A Quote by Eric Carmen

Democratic foursomes don't work in the '70s like they did in the '60s, when there were fewer musical directions. — © Eric Carmen
Democratic foursomes don't work in the '70s like they did in the '60s, when there were fewer musical directions.
When I go to small races in Denmark, it's what I imagined what F1 would have been like back in the 60s and 70s. After the 70s it became a bit different. But 50s and 60s at least, people were only there because they love it.
I think my very best work came out when I was about 60, not when I was 20. I was publishing all the time when I was in my 20s, and some of those poems I still like. And there were a few after 60, and in my 70s, that I like. But they became fewer and fewer.
I think many of the ideas that opened up in the '60s got implemented in the '70s and that certain minority voices that were not being heard in the '60s, like women and gay people, were being heard in the '70s. Black Civil Rights had also found its foothold, and those ideas were also very pertinent.
In a different moment, in the 60s and 70s, I did believe we were going to succeed - that we were going to create a revolution, that America was going to be a completely transformed nation state and that there would be an amazingly different set of beliefs; that this country would reflect. And I thought that that was the fulfillment of the American democratic dream and I believed in it passionately.
I work in the '60s more than I've done anything else. I did a movie, called 'Down with Love', in the '60s. I did a movie for HBO about the Johnson administration in the '60s.
I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.
Music that was made in the 60s and 70s did come from a really soulful place. The seed for the songs written in the 90s were planted in those songs, even though they were samples.
I am an old-school guitar player. I'm not an '80s-'90s sort of shredder who plays a million notes a minute. I am way more '60s-'70s kind of style, and I write very '60s-'70s.
They use all of the music that I did in the '50s, '60s and the '70s behind people like Tupac and LL Cool J. I'm into all that stuff.
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.
It was good to launch the economy in the '50s. Japan did this; China did this; even South Korea did this. All the East Asians did this - import substitution. I think all countries followed import substitution in the '50s and in the '60s, but I think by the '70s, countries were getting out of that first phase of the strategy.
Like the people that in the 60s or 70s claimed the "end of painting" - all they did was open up a whole new branch for painting. Happily, it doesn't work. It's not a reason for art. Closing something out is not a reason for something to exist.
In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.
I remember, when I was a kid in the '70s and '80s, the '50s were really cool. And then the '60s were really cool. And then the '70s.
Sports figures are to the '70s what movie stars were to the '60s.
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