Benji Madden Quotes

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It's hard to talk about childhood trauma. It's hard to talk about depression. It's hard to talk about anxiety. And we thought - I wonder if we just open up our subconscious and the things that we think about and hide from people every day and just let them come out in some of these lyrics.

I think about people whose lives maybe hadn't turned out as well as me and Joel's lives, and I just think it's just pure luck and the grace of God. I also think we were lucky to have each other as brothers.

It's really hard to do this life - to be a human being alone.

All we can do is just think about what we can put into the world - not really kind of what we can get out of it.

I think that 'Prayers' is a really interesting one because we wrote it well before the border crisis was happening, and in that first verse, I was actually writing about the experience of me and my wife's relationship and finding someone who you feel safe with and you relate to and can ponder existence with.

I've started to see records as just a snapshot, a portrait of where you were at at that time. And if you're comfortable with that, sometimes it's like an old high school year book picture - it makes you blush a little bit, but you gotta learn to really appreciate each stage of your life and where you're at.

I prefer a good review. A bad review that dismisses us... I take it with a grain of salt. I go, 'Okay, they didn't even try.'

We were all 16 and 17. When you're that age, you're just daydreaming all day. We had bands we loved - Green Day, Weezer, a lot of bands in the '90s - and we just wanted to have fun. We didn't overthink it too much.

I didn't fly on a plane until I was 19.

I feel like, if you're writing the same songs you were writing when you were 17 in your 30s, something's wrong. As a grown man, you're more confident, and you have less to prove.

Anyone who's followed our band through the years has heard about the teenage angst.

Straight up, I'm from Waldorf, Maryland, you guys. Let's not forget that.

I got a little tattoo on my face. I'll never be able to work another real job, so I consider that to be kinda forcing myself to stick to music.

I think the soul of Good Charlotte is just feeling good.

I think what defines our band is really that, you know, we're just living our dream and making records that we love and having a good time.

'Nevermind' by Nirvana. That was a big one for me.

Nothing worries me in life anymore. When you find that best friend, that love, all your worries kind of go away.

That's just the music industry. They always want you to write something like the one that was popular.

I think, a lot of times, people think they know what they want, but what they really want is something that's genuine.

I think Good Charlotte has definitely always been for the underdogs and the misfits. We haven't ever really been the critics' darlings.

Novelty always sparks ideas.

The least punk thing I ever did was open a money market account. Blue chip stocks. Mutual funds. They're a very safe and dependable way to grow your money long-term.

We grew up in the middle of nowhere. We didn't have a rich uncle in the music industry or some contact through someone that our dad worked with. And we went into the world blindly, and just through believing, dreaming, and working hard, Good Charlotte came to fruition.

There are so many bands I am starting to see: Waterparks, Potty Mouth - they're all garage bands that started in the garage. Kids are loving them.

Today, somewhere in America, there's a kid who's got a laptop and a guitar and a couple of his friends he's putting together to play drums and bass, who's gonna change the way we say things, the way that we dress, the way we view things, the music we hear, everything.

I really love 'Cold Song.' If anyone really listens to that song and thinks about their life, there's a lot of good material deep down in there. I think if you listen to the lyrics, it may take you on some sort of a journey.

I think we live in a time where we can all distract ourselves from facing the pain or the reality of all of our lives - tons of ways to hide, to kill pain, to deal with pain.

Hopefully, the people that would look at a Good Charlotte record and dismiss it for maybe what they think is a certain kind of content, if they do discover something meaningful, then it's a nice surprise. I like those kinds of contradictions.

I feel like we've had a front row seat for the last 20 years to watching culture and youth.

Our fans are very much like us; they like the same things we do.

As hopeful as I am, there are some times in my life when I get to low points. Luckily, I still have music to get me through things.

It really is draining: when you sing a song, it means so much to you, and every time you sing it, you feel it ,and these emotions come back.

To write a song and have it embraced by someone, even one person, I don't think that's something that everyone gets to experience.

You don't know how a song is gonna do; you don't know where it's gonna live. You know if it feels real, if it feels authentic.

One thing I never worry about is money, because I have my health and my family, and I can always go back to work.

We've all had a million day jobs. We got by fine then.

The songwriting process is different on every record because you're never coming from the same place when you're writing.

When I have kids, they're definitely gonna work.

We've made a lot of party music; we're definitely not Thom Yorke. But there's also depth to our records; we get emotional.

A lot of our fans have grown up, but they've stuck by us for the songs that dig a little deeper.

Good Charlotte fit in a lot of different genres - it's one of the coolest things our band has been able to do.

Joel? He's the rock star! When you see Joel step on stage... he's born to be a rock star.

Our music contradicts our look.

We can guarantee you that 15 to 30 seconds of any of our songs are going to be good. The rest, we can't guarantee.

As a kid, you're like, 'Do they have Preakness everywhere or just in Maryland?' You hear people talking about it, and it was like, 'Oh, everyone goes there to hang out and party.' I didn't even know it was a race until I got older.

Maryland is such a special place, man... You miss that warm, friendly love. It ain't like that everywhere else in the world.

I really was thinking a lot about the energy on the first couple records that we ever put out and how young and excited we were. I just really wanted to make it more fun than anything.

There's this wave of new pop-punk bands that has come out that's bigger than ever. I'm really glad that we got to be a part of helping push that forward, if we did at all. I wouldn't have had it any other way.

What we're most known for is the catchy choruses and the big hooks.

You've got to think, when we started our band, none of us had a computer until we were 21.

I wouldn't be surprised if this album cycle for 'Cardiology' is the funnest couple years we ever see. We've made all of our mistakes; we've kind of learned. Now we know what to avoid, we know what to embrace, we know how to take a deep breath and enjoy the moment.

'Life Changes' is a song that we feel really connects to the spirit of our band and our fans. It's got that positive vibe we always want to put out there, and the message - no matter how many times you get knocked down, always get back up - will forever be part of the GC story.

One of the most harmful things in the music industry is 'record-by-committee,' where 10 people from the label gather around, and they make you write a 100 songs and decide which one's a hit. That takes the inspiration out of it.

The youth is always going to decide the future.

Prince led by example. As prolific as he was as an artist, he was just as courageous in the business.

It's important for artists to value themselves - whatever that means. Everyone's going to take that in a different way. If you don't value yourself, you will be bought and sold.

The one thing that nobody else in the world can touch is the coffee in Australia.

Coffee in Italy and some places in Europe is great, but there's just something about Australian coffee.

When we were younger, we fought, but that's what kids do, right?

When we were babies, mum had to dress one of us in one colour, like blue and green, and she'd put a little mark on our hand or toe... she definitely had to sort us out.

I'm a really easy guy to read.

I'm always happy to work with my brother and especially to be a part of 'The Voice Kids.'

I always jump at the chance to mentor kids when it comes to music.

I love the gym; I do a lot of curls.

I answer the questions I want, and I don't the ones I don't.

I have a great family, so I'm lucky I've gotten to experience all the joys of having a family.

I think it's a known fact that Joel and I have always loved Australia since we started coming here 13 or 14 years ago. Everyone knows we love it here. Our only concern is will we wear our welcome out?

I've always been obsessed with girls.

I couldn't grow, like, any kind of facial hair at 17.

The only time I only really made out with a girl in high school, my mom caught me.

I've done plenty of phoners for Joel when he's been too busy. You'll never know. Our voices sound so similar.

We have known each other for a long time, and I've always known the real Paris. I always knew she was like wife material or serious girlfriend material.

The Madden Brothers is definitely not a side project.

Good Charlotte became more than a band and more than the songs: it became something that the fans owned.

Good Charlotte is very special to us. It's something we really cherish.

All of our lyrics are really personal, and we get a lot of personal letters.

The guy who runs Big Day Out doesn't like us for some reason; I don't even know why. We do all the other festivals, and we enquired about it. Who knows, maybe he'll eventually crack, but maybe not. We're just going to keep knocking on his door late at night saying, 'Come on, dude!'

Every time we go to New Zealand, it gets harder to leave. Everyone's always treated us like we're at home.

I kind of live by this old thing that time will tell whether people are going to write about this or that; all we can do is be who we are and make records we love, and everything else will sort itself out.

When you're making an album, it's kind of like having a baby. You have to really put everything into it.

We started our band in a garage when we were 15.

Good Charlotte's the first band we've ever been in, and back then, critics didn't matter. There were no rules. There was no one we had to impress.

I may have punched walls when no one else was around.

We don't take ourselves seriously; we make the records for fun.

There's definitely a lot of moments in my life now where I go, 'Wow, I get paid for this.' I've had worse jobs.

Both of us are lucky because we married women who are amazing cooks.

Jessie J's a funny, funny woman. What she does is she reels you in.

Australian bands are so self-deprecating - then they go on stage and blow every other band off the stage.

Good Charlotte, for us, comes from a place of youth for us, back when we were struggling and fighting for every inch, just trying to get by.

It does feel really good when you play a new song, and it's the loudest singalong of the night. It means just as much when we're playing the old songs, and people are singing along to those, too.

There's an interesting thing I've seen with Australian bands: when you put them side-by-side with bands from other parts of the world, they're just more musical. They're just better.

As young kids, we had a lot of tenacity. Life was tough at home, so it was easy to go out in the world and try.

We didn't leave home until we graduated high school, but when we did, we genuinely left. We went out into the world with 50 bucks, backpacks, and acoustic guitars.

We became a really good gateway band for all the kids that went on to love My Chem or Fall Out Boy.

The American Dream - I believe in that cliche because I know what having nothing feels like.

We were kids that didn't have any education. None of our parents were in the music business or even college graduates. We didn't have someone guiding us. We were just uneducated kids from the middle of nowhere that suddenly had a band going around the world.

You're just these kids from a small town. You get a record deal, and everything just goes so fast. In the span of five albums... in a way, the band that you started in your bedroom, or your basement or your garage, kind of becomes not your band anymore. It becomes something bigger than you could have known. No one really prepares you.

I read all the reviews. I remember the first review I ever read about our band was, 'They'll be gone tomorrow; they'll be gone quicker than they came.'

You find, as the years go on and you have some success, people kind of start to say yes when they should say no.

A lot of time, I have to be the person who just goes, 'Hey dude, don't even trip. Don't worry about it.'

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