Dana Loesch Quotes

It was a tedious saying among hippies: if you're not part of the solution, you're part of the problem. I was very much part of the problem.

I have not been part of an active counterculture movement, as it is not the approach that I have personally pursued to create a qualitatively beneficial and meaningful impact on society.

It's funny how the hippies and the punks tried to get rid of the conservatives, but they always seem to get the upper hand in the end.

There's a big difference, as I'm sure you know, it's a slightly manneristic one, between people of the '60s and people of '68. Being a soixante-huitard - it's so nice to have a French word for it - is very different from just having happened to been a baby boomer in the '60s.

I certainly was one of the instigators in the 1960s of freedom of expression.

If you were around in the '60s, you already know that music and art and love are a critical part of the revolution. This is how we fight.

I got into journalism because I came of age in the '60s. It just seemed one way for me to get things done.

The language of freedom-fighting was so co-opted by the baby boomers in order to express their now-hopelessly compromised ideologies that no other generation could emulate it without a smirk. This has created an apathetic generation in the West, with young people no longer distinguishing between the old order and the new.

I've got personal views on the '60s. You can't have freedom without paying the price for it.

A lot of baby boomers are baby bongers.

Certainly there's a huge appeal to the '60s, because it was such a big turning point to everyone. It was the era of change, the boiling point. People rebelled against things - the hippies, the feminists, the protesters. All these things just built up and boiled over. I think people can relate to that today.

I'm proud to say I was part of a movement in which we sang 'All You Need Is Love' at political rallies.

Nineteen sixty-eight was one exciting moment in a much larger movement. It spawned a whole range of movements. There wouldn't have been an international global solidarity movement, for instance, without the events of 1968. It was enormous, in terms of human rights, ethnic rights, a concern for the environment, too.

'Animal House' was sort of the first real, contemporary, youthful voice of the baby boom generation. It spoke to that audience, and it spoke to that part of me which was saying, 'Out with the old, in with the new.'

My dad's a hero in a lot of ways. He was a 1960s and 1970s hippie and a member of the protest crowd.

I was waiting for the world to change. I'm no longer waiting; I'm part of that movement. I think our role as performers and entertainers is so much bigger.

If you're an activist trying to do something important, I salute you. Most of us just give ourselves ethical brownie points for watching Channel 2 instead of Channel 3, like characters in a broad dystopian satire.

It was a wonderful time to be young. The 1960s didn't end until about 1976. We all believed in Make Love Not War - we were idealistic innocents, darling, despite the drugs and sex. We were sweet lovely people who wanted to throw out all the staid institutions who placed money and wars above all else. When you're young you think that's how life works. None of us were famous, we were broke. We didn't think they'd be writing books about us in 30 years. We were just kids doing the right thing.

[ Vietnam War] brought the people together and made the '60s like they were. The youth were very unified against the status quo - against the old line and the new old line. It's the same exact thing today.

The neglected legacy of the Sixties is just this: unabashed moral certitude, and the purity -- the incredibly outgoing energy -- of righteous rage.

The '60s and '70s - I grew up in the Haight-Ashbury - people around me were going to school by day and all night long having these incredibly exciting meetings, mobilizing, marching, drafting statements. It was very intoxicating. It was very energizing. We've really forgotten a lot of those skills. Or they haven't been transmitted. It's useful to the people controlling us to have those skills not be available.

Let's make my birthday, July the 7th at noon, Peace and Love Day. Everybody go, 'Peace and love.' In the office, on the bus, wherever. It's still peace and love for me, I'm a product of the 60s and it was a very influential period in my life, and you know, my head was turned around a bit, my eyes were opened as it were. In fact, I even have it on my arm, 'Peace and love'. I see nothing wrong with peace and love.

If punk was about getting rid of hippies, then I'm getting rid of grunge.

Rock-and-roll was an example of change in the body of the culture. I think it's really what helped bring the anti-war movement to its peak and moved people into the streets to seize the day - the movement was the embodiment of what was happening in the music. This is what taught me that it was possible to bring art and activism together. Without that piece, that energetic embodiment piece, the rest is just intellectual construct.

I'm talking about the '60s really. People go interview these guys and ask them, "Do you still think music can change the world?" I mean, go talk to Graham Nash about that. What's he going to tell you? Ask David Crosby. These guys are still out there. They're playing their hits at Staples Center and those are really valuable songs. I'm talking about a couple of the guys who got knee-deep into really believing music had a great service beyond radio. I believe it did. And I think a lot of those songs are great.