Quotes About 1960s

A six-week trip to China in 1973 convinced me—if I needed convincing—that the autonomy of the aesthetic is something to be protected, and cherished, as indispensable nourishment to intelligence. But a decade-long residence in the 1960s, with its inexorable conversion of moral and political radicalisms into "style," has convinced me of the perils of over- generalizing the aesthetic view of the world.

I think the 1960s were really about consciousness, a unique moment when I became we.

When I was a small child in London in the early 1960s, I had whooping cough. Then, when I was ten, I had a bone infection called osteomyelitis. I was given antibiotics, and I remember being really groggy and in pain.

My mother helped to integrate the local elementary school in the nineteen-sixties.

The fights for media justice and racial justice have been intertwined since the 1960s Civil Rights Movement.

When I began to interview people from the '60s, my first question was always, 'What was your favorite record?'

Oh, yeah. I grew up in Southern California in the 1960's. It was very different. I was an only child as opposed to having siblings. My brothers all lived with my step-mom. I am very close to them, but we were not raised in the same house.

When I was a young priest in the 1960s and 1970s, there was much experimentation and confusion in the Church. Teachers and clergy were encouraged to communicate an experience of God's love, but to do it without reference to the Creed, the sacraments, or the tradition.

There's no dancer alive better than those of the 1950s and 1960s. It's only the energy that changes. Every now and then, someone like me comes along, and people say, 'Oh, this guy is this new thing.' But that's not so. There is no me without them. The tradition just goes on.

Tokyo in the late 1960s seemed to be like one of the futures that science fiction presents. Here was the proto- super-technology of the future, electronically, robotically, blahblahblah, intercut with traditional Japanese cultural patterns, Shinto patterns.

I first came across the Anders Army story by accident. When I first went to live in Oxford in the 1960s, I discovered that some of my close neighbours had been on the Anders trail.

By the early 1970s, when I went to college, everything you heard about LSD seemed calculated to terrify. It worked on me: I'm less a child of the psychedelic 1960s than of the moral panic that psychedelics provoked. I also had my own personal reason for steering clear of psychedelics: a painfully anxious adolescence that left me (and at least one psychiatrist) doubting my grip on sanity.

The loudest and most authoritative voices in the debate over psychedelics in the 1960s were precisely the people who knew the least about them.

I think the '60s were an extraordinary time. I feel bad for the kids today who missed this wonderful confluence, which was simultaneously a confluence of the global and the mythological.

As well as being a creative genius, Vidal Sassoon was a formative figure of the Sixties. Along with the Pill and the mini-skirt, his influence was truly liberating.

In the late 1960s, I ended up in Telluride, Colorado. It wasn't like the country club that it is now. It was very raw. Skiing was there, but snowboarders have now entirely overrun it.

I was born in the '60s and grew up in the '70s - not exactly the best decade for food in British history. It was horrendous. It was a time when, as a nation, we excelled in art and music and acting and photography and fashion - all creative skills... all apart from cooking.

I would love to have played in the '60s. Now that would have been fun.

I always loved the idea of a spy movie and part of it came from my personal love of spy movies. It started when I was growing up as a little kid in the 60s.

Anytime someone says we're channelling 1960s, I'm like, I'm in, I love it.

In the 1950s and 60s, geopolitical intrigues did not much engage masses in Asia and Africa; it was something for elites to sort out.

Back then, I, most rockers loved Chuck Berry, Little Richard, Jerry Lee Lewis... you know in the '60s.

I've got a Fender Concert amp from the '60s, the one Joe Osborn used. He played his bass through it.

I grew up in the 60s, and before the 60s, my father was into Elvis Presley and Johnny Cash, so I heard those records all the time and soaked that up.