Quote

I was totally clueless about social interaction, and completely scared of girls. All I knew was that music was going to make girls fall in love with me.

Rob Sheffield

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Rob Sheffield
Age: 58
Born: 1966
Born: February 2
Journalist
Music Critic
Writer
the United States of America
Robert James Sheffield
Social
Interaction
Music
Totally
Going
Scared
Make
Girls
Love
Completely
Knew
Girl
Fall
Clueless

More quotes by Rob Sheffield

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One of the billions of things I love about Beyonce: The harder she tries to come on crazy, the less crazy she sounds.
Rob Sheffield
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I didn't know what I was. I didn't have a noun.
Rob Sheffield
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...some people aren't worth the trouble of being kind to, because they have neither the brains nor the power to make something for themselves out of your kindness.
Rob Sheffield
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But the answer is simple. Love is a mix tape.
Rob Sheffield
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The times you lived through, the people you shared those times with — nothing brings it all to life like an old mix tape. It does a better job of storing up memories than actual brain tissue can do. Every mix tape tells a story. Put them together, and they can add up to the story of a life.
Rob Sheffield
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The Stones suggested that if you dabble in decadence, you could turn into a devil-worshipping junkie. Paul McCartney suggested that if you mess around with girl worship, you could turn into a husband. So Paul was a lot scarier.
Rob Sheffield
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There are all kinds of mix tapes. There is always a reason to make one.
Rob Sheffield
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A song nobody likes is a sad thing. But a love song nobody likes is hardly a thing at all.
Rob Sheffield
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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.
Rob Sheffield
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'American Horror' is the debasement of the suburban family, the way a lonely kid would have imagined it in the Seventies.
Rob Sheffield
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Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.
Rob Sheffield
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When Ke$ha tries to rap like L'Trimm, she sounds like any ordinary lonely teenage girl stuck in a nowhere town, singing along to her radio and dreaming of a party where she's the star. Ke$ha's greatness is that in her voice, you can hear both the loser girl and the star. All hail the Queen of Noi$e!
Rob Sheffield
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The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.
Rob Sheffield
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'So You Think You Can Dance' comes on as a high-minded leap up the evolutionary ladder from other reality shows - on this one, you're supposed to learn something, and the guest judges are fellow dance professionals rather than actual celebrities.
Rob Sheffield
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'I'll Tumble 4 Ya' has to be one of the most ridiculous hit singles that any international superstars have given the world.
Rob Sheffield
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Falling in love with Renee was not the kind of thing you walk away from in one piece. I had no chance. She put a hitch in my git-a-long.
Rob Sheffield
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But MTV relishes its vestigial role as a star maker, so every year it puts all its clout into making the VMAs the biggest, splashiest, loudest show-biz extravaganza of the year, honoring all this music for existing, after a year of paying barely any attention to it.
Rob Sheffield
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Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.
Rob Sheffield
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The hungry feeling and the lonely feeling merged until it was hard to tell them apart.
Rob Sheffield
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Like many other touchstones of twenty-first-century pop culture, 'The Sopranos' was hatched in the late Nineties, predicting a future that never arrived. It was designed for a decade that would be just like the Nineties, except more so, in an America that enjoyed seeing itself as smarter and braver and freer than ever before.
Rob Sheffield