A Quote by Meghan Daum

I always lamented that I wasn't a writer during the late '60s and the early '70s, with the New Journalism and Tom Wolfe and Hunter Thompson and all those people. — © Meghan Daum
I always lamented that I wasn't a writer during the late '60s and the early '70s, with the New Journalism and Tom Wolfe and Hunter Thompson and all those people.
David Blum burned a lot of bridges. He burned people early in their careers. He took on the wrong people, though. He's not Hunter Thompson or Tom Wolfe, he's David Blum living in a cheap flat.
I think it may have been Tom Wolfe (if it wasn't, my apologies, Tom, and my apologies to whoever it was) who said in print once, 'David Carradine lives the life that Hunter Thompson only writes about.'
I cling to the basic set of tenets laid out in Tom Wolfe's 'New Journalism' - to get out there like the great French novelists of the 19th century and study life. I am a Tom Wolfe fan of the first order.
My mother had her dresses made. In those days in Chile, the early '70s, people had dressmakers make their things. With the leftovers, my sister and I always had a matching outfit. She had an outfit, we had the mini version. That was the very late '60s, early '70s way to dress your kids.
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.
Those late '60s early '70s bands would take it really far out and get super-weird.
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.
Nobody becomes Tom Wolfe overnight, not even Tom Wolfe.
Well, I think one of the reasons Chicago became so popular as a filmmaker location is because New York had been used so many times that Chicago, I think, was rediscovered maybe in the late '60s, early '70s for a long time as a new location.
One of the great pleasures of reading Tom Wolfe - of still reading Tom Wolfe - is the sense of awe he consistently inspires.
I knew Hunter Thompson since the '70s, and I loved him, but he would wear me out as I got older.
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.
I'm not a big crime reader, but I'm reading Michael Connelly's 'The Reversal.' I'm going back to his novels. I'm also reading Keith Richards' 'Life.' I'm always fascinated by the transition from the innocent late '60s and early '70s and the youth culture becoming an industry.
February was always the cruelest month for Hunter S. Thompson. An avid NFL fan, Hunter traditionally embraced the Super Bowl in January as the high-water mark of his year.
Like my fictional protagonist Tom Thorne, I love country. My tastes go back a bit further than his do, and I still listen to stuff from the late '70s and early '80s.
My mother was in the kind of late-'60s, early-'70s origins of female emancipation. And she was very much like, 'You're not going to be defined by how you look. It's going to be about who you are and what you do.'
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