready to grow young again

I'm the kind of person, I think a lot about everything. Nothin' I can do about it. It's like, I'm a thinkin' fool. That's a big part of me.

I'm used to writing something, it becomes a record, it comes out. Then I go perform and I play it and I get this immediate feedback from the audience. So that's been the pattern of my life.

In a restless heart the seed of betrayal lay.

I never felt I had enough personal style to pursue being just a guitarist.

I never knew anybody who was unhappy with their job and was happy with their life. It's your sense of purpose. Now, some people can find it elsewhere. Some people can work a job and find it some place else.

In the day we sweat it out on the streets on a runaway American dream.

In the early years, I found a voice that was my voice and also partly my father's voice. But isn't that what you always do? Why do kids at 5 years old go into the closet and put their daddy's shoes on? Hey, my kids do it.

In the end what you don't surrender, well, the world just strips away.

In the past, some of the songs that were the most fun, and the most entertaining and rocking, fell by the wayside because I was concerned with what I was going to say and how I was going to say it.

In the third grade, a nun stuffed me in a garbage can under her desk because she said that's where I belonged. I also had the distinction of being the only altar boy knocked down by a priest during mass.

I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.

I realized the only time I felt complete and peaceful was while I was playing or shortly afterwards, even though it was in front of thousands of other people, which most people wouldn't consider to be a safe place.

I spot a little stranger standing across the room, my brain takes a vacation just to give my heart more room.

I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.

I studied other singers, so I would learn how to phrase, and learn how to breathe. And the main thing was, I learned how to inhabit my song.

It ain't no sin to be glad you're alive.

It doesn't matter what happened last night or the night - or tomorrow night. It's all about what you're doing with this audience right now.

I tend to be a subscriber to the idea that you have everything you need by the time you're 12 years old to do interesting writing for most of the rest of your life - certainly by the time you're 18.

I tend to be not my own best company. I can get a little lost when - if I don't have my work to occasionally focus me.

I tend to be pessimistic. I want to believe in hope.

I think 1960s small-town America was very Lynchian. Everything was there, but underneath, everything was rumbling.

I think I created my particular stage persona out of my dad's life. And perhaps I even built it to suit him to some degree. I was looking for - when I was looking for a voice to mix with my voice, I put on my father's work clothes, as I say in the book, and I went to work.

I think if somebody comes up and simply says, your jobs? I'm going to bring them back. You're not comfortable with the browning of America? I'm going to build a wall. ISIS, I'm going to defeat them. Those are very - it's a simple, but it was a compelling message for a lot of people.

I think initially, our audiences were filled with young men. You know, our initial audience was a lot of young guys who I think were trying to - who you played a bit of a big brother role for and were trying to sort out a lot of the same things right - soon as "Born To Run" hit, you know? So it was something that I worked pretty hard on.

I think life goes through a cycle of losing and refinding yourself all the time. Everyone has disappointments all the time, some of them pretty small, some of them pretty big.

I think that is what film and art and music do; they can work as a map of sorts for your feelings.

I think that it's a natural thing for parents to look for reflections of themselves in their children and feel a certain pride there. So if your child is very, very different, or perhaps if he's very, very similar, it makes you uncomfortable.

I think that, when you're writing your songs, there's always a debate about whether, is that you in the song? Is it not you in the song?

I think when you're a child, you just cling to the basics, which is the basic story of Jesus and the crucifixion and hell and eternal punishment and the flames. This was all stuff that was - forget when you're young.

I think you can get to a point where nihilism, if that's the right word, is overwhelming, and the basic laws that society has set up - either religious or social laws - become meaningless.

I think you can't demonize somebody that's on the other side of the political spectrum, or you can't generalize about them.

I told a story with the E Street Band that was bigger and better than I could have done on my own.

I took a month long vacation in the stratosphere, and you know it's very hard to hold your breath.

It's a fairytale so tragic there's no prince to break the spell. I don't believe in magic, but for you I will

...It's all sort of dreams and it's all illusion. It's theater; it's not real. We're making up stories, you know, and people tend to run into you and believe you are your characters. And I suppose the funny thing is the longer you go, you do become sort of some version of [your characters]. You both diverge from them - you know - you live, but you also permanently inhabit that geography and that mental space - and so you do morph a little bit. We do become what we imagine.

It's a sad man my friend who's livin' in his own skin and can't stand the company.

It's a town full of losers And I'm pulling out of here to win.