Steve Jobs Quotes

The '60s redefined narcissism as idealism.

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.

During the sixties, all the risk-type sports were very popular, because everybody was rebelling against their parents, or rebelling against the whole system. But those days are over. This is the day of conservatism.

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

When we heard about the hippies, the barely more than boys and girls who decided to try something different ... we laughed at them. We condemned them, our children, for seeking a different future. We hated them for their flowers, for their love, and for their unmistakable rejection of every hideous, mistaken compromise that we had made throughout our hollow, money-bitten, frightened, adult lives

What I was talking about was, of course, very autobiographical - '68 was the moment when all the young people were incredibly excited, because when we were going to sleep, we knew we would wake up not tomorrow, but in the future. There was a sense of future that was the result of the mixture of politics, cinema, music, the first joints. And the movies were a very important part of that cocktail.

There is a lot of sixties-bashing going on these days that I don't agree with at all. I feel that extremely important ideals were brought to the forefront of the collective consciousness at that time. Granted, drug use was so pervasive that our generation did not as a group have the capacity to manifest our ideals to any great extent. But many of the people who were young in the sixties and who were most touched by that collective ethos are still touched.

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.

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

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.

Woodstock didn't define a generation because everyone showed up or those who did were a perfectly representative sample. It defined a generation because, for a few days, it bottled its peculiar zeitgeist.

'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.'

When I was young in the 1960s, all the world watched the youth. Everywhere was the sensation of wanting to break the chains but to do something beautiful. It is my privilege to have beauty always near me.

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.

If you have a counterculture band, you put a name on it, you call them beatniks, and you can sell something - books or bebop. Or you label them as hippies and you can sell tie-dyed T-shirts.

Nineteen eighty is almost here, thank God. the hippies are getting old, they blew their brains on acid and now they're begging on street corners all over San Francisco. Their hair is tangled and their bare feet are thick and gray as shoes. We're sick of them.

The students [of the 60's] substituted conspicuous compassion for their parents' conspicuous consumption.

It's kind of interesting and sick that the intellectual culture called the 1960s, "time of troubles," a dangerous period in which a lot of harm was done to the society. And the reason is because we were civilized and that's dangerous. That increased the commitment to democracy, to rights and so on, and this left people much less obedient.

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.

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

Suddenly, I was thirty, very unhappy entertaining people in their forties, and here came a group of people in their teens and twenties who had similar anti-authority problems and similar dreams and wishes, hopes for mankind. So I gravitated toward them.

The interesting thing about the Beatles was: The music was one thing, but we kind of symbolized a certain kind of freedom at a time when people of our generation were just growing up and just becoming adults.

I was about 16 when punk started to happen. It was so exciting. You had a social depression going on in the U.K. There was a sanitation strike. London was really grim, gray. You had Margaret Thatcher coming in. It was a really revolutionary time.

I was certainly a child of the '60s, and I came out of that era, and as a young actor, I got cast as a lot of counterculture hippie types.