1980s Quotes

“Very often the test of one's allegiance to a cause or to a people is precisely the willingness to stay the course when things are boring, to run the risk of repeating an old argument just one more time, or of going one more round with a hostile or (much worse) indifferent audience. I first became involved with the Czech opposition in 1968 when it was an intoxicating and celebrated cause. Then, during the depressing 1970s and 1980s I was a member of a routine committee that tried with limited success to help the reduced forces of Czech dissent to stay nourished (and published). The most pregnant moment of that commitment was one that I managed to miss at the time: I passed an afternoon with Zdenek Mlynar, exiled former secretary of the Czech Communist Party, who in the bleak early 1950s in Moscow had formed a friendship with a young Russian militant with an evident sense of irony named Mikhail Sergeyevitch Gorbachev. In 1988 I was arrested in Prague for attending a meeting of one of Vaclav Havel's 'Charter 77' committees. That outwardly exciting experience was interesting precisely because of its almost Zen-like tedium. I had gone to Prague determined to be the first visiting writer not to make use of the name Franz Kafka, but the numbing bureaucracy got the better of me. When I asked why I was being detained, I was told that I had no need to know the reason! Totalitarianism is itself a cliché (as well as a tundra of pulverizing boredom) and it forced the cliché upon me in turn. I did have to mention Kafka in my eventual story. The regime fell not very much later, as I had slightly foreseen in that same piece that it would. (I had happened to notice that the young Czechs arrested with us were not at all frightened by the police, as their older mentors had been and still were, and also that the police themselves were almost fatigued by their job. This was totalitarianism practically yawning itself to death.) A couple of years after that I was overcome to be invited to an official reception in Prague, to thank those who had been consistent friends through the stultifying years of what 'The Party' had so perfectly termed 'normalization.' As with my tiny moment with Nelson Mandela, a whole historic stretch of nothingness and depression, combined with the long and deep insult of having to be pushed around by boring and mediocre people, could be at least partially canceled and annealed by one flash of humor and charm and generosity.”
― Christopher Hitchens, Hitch 22: A Memoir

“Dilettantes,’ Art3mis said. ‘It’s their own fault for not knowing all the Schoolhouse Rock! lyrics by heart.”
― Ernest Cline, Ready Player One

“[H]e could see the island of Manhattan off to the left. The towers were jammed together so tightly, he could feel the mass and stupendous weight.Just think of the millions, from all over the globe, who yearned to be on that island, in those towers, in those narrow streets! There it was, the Rome, the Paris, the London of the twentieth century, the city of ambition, the dense magnetic rock, the irresistible destination of all those who insist on being where things are happening-and he was among the victors!”
― Tom Wolfe, The Bonfire of the Vanities

“As he defended the book one evening in the early 1980s at the Carnegie Endowment in New York, I knew that some of what he said was true enough, just as some of it was arguably less so. (Edward incautiously dismissed 'speculations about the latest conspiracy to blow up buildings or sabotage commercial airliners' as the feverish product of 'highly exaggerated stereotypes.') Covering Islam took as its point of departure the Iranian revolution, which by then had been fully counter-revolutionized by the forces of the Ayatollah. Yes, it was true that the Western press—which was one half of the pun about 'covering'—had been naïve if not worse about the Pahlavi regime. Yes, it was true that few Middle East 'analysts' had had any concept of the latent power of Shi'ism to create mass mobilization. Yes, it was true that almost every stage of the Iranian drama had come as a complete surprise to the media. But wasn't it also the case that Iranian society was now disappearing into a void of retrogressive piety that had levied war against Iranian Kurdistan and used medieval weaponry such as stoning and amputation against its internal critics, or even against those like unveiled women whose very existence constituted an offense?”
― Christopher Hitchens, Hitch 22: A Memoir

“Edward genially enough did not disagree with what I said, but he didn't seem to admit my point, either. I wanted to press him harder so I veered close enough to the ad hominem to point out that his life—the life of the mind, the life of the book collector and music lover and indeed of the gallery-goer, appreciator of the feminine and occasional boulevardier—would become simply unlivable and unthinkable in an Islamic republic. Again, he could accede politely to my point but carry on somehow as if nothing had been conceded. I came slowly to realize that with Edward, too, I was keeping two sets of books. We agreed on things like the first Palestinian intifadah, another event that took the Western press completely off guard, and we collaborated on a book of essays that asserted and defended Palestinian rights. This was in the now hard-to-remember time when all official recognition was withheld from the PLO. Together we debated Professor Bernard Lewis and Leon Wieseltier at a once-celebrated conference of the Middle East Studies Association in Cambridge in 1986, tossing and goring them somewhat in a duel over academic 'objectivity' in the wider discipline. But even then I was indistinctly aware that Edward didn't feel himself quite at liberty to say certain things, while at the same time feeling rather too much obliged to say certain other things. A low point was an almost uncritical profile of Yasser Arafat that he contributed to Interview magazine in the late 1980s.”
― Christopher Hitchens, Hitch 22: A Memoir

“Question: Which Mediterranean government shares all of Ronald Reagan's views on international terrorism, the present danger of Soviet advance, the hypocrisy of the United Nations, the unreliability of Europe, the perfidy of the Third World and the need for nuclear defense policy? Question: Which Mediterranean government is Ronald Reagan trying, with the help of George Shultz and Caspar Weinberger, to replace with a government led by a party which professes socialism and which contains extreme leftists?

If you answered 'the government of Israel' to both of the above, you know more about political and international irony than the President does.”
― Christopher Hitchens

“The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.'

'Oh my God... said Jonathan, his mouth stalling the open position.

'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")”
― David J. Schow, Seeing Red

“The Aussies have spent so much time basking in the glory of the last generation that they have forgotten to plan for this one. It's just like the West Indies again; once their great names from the 1970s and 80s retired, the whole thing fell apart.

The way things are going, the next Ashes series cannot come too quickly for England. What a shame that we have to wait until 2013 to play this lot again.”
― Geoffrey Boycott

“Everything worth knowing about the 1980s I learned from obsessively reading Bloom County collections when I was nine and Derek Jarman's diaries when I was twenty.”
― Ruadhán J. McElroy

“She'd permed her hair to within an inch of its life. When she moved her head, the mass of hair followed along behind her a split second later."

Perhaps you had to live through the late 70's, early 80's to appreciate this.”
― Jean Thompson, The Year We Left Home

“Punks are nihilists who see no tomorrow at all, and dwell in a culture of death music and death imagery. Appropriately, Return focuses on a group of punks who bear names like Trash, Suicide, and Scum, their very names indicating their lack of respect for the world, and themselves. They see themselves as nothing in a world that doesn't value them, and won't survive an apocalypse.”
― John Kenneth Muir, Horror Films of the 1980s

“The colored lights streamed over her face like rays of the sun. She closed her eyes and raised her arms over her head. The song was the best she’d ever heard. There’s 70 billion people of Earth, where are they hiding? The cocaine coursed through her organs in time with the pounding bass. Her eyes stung, she was pouring sweat. A voice inside her head called her name. Where are they hiding? She clenched her teeth to stop them from chattering. Her hands were shaking like falling leaves.”
― Amanda Brainerd, Age of Consent

“There may be a lot of kids in this world, but the stupid ones are always stupid in the same way.”
― Yongsoo Park, Las Cucarachas

“There may be a lot of kids in the world, but the stupid ones are all stupid in the same way.”
― Yongsoo Park

“I want to watch you walk through the world before you leave it and if you stumble I'll rush forward to catch you. I like to think I'd show you the kindness you never showed me. I'd like you to owe me a favour. I want to show you that I did it. I want you to be proud of me.”
― Damian Barr, Maggie & Me

“I've never seen one cook before," he admitted.

"It's not very interesting to look at," Janine said, stooping to peer through the glass-fronted door with him. "But it's fun to use."

(Talking about a microwave oven)”
― A. Bates, Party Line

“Every hair metal band in the 1980s followed a very simple, yet effective marketing plan: first release an ear-shattering, head-banging metal song to bring in the guys, then follow it up with a sensitive power ballad to bring in the ladies. Well, in the world of He-Man and the Masters of the Universe, He-Man was the head-banging metal song and She-Ra was the power ballad”
― Jensen Karp, Just Can't Get Enough: Toys, Games, and Other Stuff from the 80s that Rocked

“A former Hollywood actor and a senior citizen when he first took the oath of office, Reagan was a revolutionary in many significant ways, but not necessarily in the fashion one might expect. His two terms, and the term of his successor as well, might well be described as the greatest chasm between image and reality that this country has ever witnessed.”
― John Kenneth Muir, Horror Films of the 1980s

“Far too many policies President Reagan enacted during his two terms boasted this "Don't Worry, Be Happy"/"Be Afraid, Be Very Afraid" schizophrenia.”
― John Kenneth Muir, Horror Films of the 1980s

“Motel Hell is a black comedy about hypocrisy, about the way in which every person, even serial killers like Farmer Vincent, tell themselves little lies to get through the day. It's easier to do terrible things, one concludes, when you believe you're doing good.”
― John Kenneth Muir, Horror Films of the 1980s

“There was no great novel of the nineties. The last major books came out in the eighties, and they were Blood Meridian and then I’d say White Noise by Don DeLillo, who very well might have seen where everything was heading and whose work then articulated it all very well.”
― A.D. Aliwat, In Limbo

“There was no great novel of the nineties. The last major books came out in the eighties, and they were Blood Meridian and then I’d say White Noise by Don DeLillo, who very well might have seen where everything was heading and whose work then articulated it all very well.”
― A.D. Aliwat, In Limbo

“1980s feminism focused on questions of difference and making the category of women more inclusive”
― Cristina Beltrán, The Trouble with Unity: Latino Politics and the Creation of Identity

“I was fortunate to be a teenager in the nineteen eighties. Back then we had romance, even if it was only in our minds and not real. We had Hollywood, the Oscars, real movie stars, famous authors, and the Olympics. Now, of course, we know that was all just a façade.”
― Jack Freestone

“I was tidying old papers when I came across a faded "1979" folder. Remember what a bad year that was for those who believed in a self-governing Scotland? In March, a referendum for a "Scottish Assembly", its terms skewed to ensure failure. Then a General Election which slaughtered the SNP down to a mere two MPs and brought Mrs. Thatcher to power. End of a dream?

Two things fell out of the folder. One was a giant paper rosette, all blood-red tartan and ribbons, inscribed "Have yourself a Dreich Decade!" The rosette came from irrepressible Murray Grigor, whose films and happenings still teach Scots to find self-confidence through self-mockery. Get a grip, he seemed to be saying, and you can turn these dreich 1980s into what they did in fact become - the most intense eruption of Scottish literature, drama, painting and history publication for a hundred years.

The other thing was a note from Tom Nairn. It began: "Dear Neal, the incorrigible optimist strikes again...”
― Neal Ascherson

“What happened in Scotland in the 1960s and the 1970s and what laid the foundation for the enormous creative achievements of the 1980s was the liberation of the voice. The Scottish voice declared its independence. The liberation of the voice was at first the acceptance of and an assertion of the vernacular. But the real liberation of the voice came not from the assertion of the rights of the vernacular itself, but from the assertion of the right to move without boundaries between the vernacular and standard English, between the demotic and the literary.”
― Cairns Craig, Out of History: Narrative Paradigms in Scottish and British Culture

“It is the first day of spring. The council have chopped all the elms down in Elm Tree Avenue. The Secret Diary of Adrian Mole”
― Sue Townsend, The Secret Diary of Adrian Mole

“It is the first day of spring. The council have chopped all the elms down in Elm Tree Avenue.”
― Sue Townsend, The Secret Diary of Adrian Mole

“It is the first day of spring. The council have chopped all the elms down in Elm Tree Avenue”
― Sue TownsendTownsend, The secret diary of Adrian Mole aged 13¾

“It is the first day of spring. The council have chopped all the elms down in Elm Tree Avenue.”
― Sue Townsend, The secret diary of Adrian Mole aged 13¾