George Dyson Quotes

I was very head-strong, and this was the Vietnam War era - You did not listen to your parents or other authority figures. You didn't share their values. No one did in my circle. It was OK to rebel.

I think my father had a lot of anti-establishment in him. He came through the '60s.

Everybody was starting to grow long hair and wear pink suits and purple glasses and stuff and then, I suppose, some people thought we were crazy, but we weren't really crazy because we're all still here!

In my parents' generation, rebellion was pop culture. It's not anymore.

Turn on, Tune in, Drop out.

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'm not just influenced by the '60s - it's who I am. I grew up with Allen Ginsberg and Che Guevara. I flirted with various forms of communism when it was way out of style. It was this really strange and creative time in music and culture, and it was fabulous.

When people talk about the '60s I never think that was me there. It was me and I was in it, but I was never enamoured with all that. It's supposed to be sex and drugs and rock and roll and I'm not really like that. I've never really seen the Rolling Stones as anything.

The motif of Beat Generation is basically misunderstood, a misinterpreted area. There's this superimposition of the idea of a social rebellion, which was the communist interpretation through Lawrence Lipton.

N.W.A had something in common with the Rolling Stones and MC5 and groups like that: the voice of rebellion. It's rebellion against your parents. It's rebellion against the system. It's rebellion against society.

I remember being really young - being 13 or 14 - when I first was really excited about punk rock as an idea, and I was like, 'Don't ever not be punk. Don't ever not be punk.' Telling that to myself, I guess it was like self-defense against the scary world around me.

There was a cultural war going on, the '60s was going on. All the film critics were square.

I am continually influenced by the feeling that music culture captured in the late 60s - for my generation, it was a time to rebel, against our parents, against everything.

The 1960s were about releasing ourselves from conventional society and freeing ourselves.

I had a confused early hippie phase, which was like a cafeteria tray of sloppy, semi-Marxist thoughts, absorbed second-hand.

In the mid-'60s, I quit school and wandered across the country, hitchhiked back and forth a few times, and ended up in hippie times, in the street in Toronto, in Yorkville.

Not long ago, a hat was a conformist accessory. Then the 1960s came along, and young people didn't want to wear hats.

You know, I was a school rebel. Whatever they said do, I didn't do. I was totally anti-everything.

Music was a way of rebelling against the whole rah-rah high school thing.

The 90's are the 60's standing on their head.

Punk recognised the fact that the establishment had no room. There's no point in saying you've got the establishment wrong because they hadn't got the establishment wrong, they'd got it absolutely dead on.

The Haight is just a place; the '60s was a spirit.

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 wore a coat and tie all through high school: my way of being rebellious in the late 1950s.

'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.