“The only problem with the Angels' new image was that the outlaws themselves didn't understand it. It puzzled them to be treated as symbolic heroes by people with whom they had almost nothing in common. Yet they were gaining access to a whole reservoir of women, booze, drugs and new action -- which they were eager to get their hands on, and symbolism be damned. But they could never get the hang of the role they were expected to play, and insisted on ad-libbing the lines. This fouled their channels of communication, which made them nervous ... and after a brief whirl on the hipster party circuit, all but a few decided it was both cheaper and easier, in the long run, to buy their own booze and hustle a less complicated breed of pussy.”

“The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless.”

“Now, looking for labels, it is hard to call the Hell's Angels anything but mutants. They are urban outlaws with a rural ethic and a new, improvised style of self-preservation. Their image of themselves derives mainly from Celluloid, from the Western movies and two-fisted TV shows that have taught them most of what they know about the society they live in. Very few read books, and in most cases their formal education ended at fifteen or sixteen. What little they know of history has come from the mass media, beginning with comics ... so if they see themselves in terms of the past, it's because they can't grasp the terms of the present, much less the future. They are the sons of poor men and drifters, losers and the sons of losers. Their backgrounds are overwhelmingly ordinary. As people, they are like millions of other people. But in their collective identity they have a peculiar fascination so obvious that even the press has recognized it, although not without cynicism. In its ritual flirtation with reality the press has viewed the Angels with a mixture of awe, humor and terror -- justified, as always, by a slavish dedication to the public appetite, which most journalists find so puzzling and contemptible that they have long since abandoned the task of understanding it to a handful of poll-takers and "experts.”

“My own acid-eating experience is limited in terms of total consumption, but widely varied as to company and circumstances ... and if I had a choice of repeating any one of the half dozen bouts I recall, I would choose one of those Hell's Angels parties in La Honda, complete with all the mad lighting, cops on the road, a Ron Boise sculpture looming out of the woods, and all the big speakers vibrating with Bob Dylan's "Mr. Tambourine Man." It was a very electric atmosphere. If the Angels lent a feeling of menace, they also made it more interesting ... and far more alive than anything likely to come out of a controlled experiment or a politely brittle gathering of well-educated truth-seekers looking for wisdom in a capsule. Dropping acid with the Angels was an adventure; they were too ignorant to know what to expect, and too wild to care. They just swallowed the stuff and hung on ... which is probably just as dangerous as the experts say, but a far, far nuttier trip than sitting in some sterile chamber with a condescending guide and a handful of nervous, would-be hipsters.”

“There is an important difference between the words 'losers' and 'outlaw.' One is passive and the other is active, and the main reason the Angels are such good copy is that they are acting out the day-dreams of millions of losers who don't wear any defiant insignia and who don't know how to be outlaws. The streets of every city are thronged with men who would pay all the money they could get their hands on to be transformed-even for a day-into hairy, hard-fisted brutes who walk over cops, extort free drinks from terrified bartenders and thunder out of town on big motorcycles after raping the banker's daughter. Even people who think the Angels should all be put to sleep find it easy to identify with them. They command a fascination, however reluctant, that borders on psychic masturbation.”

“For several months they'd been drifting toward political involvement, but the picture was hazy and one of the most confusing elements was their geographical proximity to Berkeley, the citadel of West Coast radicalism. Berkeley is right next door to Oakland, with nothing between them but a line on the map and a few street signs, but in many ways they are as different as Manhattan and the Bronx. Berkeley is a college town and, like Manhattan, a magnet for intellectual transients. Oakland is a magnet for people who want hour-wage jobs and cheap housing, who can't afford to live in Berkeley, San Francisco or any of the middle-class Bay Area suburbs. [10] It is a noisy, ugly, mean-spirited place, with the sort of charm that Chicago had for Sandburg. It is also a natural environment for hoodlums, brawlers, teenage gangs and racial tensions.The Hell's Angels' massive publicity -- coming hard on the heels of the widely publicized student rebellion in Berkeley -- was interpreted in liberal-radical-intellectual circles as the signal for a natural alliance. Beyond that, the Angels' aggressive, antisocial stance -- their alienation, as it were -- had a tremendous appeal for the more aesthetic Berkeley temperament. Students who could barely get up the nerve to sign a petition or to shoplift a candy bar were fascinated by tales of the Hell's Angels ripping up towns and taking whatever they wanted. Most important, the Angels had a reputation for defying police, for successfully bucking authority, and to the frustrated student radical this was a powerful image indeed. The Angels didn't masturbate, they raped. They didn't come on with theories and songs and quotations, but with noise and muscle and sheer balls.”

“All around us were people I had spent ten years avoiding--shapeless women in wool bathing suits, dull-eyed men with hairless legs and self-conscious laughs, all Americans, all fearsomely alike. These people should be kept at home, I thought; lock them in the basement of some goddamn Elks Club and keep them pacified with erotic movies; if they want a vacation, show them a foreign art film; and if they still aren't satisfied, send them into the wilderness and run them with vicious dogs.”