Lester Bangs Quotes (32 Quotes)

They wouldn't be heroes if they were infallible, in fact they wouldn't be heroes if they weren't miserable wretched dogs, the pariahs of the earth, besides which the only reason to build up an idol is to tear it down again.

As far as a truly radical conscience, you have to take it as part of a larger thing, that it was sort of historical inevitability that with the coming of a leaguer society people would start to use drugs a lot more then they had before.

That's one reason why it's pretty worthless, I can't totally buy it, if you think about it, it's things like the Phil Spector records. On one level they were rebellion, on another level they were keeping the teenager in his place.

But as far as this stuff being really new, really different that's something else again. Even the Sex Pistols were playing old Chuck Berry licks.

Here we are in the 70's when everything really is horrible and it really stinks. The mass media, everything on television everything everywhere is just rotten. You know it's just really boring and really evil, ugly and worse.

I hate Stanley Clark, but I have to admit he's playing Jazz whether I like it or not.

Corporations are social organizations, the theater in which men and women realize or fail to realize purposeful and productive lives.

Basically no, I mean I think that it's very easy to like I say, smoke a joint or even to wear a Chairman Mao button, or do a lot of these things with out knowing what's behind it, and what it really means.

Things do go in cycles so I never believe rock was really dead it was really finished or had it, it just comes back in a different form.

I have to see it much more as fundamentally capitalism, I certainly don't see any Rock'n'Roll coming out of Vietnam or China or Russia.

And doing so you can recreate yourself and you can also come up with something that is not only original and creative and artistic, but also maybe even decent, or moral if I can use words like that, or something that's like basically good.

The thing is that, they all had real strong personalities and real distinct identities, and I don't find most of the groups that are coming out now really do.

I mean it's easier to be in a demonstration if it's a trip that's one of the reasons why the whole thing fell apart in 1971, because it wasn't a trip any longer.

I'm really schizophrenic about that, because on the one hand I would say, yes there is, there's something inherently, even violent about it, it's wild and raw and all this.

Or like in the early 70's when we had the reaction against acid rock and all the fuzz tone, and feedback, and the noise. And you had James Taylor and everyone went acoustic and that.

What this book demands from a reader is a willingness to accept that the best writer in America could write almost nothing but record reviews.

I mean the interesting thing I think would be if something happened like, what happened in England where all these kids that all of a sudden can't afford the ticket prices.

Nothing ever quite dies, it just comes back in a different form.

I don't see that there are any particular changes in popular music.

Every great work of art has two faces, one toward its own time and one toward the future, toward eternity.

I mean Iggy and The Stooges first couple of albums I think sold twenty five thousand between the two of them you know and so to talk in terms of an underground I mean you have to go really to the independent labels and things like that.

When kids can't afford to see it anymore maybe we'll have a whole resurgence of garage bands all over America and this New Wave thing will start to mean something on a grass roots level.

The only questions worth asking today are whether humans are going to have any emotions tomorrow, and what the quality of life will be if the answer is no.

The first mistake of art is to assume that it's serious.

The great thing about The Clash of course is that they keep searching for answers beyond that.

No, I see it as meaning very little at the moment because none of the groups are about anything.

In fact I think now we've reached a point now, where the powers that be really have sort of vested interest in all of us being stoned out as much as possible all the time so we don't know what's going on, and we don't care.

The ultimate sin of any performer is contempt for the audience.

It's much easier to wear a Chairman Mao button and shake your fists in the air and all that, then to actually read the Communist manifesto and things like that and actually become involved in politics.

No I don't think it was a myth at all, anymore than what the recession that the whole country was experiencing was a myth, which obviously seems like it's going to get worse and worse.

Most of them are pretty down records, pretty unhappy, pretty confused. Which only reflects how people in general were feeling, I mean really the sense that you get is society running down.

At its best New Wavepunk represents a fundamental and age-old Utopian dream that if you give people the license to be as outrageous as they want in absolutely any fashion they can dream up, they'll be creative about it, and do something good besides.