A Quote by Robert Morgan

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. — © Robert Morgan
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.
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.
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.
In the late 60s, 70s and possibly early 80s, social scientists were interested in researching the diffusion of innovation and studying the link between applied research and policy and program development. Recently there has been less interest in these issues and we feel that this interest must be rekindled.
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.'
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.
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.
I had been thinking about rubber all along. Like as the novel's element, or base material. A lot of artists in the late '60s and early '70s worked with rubber and other forms that seemed like they connoted industrial detritus. Robert Morris, Eva Hesse.
There was a period of time when I was very political, when I was at the university. It was like the late '60s, early '70s and I was a dissident like everybody else I guess. Now I follow it but there's nothing that really grabs me. The most fascinating thing to me right now is China.
The video for 'Whatever' is kind of a documentary in a way. It's showing that love can last. Not just in your early 20s or your late 30s, but in your 50s, 60s and 70s. There's an awful myth out there that when you get married, love and lovemaking fade. It's not true.
Some autistic children cannot stand the sound of certain voices. I have come across cases where teachers tell me that certain children have problems with their voice or another person's voice. This problem tends to be related to high-pitched ladies' voices.
It seems to me that the desire to make art produces an ongoing experience of longing, a restlessness sometimes, but not inevitably, played out romantically, or sexually. Always there seems something ahead, the next poem or story, visible, at least, apprehensible, but unreachable. To perceive it at all is to be haunted by it; some sound, some tone, becomes a torment — the poem embodying that sound seems to exist somewhere already finished. It’s like a lighthouse, except that, as one swims towards it, it backs away.
I like 'Reanimator,' and I like 'Evil Dead 2.' But I really like the Corman movies from the late '60s and early '70s, and my favorite is 'The Mask of Red Death' with Vincent Price because - spoiler alert - but at the end of the movie, Vincent Price, he's the evil prince, and to kill him, his court just, like, dances at him.
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.'
I think when we do our job right, our artists don't sound like anybody else. I have a real hard time with voices that sound like other big voices.
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