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“I’m too outspoken for most people, they think you’re rude if you tell the truth. ‘Punkâ€� was the only time I fitted in. Just one tiny sliver of time where it was acceptable to say what you thought.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Dad is the big bad and the big good. He throws things, he feeds us, he beats us, he dresses our wounds. And each day we live, we don't know if he is going to kill us or save our lives.”
― Jia Apple, Oft Made to Wonder: a young girl's journey

“SHE WAS A KNOCKOUT. A stoned fox. I’d never seen her before. Not one of the cutesy Irish Barbie Dolls I normally fell for, this was something of a different class altogether. No disco glam or sparkles or fashionably trashy stripper chic. No make-up or slutty, revealing outfit. No desperate, tits-in-your-face “notice meâ€� B.S. This was something pure and earthy -- fresh as newly cut grass. The smoking-hot girl next door, but yet completely of another world and time. A true classic.”
― Quentin R. Bufogle, KING OF THE NEW YORK STREETS

“Music is for every single person that walks the planet.”
― Robert Plant

“In the '70s, everything shone as bright as brass.”
― Tracy K. Smith, Wade in the Water: Poems

“Music brought the war in Vietnam right into our bedrooms. Songs we heard from America made us interested in politics; they were history lessons in a palatable, exciting form. We demonstrated against the Vietnam and Korean wars, discussed sexual liberation, censorship and pornography and read books by Timothy Leary, Hubert Selby Jr (Last Exit to Brooklyn) and Marshall McLuhan because we'd heard all these people referred to in songs or interviews with musicians. [...] Music, politics, literature, art all crossed over and fed into each other. There were some great magazines around too [...] Even though we couldn’t afford to travel, we felt connected to other countries because ideas and events from those places reached us through music and magazines.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Johnny Rotten slouches at the front of the stage, propped up on the mike stand. He's leaning so far forward he looks as if he might topple into the empty space in front of the audience. · His face is pale and his body is twisted into such an awkward ugly shape he looks deformed. He looks ordinary, about the same age as us, the kind of boy I was at comprehensive school with. He's not a flashy star like Marc Bolan or David Bowie, all dressed up in exotic costumes, he's not a virtuoso musician like Eric Clapton or Peter Green, he's not even a macho rock-and-roll pub-band singer â€� he's just a bloke from Finsbury Park, London, England, who’s pissed off. Johnny sneers at us in his ordinary North London accent, his voice isn't trained and tuneful, it's a whiny cynical drawl, every song delivered unemotionally. There's no fake American twang either. All the things I'm so embarrassed about, John's made into virtues. He's unapologetic about who he is and where he comes from. Proud of it even. He's not taking the world's lack of interest as confirmation that he’s wrong or worthless. I look up at him twisting and yowling and realise it's everyone else who's wrong, not him. How did he make that mental leap from musically untrained, state-school-educated, council estate boy, to standing on stage in front of a band? I think he's brave. A revolutionary. He's sending a very powerful message, the most powerful message anyone can ever transmit. Be yourself.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Things can get out of hand quickly, especially with Sid around. I also decide never to wear heels again when I'm out with him. I go to Holt's in Camden Town and buy a pair of black Dr Martens. (You can get them in black, brown or maroon, the skinhead boys at school used to buy the brown ones and polish them with Kiwi Oxblood shoe polish â€� this gives them a deep reddish brown colour, much subtler than the flat red of the originals. They also keep them pristinely clean and polished at all times.) I wear my new boots with everything â€� dresses, tutus â€� it’s a great feeling to be able to run again. No other girl wears DMs with dresses, so I get a lot of funny looks. (Skinhead girls only wear DMs with Sta-Prest trousers. With their boring grey skirts, they west plain white or holey ecru tights and black patent brogues.) Bit I wear them all the time to clubs and pubs, it eventually catches on with other girls and I don’t look so odd.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“We didn’t talk much. The things I’d needed to say before didn’t matter anymore and what mattered now was too hard to hear. So Jamie didn’t tell me he’d be gone before Christmas, or that I was the first girl he ever loved. I didn’t tell him I had wanted it to be him all along, or that he was my first everything. Instead, we sat shivering and holding hands, and let ourselves believe we were lucky just a little while longer.”
― Jessica Raya, Please Proceed to the Nearest Exit

“Per una ragazza era inevitabile: ci si rassegnava a qualunque risposta. Se ti incazzavi eri una pazza, se non reagivi eri una mignotta. L'unica cosa che potevi fare era sorridere dall'angolino in cui ti avevano incastrata. Stare allo scherzo anche se dello scherzo eri sempre la vittima.”
― Emma Cline, The Girls

“By the time the Freedom Flights, to use the US description, came to an end, more than 260,000 Cubans had been airlifted to the United States, every one of them registered by the Swiss before they left Cuba.”
― Clare O'Dea, The Naked Swiss: A Nation Behind 10 Myths

“Are you the man who reads phone books?”
― Thomas Pynchon

“FRANK
... so, many things happen in the 70s to transform the horror genre. Present end premodern fears mix, birthing scary movies which are more seedy, grim, but also more artistic and religious. Criminal evil escapes the prison of murder-mystery and revenge plots, making us see trough the eyes of killer and victim. Supernatural evil is freed from the gothic frame, making viewers believe again in the reality of the devil and other medieval superstitions. If the 60s were about love, the spirit of the 70s is fear. Which means they are more horribly real, more perversely in touch with the dark mystery.”
― Nicola Masciandaro, SACER

“You don't have to go to another planet to see the aliens, just look at the people in the interesting dresses of the seventies!”
― Mehmet Murat ildan

“Everyone knows how to get a squat: you go along to an empty house at night, break in, change the locks and it’s yours. [...] Later we’ll have someone to jam the electricity meter with a pin so we have free electricity. Everyone does that.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“I've got so used to my life being challenging and fraught with danger that I don't question it any more. Whether I’m knocking on the door of a hardcore sex shop, walking through suburban streets being verbally abused and spat on, or being threatened on the tube, I don't give in. I don’t dress normally to have an easy life. The pilgrimage down the King’s Road to get to the Shop (Sex: everyone calls it ‘the Shopâ€�), the place I want to hang out and buy stuff, is one of the scariest things I do â€� running the gauntlet of teds who want to kill people like me â€� but nothing will stop me looking the way I want. It’s a commitment.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Vivienne [Westwood] and Malcolm [McLaren] use clothes to shock, irritate and provoke a reaction but also to inspire change. Mohair jumpers, knitted on big needles, so loosely that you can see all the way through them, T-shirts slashed and written on by hand, seams and labels on the outside, showing the construction of the piece; these attitudes are reflected in the music we make. It’s ok not to be perfect, to show the workings of your life and your mind in your songs and your clothes. And everything you do in life is meaningful on a political level. That’s why we’re all merciless about each other’s failings and why sloppiness is derided.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“I put on a tight black lace dress Sid got me from a jumble sale. It didn’t quite fit so he slashed a slit in the side â€� which is now held together with safety pins â€� then he hacked the bottom off whilst I was wearing it, leaving the hem really short and frayed. I pull on my holey black tights and Dr Marten boots; I still never wear heels if I’m seeing Sid.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Ari [Up] hides nothing from our audiences: if she’s in a bad mood, she shows it, and if we happen to be on stage when she’s not happy, she just does a shit gig. There’s no
You’ve paid money to see this so I’m going to give you a good time, or I’m not going to let the band down â€� she’s just grumpy and uncommunicative. This is a good thing in many ways, we’re against faking it, we tell it like it is. People in bands are just like the audience: they have good days and bad days, we’re not pantomime or theatre, we’re no different to anyone else. We don’t see ourselves as entertainers, trying to make the audience forget their troubles for forty minutes. We see ourselves as warriors. We’d rather people confronted their anger and dissatisfaction and did something about it. Like Luis Buñuel said, ‘I’m not here to entertain you, I’m here to make you feel uncomfortable.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Now the liberals hate to admit this and won't, but something like what happened in America's Southern states between the late 1960s and late 1970s cannot be explained by an factor other than the miraculous curing powers of a loving God. Many reasons and theories may be expounded but as the old saying goes, "the truth shall set ye free".”
― Steve Travers, CALIFORNIA LIBERALISM IS EXAMPLE OF AMERICAN SPORT’S POLITICAL EFFECT

“Governments and mainstream parties coped badly with the new problems faced by western Europe after the 1970s. They could not solve unemployment, because the Keynesian job-creation measures that had worked during the postwar boom now triggered dangerous levels of inflation, and because governments felt unable to opt out of the emerging European and global marketplaces with their powerful competitive pressures. The state, the traditional source of support in difficult times, was losing part of its authority, whether to the European Union or to the global marketplace, forces beyond the control of ordinary European citizens. Welfare programs now came under serious strain, for tax revenues were falling just as the need was growing to pay increased benefits to the new unemployed. And should the welfare state also take care of foreigners? An interlocking set of new enemies was emerging: globalization, foreigners, multiculturalism, environmental regulation, high taxes, and the incompetent politicians who could not cope with these challenges. A widening public disaffection for the political Establishment opened the way for an “antipoliticsâ€� that the extreme Right could satisfy better than the far Left after 1989. After the Marxist Left lost credibility as a plausible protest vehicle when the Soviet Union collapsed, the radical Right had no serious rivals as the mouthpiece for the angry “losersâ€� of the new postindustrial, globalized, multiethnic Europe.”
― Robert O. Paxton, The Anatomy of Fascism

“I never thought about the money, the future, or chasing down stardom,â€� Chris Hillman writes in TIME BETWEEN. “It was always all about the music.”
― Chris Hillman

“I never thought about the money, the future, or chasing down stardom,â€� Chris Hillman writes in TIME BETWEEN. “It was always all about the music.â€�
â€� Chris Hillman”
― Chris Hillman, Time Between

“See, there’s this little relationship we have with the drug lords—the legal drug lords. If we play cool with them, they play cool with us. And sometimes we get some nice toys.”
― Diana Stevan, The Rubber Fence

“In the Olympic Games it is neither important to win nor important to have taken part. Sport is just something people who feel like doing it do, up to the point where the effort involved becomes inhuman. Beyond that point, politics takes over. Politically, the Olympic Games are a farce on every level. It is grotesque that in 1976 the BBC commentators should still be sounding like old Pathé Pictorials, desperately cherishing an illusion of British influence which would be fatuous even if it were real.”
― Clive James, Visions Before Midnight

“There was an urge growing through the Seventies - and perhaps after all it was the normal urge of the British - to look for offence, to feel morally affronted, and to make someone suffer for it.”
― Norman Shrapnel, The seventies: Britain's inward march

“I DROPPED A QUARTER ON THE TABLE JUST AS SHE PUT THE EIGHT BALL IN THE CORNER POCKET ...

Perfect timing.

Damn. She wasn’t just cute � she was crazy cute. Those eyes. The biggest, greenest eyes I’d ever stared into. Like the kids in those paintings they sold in the department stores. She had the delicate, finely cut features of every Irish girl I’d ever had a crush on in grammar school.

She was blonde, though not really trying; hair cut casually just above her shoulders in way that seemed to say 'who really gives a fuck?' Perfect. And one more thing: that ass. I was definitely an ass man and hers should’ve been mounted on a wall in the Louvre. Not exactly heart-shaped, it filled those jeans in a way that would allow you to read the date on a nickle wedged inside her back pocket.”
― Quentin R. Bufogle, KING OF THE NEW YORK STREETS

“What an evil sonofabitch God must truly be. To create such cruel beauty and allow it to run blithely through the world of adolescent males â€� stomping huge, divot-size holes in my poor, tissue paper-thin heart.”
― Quentin R. Bufogle, KING OF THE NEW YORK STREETS

“Concerns about technology and fairness go back a long way, even from a legal perspective. For example, as early as the 1970s it was illegal under French law to make any decisions affecting human beings in a purely algorithmic manner—that is, without any human supervision.”
― Aileen Nielsen, Practical Fairness: Achieving Fair and Secure Data Models

“After the Stonewall riots the gay activists had their idealistic hearts in the right place but it turned out they had underestimated the realpolitik of organized crime. Indeed, as gay liberation blossomed in the wild 1970s the bars and bathhouses became increasingly lucrative enterprises, and the Mafia had no intention of abandoning a racket it had controlled for decades. The Mafia families maintained their control by exercising the proverbial carrot and stick. The wise guys seemingly embraced the gay rights movement and cut more so-called Auntie Gays into the action as their fronts, and resorted to violent threats and sometimes murder against others who refused to play ball with the crime families. There were few legitimate businessmen in gay nightlife of the 1970s.”
― Phillip Crawford Jr., The Mafia and the Gays