A Quote by David Harewood

My parents came over from Barbados in the late 1950s and early '60s. — © David Harewood
My parents came over from Barbados in the late 1950s and early '60s.
I think it's true about people now being closer to their parents, since the '60s, really. The parents are no longer from a different planet, the 1950s ideas of American family. We could be friends with our parents. After the '60s, it wasn't like a person smoking pot was what the parents would be appalled at.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
I was reared on American TV and films. There was a huge sense of occasion about going to the cinema in Moy in the late 1950s and early '60s, and I absolutely loved those Hollywood sword-and-sandal movies like Ben-Hur and the dime-a-dozen cowboy-and-Indian films, as we then referred to them.
I came up at a time in the late '60s, early '70s where music was without boundaries. You'd go into a music store, and the music was in alphabetical order. I hadn't heard of that word 'genre.'
When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
There was a sea of change in comedy in the late 1950s and '60s. We were dealing with vignettes as opposed to jokes. We were more socially aware.
When I was a kid in the late '60s and early '70s, my parents and their friends would play the records of Andy Williams, Dean Martin, Frank Sinatra, and Perry Como, music with string arrangements and men singing songs that sounded sad whether they were or not.
When I began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. And all of those things affected me and affected my thinking, particularly the Vietnam War.
My mother's sister married a man from Barbados, and my cousins were raised in Barbados. So we traveled down there, they came up every summer for camp, and I started paying attention to their music. And that was the first place I ever remember hearing reggae and liking it.
I used to smoke marijuana. But I'll tell you something: I would only smoke it in the late evening. Oh, occasionally the early evening, but usually the late evening - or the mid-evening. Just the early evening, midevening and late evening. Occasionally, early afternoon, early mid-afternoon, or perhaps the late-midafternoon. Oh, sometimes the early-mid-late-early morning. . . But never at dusk!
My parents came to America in the late 1960s because my father studied for a Ph.D. in Indiana. My mother joined him later. We had ancestors who came over at the turn of the century. One worked in a laundry, as is typical of Chinese-American immigrants.
Confidence is something one acquires. It can come early or late but it is impossible to write without it. Mine came late.
I'm a child of the '60s, I came of age then. I went to a couple of demonstrations, and then in the late '60s when the Vietnam anti-war movement grew as the Vietnam War was heating up, I became very involved in that.
I lived in France during the '60s. I was there from the early '60s until 1970, so my view of the '60s is more global. It was a time of tremendous transition, not only for America but for the whole world.
Well, probably the best way to put it might be that at some time, not just in an instant, but over some period of time I became aware of the fact that I wanted to document examples like Kroger or Piggly Wiggly in the late '50s, early '60s.
I love watching the romantic comedies of the late '50s and early '60s. I used to have a rule that if Tony Randall's in it, it can't be bad.
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