"I never wanted to be a star. I never wanted to be famous. I just wanted to play guitar in a really good rock 'n' roll band"
About this Quote
Slash frames ambition as craft, not celebrity, and that inversion is the whole point. In an era when rock stardom became a brand strategy as much as a byproduct, he insists on a simpler hierarchy: the band first, the guitar second, the spotlight dead last. It reads like humility, but it also works as a quiet flex. Only someone who has actually lived inside the machinery of fame can afford to dismiss it with that kind of clean, declarative shrug.
The intent is to reclaim authorship. “Star” and “famous” are passive roles, things that happen to you and then tell the world who you are. “Play guitar” is active: hours, calluses, repetition, a skill you can measure in rooms and rehearsals. By specifying “a really good rock ’n’ roll band,” he’s not romanticizing struggle; he’s drawing a line against the lone-genius myth. Slash’s identity is inseparable from ensemble chemistry, from the combustible social unit that made Guns N’ Roses feel dangerous and alive.
The subtext also nods to the trade-off fame demands: image discipline, access journalism, the endless obligation to perform a version of yourself offstage. His phrasing suggests that the purest musical life is the one least contaminated by that economy. Coming from a player canonized for riffs that became corporate assets, it lands as a small act of resistance: reducing the legend back to a guy chasing a sound with other guys, loud enough to matter.
The intent is to reclaim authorship. “Star” and “famous” are passive roles, things that happen to you and then tell the world who you are. “Play guitar” is active: hours, calluses, repetition, a skill you can measure in rooms and rehearsals. By specifying “a really good rock ’n’ roll band,” he’s not romanticizing struggle; he’s drawing a line against the lone-genius myth. Slash’s identity is inseparable from ensemble chemistry, from the combustible social unit that made Guns N’ Roses feel dangerous and alive.
The subtext also nods to the trade-off fame demands: image discipline, access journalism, the endless obligation to perform a version of yourself offstage. His phrasing suggests that the purest musical life is the one least contaminated by that economy. Coming from a player canonized for riffs that became corporate assets, it lands as a small act of resistance: reducing the legend back to a guy chasing a sound with other guys, loud enough to matter.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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