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Here we were supposedly changing the world for the better in the Sixties, but as we get 40 years further down the line, we realise that some of those changes such as the drugs probably weren't all that great or sensible. It was all about social experiments.
The Sixties - I had to have my foot in everything then. I'm doing the same thing now but through an intermediary. You know. The food company. Maybe that's the way to go about it. You go right straight into the inferno, and when you get older, you pull back.
I don't even know what a hippy is. I mean, hippy is an evolution of the Sixties movement. A time when people were trying to make a difference, trying to write songs that were political. People grow old. The hippy camp kind of breaks off into different sects.
Look at the movies of the sixties and seventies. They were making a different kind of movie then. Would 'Network' ever be made now? No. Would 'Kramer vs. Kramer' ever be made now? No. Would 'Tootsie' ever be made now? Probably not. Robert Altman films? Never.
In the fact that 'Vogue' is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.
I came through the Sixties so I was perfectly aware of drug-taking but I came from South Africa and we were brought up in quite an old-fashioned way. If I went to a rave or a party, I'd be behind the barbecue flipping the burgers. I wasn't out there partying.
I remember 'The Norfolk Journal and Guide,' which is a black newspaper that still exists, but it was really influential, as you can imagine, in the Forties, Fifties, and Sixties. But all of their archives are online and digitized, and it was a really great resource.
In the future, people will blame the Eighties for all societal ills in the same way that people have previously blamed the Sixties. The various Thatcherite Big Bangs - monetarism, deregulation, libertarianism - have been working their way through the culture ever since.
England was always very special. It was so important because the reason Benny and I started writing was the Beatles. During the Sixties, England was everything. To be number one in England was more important than being number one in America because England set the tone.
The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.
Millions of people die every day. Everyone's got to go sometime. I've came by this particular tumor honestly. If you smoke, which I did for many years very heavily with occasional interruption, and if you use alcohol, you make yourself a candidate for it in your sixties.
Well I'm a very similar age to Prince Charles. I'm a year older than him. I was at university at the same time as him. I think in the sixties, like all the Royals, he really had very little impact on my life at all and he seemed, if anything a lot older in his attitudes.
I first came to Brazil in the Sixties. Then I started coming back every year since touring most of the country. I grew to love it, the people, the music. I thought this is where I belong. I've been living in Brazil for the past 23 years. I call it my stress-free country.
I knew that if I wrote a new book every six months or every year, if I continued to read great books, eventually I would write something worthy of publication. I understood I might be in my forties or my fifties or even my sixties, but I felt confident that it would happen.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
I grew up on all of the great spy movies and TV series of the Sixties - not just Bond, but Derek Flint and the Avengers and Modesty Blaise and the Man from UNCLE and on and on. Every time I sit down to work on Cinderella, I'm writing a love letter to all of those characters.
I've been an art collector since the Sixties, and I kept it very separate from my showbusiness career. I've had art shows since the early Nineties, a museum show that travelled to four countries. I've had three or four art books; it's just another way I have to tell stories.
I went to the big Picasso retrospective at the Tate in the sixties, and I think I went to an Andy Warhol retrospective at the Tate in the sixties, too. My mother was very good at taking me to things like that. We lived in Reading, but we went on these cultural trips to London.
Obviously, the Sixties was a time when everyone wanted to experiment, and then everything became very formulated and corporate, so artists tended to get pushed into a kind of pattern. Now, I think that has continued with the emergence of televised talent shows like 'X Factor.'
The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.
Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'
I'm a child of the sixties. I grew up with a president who was a crook, who put us into the most unpopular war in history, who had no communication with people under thirty. I had seen the Symbionese Liberation Army and the Panthers and the Diggers; I understood what they were about.
In the late Fifties and early Sixties, opposition to state terror and aggression and torture and so on was zero. That was a horrible time: the massive Kennedy terror operation against Cuba, the first attacks on Vietnam in 1962, the imposition of national security states in South America.
You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.
Where Charlie Christian left off, Papoose started a new thing; he was an innovator of the guitar. The things he did during his recording career with Fats Domino in the Fifties and Sixties until the day he died was as much a part of the music of New Orleans as anybody else has had to offer.
I think the Sixties in some ways is a barrier to young people today. They think of it, you know, what we're doing is not that. But it's partly the myth of the Sixties. It always felt embattled and small. It always, almost always, was a small group of people relative to the opposition around.
The Fifties and Sixties were years of unreal optimism about weather forecasting. Newspapers and magazines were filled with hope for weather science, not just for prediction but for modification and control. Two technologies were maturing together: the digital computer and the space satellite.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
I've bought clothes based on record covers. Particularly from the formative music that turned me onto it in the first place when I was a kid, with the Beatles and the Small Faces. A lot of those Sixties soul artists were in really sharp sharkskin or mohair suits, and Motown artists looked amazing.
I liked back in the sixties where you'd turn on the radio and go 'Oh that's Hendrix, that's Creedence Clearwater, that's The Doors, there's The Grass Roots, The Monkees, there's Big Brother.' You could just instantly hear it and tell. But in the eighties and nineties there's no way you could do that.
Generally, older people in their fifties, sixties, and seventies are running most countries and are CEOs of corporations. Which isn't to say there aren't entrepreneurs, but if the young were better in every respect, there'd be no reason for the old. Our life span reflects our particular life strategy.
The nineteenth century, especially the second half of it, was a time of restatement in Ireland. After the famine, after the failed rebellions of the Forties and Sixties, the cultural and political desires for self-determination began to shape each other in a series of riffs on independence and identity.
My dad is Chinese, and my mom is a white American, and they married only ten years after the United States Supreme Court ruled that it was illegal to ban mixed marriages. Imagine that. Marriages between people of different races - now common and accepted - were illegal in many states up until the late Sixties.
I started to read James Baldwin very early on in my life. At a time, as a young adult in the Sixties, when there were not that many authors in whom I could recognize myself, he was an important guide and mentor to me, as he was to many others. He helped me understand who I was and decipher the world around me.
When I first started playing, I plunked away just like everyone else. During the Sixties I played in a blues band for a few years, and I liked it. It wasn't until I was playing for a while that I made the decision to change my style from a percussive to more of a legato approach. I just wanted a different sound.
I've got quite an old-fashioned figure. Back in the Sixties, girls had boobs, a tummy and wide hips, and bigger thighs as well. I think that's sexy - to me, that's what a woman looks like. I've got love handles - sometimes they're passion handles! I'm built for comfort, not for speed, and I like that about myself.
As young parents of three girls, living in California during the late Sixties and early Seventies, Meredith and I couldn't help but be aware of the rising level of dialogue, debate, commentary, and proclamations about the place of women in society and about how to raise females in light of this raised consciousness.
I grew up in Columbia, Maryland, a planned community built during the sixties. During the early years, it was very integrated. I grew up being taught by black teachers with black principals and vice principals and, you know, a lot of black friends. We played in mixed groups, and I kind of thought that was how it was.
The Sixties are most generously described as a time when people took part - when they stepped out of themselves and acted in public, as people who didn't know what would happen next, but who were sure that acts of true risk and fear would produce something different from what they had been raised to take for granted.
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a 'Greatest Generation' of artists, but if we're going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties.
I love the Sixties with Julie Christie and Jane Birkin - those natural English beauties. That's the look that is most me, when I wore the tight-to-the knee dresses. I don't think I bleached my hair until I was 20. I like experimenting for big occasions, though. You've always got to do a bit of a number for the birthday!
In the Sixties, there were no guidebooks to Asia, at least none that suited young shoestring travelers. No one on the hippie highway carried a copy of Fodor's 'Islamic Asia.' The route to spiritual enlightenment wasn't revealed in the pages of the latest Baedeker. Intrepids were on a journey of spontaneity and reinvention.
I was a guitar player in a band that had two keyboard players, sometimes two other guitarists, a bass player, and a drummer, four or five singers, and percussion. We did a two-and-a-half hour show where the music spanned from the early Sixties to the present. Whereas the David Lee Roth thing was like, Now. Very big and intense.
I was born in 1952, so obviously the sixties were important. That's when I came of age. It was also a revolutionary period, a complete break with the generation before us in terms of culture, literature, music, and in politics, of course. 1968 was an important year; I was 16, and the world became clear to me, visible, so to say.
My first synthesizer was the VCS3. I got it in Bristol in the late Sixties, long before Pink Floyd used them. I had to sell an acoustic guitar and an old reel-to-reel tape recorder to raise the money. You can do fantastic things with modern computers, but you cannot use them in the same intuitive, spontaneous way you can a VCS3.
Originally, I was against gay marriage because I was opposed to all marriage, being an old-fashioned gay bohemian. The straight people I knew in the sixties were very much opposed to it. I was, too, and it was never a possibility for gays, but when I saw how opposed the Religious Right was to it, I thought it a fight worth fighting.
I think The Doors are one of the classic groups, and I think we're all tempted to feel like the time in which we grew up was somehow special, but I really do believe that there were two golden eras in music: The Forties and Fifties of big band, jazz and swing, and the Sixties and Seventies of rock. To me, they're really unparalleled.
I suppose the book I really remember loving as a child was one called 'The Outsiders' by S.E. Hinton, about a gang of kids from the wrong side of the tracks in Sixties Oklahoma. I grew up in the Eighties in Nottinghamshire, but this tale of troubled, but essentially good, kids - or 'greasers' - was something I completely connected with.
In many ways, everything about my upbringing decreed that I wouldn't write a memoir because in the world where I grew up, in Chicago in the Fifties and Sixties, one key way of protesting ourselves - 'we' meaning black people - against racism, against its stereotypes and its insults, was to curate and narrate very carefully the story of the people.