Claes Oldenburg Quotes

The ideology of Miller's 'lost boys' is an incandescent mix derived from PlayStation violence, Iraq news footage, Peter Pan, William Burroughs's 'Wild Boys,' and anti-G8 millenarianism.

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

On one level the sixties revolt was an impressive illustration of Lenin's remark that the capitalist will sell you the rope to hang him with.

As far as I can tell, 1968 is a year about change, about revolution, about violence, about people turning inwards as community breaks down.

It was a bad looking mob. It was animated by the essence of revolution.

In some ways, the '60s were a reaction to the '50s and the intensity of the Cold War.

We need punk now; we need it more than ever. We need rebellion by youth.

The capacity to produce social chaos is the last resort of desperate people.

People talk about the 1960s in a nostalgic way, but to me it was terrifying. People were getting assassinated. There was Vietnam. There were race riots. It felt like everything was going to get blown up sky-high. It didn’t feel like flower power. It felt like Armageddon.

I've got a fierce passion for politics but I can't stand the smarmy, hypocritical upper-middle-class dictator nation that prevails and has always prevailed in this country. I'm up for petrol bombers, mate, and fighting in the streets.

That's what the whole Sixties Flower-Power thing was about: 'Go away, you bunch of boring people.

I fear we may live to see another revolution.

And it may be that a crowd at a particular moment of history creates the object to justify its gathering, as it did at the first Human Be-In and Monterey Pop and Woodstock. Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on a slide guitar.

…What our age needs, what it demands, what it will create for itself, is—terror.

There are parallels between the 1960s and now, because during the 1960s, people were being slaughtered, their lives were being taken, there was violence, greed, drugs were rising - just all of this. And my uncle was saying, you've got to come back to faith, hope and love. Now, you get the translation and say faith, hope and charity - faith, hope and love.

In virtually every Western society in the 1960s there was a moral revolution, an abandonment of its entire traditional ethic of self-restraint.

I think the '60s were an extraordinary time. I feel bad for the kids today who missed this wonderful confluence, which was simultaneously a confluence of the global and the mythological.

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.

The '60s aren't over; they won't be over until the Fat Lady gets high.

A war still rages over the legacy of the 1960s.

I think in the '70s that there was a general feeling of chaos, a feeling that the idea of the '60s as 'ideal' was a misnomer. Nothing seemed ideal anymore. Everything seemed in-between.

My generation of the Sixties, with all our great ideals, destroyed liberalism, because of our excesses.

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.