"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"
About this Quote
Bangs isn’t just complaining about the 70s; he’s staging a disgust so total it becomes a pose, a provocation, and a diagnostic tool. The sentence barrel-rolls through “really,” “everything,” “just,” piling intensifiers until they lose precision and turn into a kind of punk sermon. That excess matters: he’s performing the sensation of being trapped inside a culture that won’t shut up, a media environment that fills every corner with content and still feels dead.
The intent is less “things are bad” than “the badness is systemic.” “Mass media” and “television” aren’t singled out as guilty pleasures; they’re presented as the atmosphere. Bangs is mapping the shift from culture as occasional event to culture as constant feed, where saturation breeds numbness. “Boring and really evil” is a key pairing: he’s not moralizing so much as arguing that boredom is the modern sin because it flattens desire, attention, and rebellion. Evil isn’t a shocking act; it’s a baseline condition of ugliness and complacency.
Context sharpens the bite. Post-60s idealism is collapsing into post-Vietnam malaise, Watergate cynicism, economic drag, and a rock industry increasingly professionalized. Bangs, writing from the collision of critic and fan, hears corporate polish where there should be risk. His rant is a backhanded call for noise, danger, and authenticity - not as nostalgia, but as an antidote to the cultural smoothness that makes “everywhere” feel the same.
The intent is less “things are bad” than “the badness is systemic.” “Mass media” and “television” aren’t singled out as guilty pleasures; they’re presented as the atmosphere. Bangs is mapping the shift from culture as occasional event to culture as constant feed, where saturation breeds numbness. “Boring and really evil” is a key pairing: he’s not moralizing so much as arguing that boredom is the modern sin because it flattens desire, attention, and rebellion. Evil isn’t a shocking act; it’s a baseline condition of ugliness and complacency.
Context sharpens the bite. Post-60s idealism is collapsing into post-Vietnam malaise, Watergate cynicism, economic drag, and a rock industry increasingly professionalized. Bangs, writing from the collision of critic and fan, hears corporate polish where there should be risk. His rant is a backhanded call for noise, danger, and authenticity - not as nostalgia, but as an antidote to the cultural smoothness that makes “everywhere” feel the same.
Quote Details
| Topic | Art |
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