A Quote by Susan Rosenberg

It was an extreme time, in a certain sense... I was totally and profoundly influenced by the revolutionary movements of the '60s and '70s. — © Susan Rosenberg
It was an extreme time, in a certain sense... I was totally and profoundly influenced by the revolutionary movements of the '60s and '70s.
And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.
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.
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 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.
I came up in a time where the assumption was, in the '60s and '70s, where the federal government was a great agent of progressive social change, it was the intervener in the best sense, and it would come and address injustice forthrightly.
I was influenced by American movies of the '60s and '70s, especially Don Siegel's 'Dirty Harry' and the films of Sam Peckinpah. And, of course, a lot of the film noir movies of the '40s.
As an actor, you have to maximize your time, because you don't know what's going to happen in your 50s and 60s and 70s. It's like the career of an athlete: For many people, it ends at a certain point.
A new breed of Americans born out of the social movements of the 60s and grown into a majority in the 70s holds a set of values so markedly different from the traditional outlook that they promise to transform the character of work in America in the 80s.
The 60s were a continuation of the 50s much more than people realized. Certainly in some countries, like Britain, there was still a culture of deference, whereas in the 70s we really are in a time of angry transition. The generation that came into young adulthood in the 70s couldn't find jobs; that wasn't true in my generation. They entered a time when two depressing things hit them both at the same time.
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.
Whoever sides with the revolutionary people is a revolutionary. Whoever sides with imperialism, feudalism and bureaucrat-capitalism is a counter-revolutionary. Whomever sides with the revolutionary people in words only but acts otherwise is a revolutionary in speech. Whoever sides with the revolutionary people in deed as well as in word is a revolutionary in the full sense.
I grew up in a secular environment, you know, in the '60s and '70s. My mother's family was Catholic, but you know, just very kind of conventionally Catholic. You know, nothing - there was nothing, you know, extreme about their version of religion. And my father was a free spirit, you know? He had no time for religion at all.
I'd pick a young white guy over an old white guy for president anytime because the younger guy is more likely to have been influenced by the great social changes of the '60s and '70s.
First as a peace activist in the late '60s, then as a political activist in the '70s, and then in joining the armed clandestine resistance movement that was developing in the '80s, I am guilty of revolutionary and anti-imperialist resistance.
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.
To be totally honest, I thought I would have a Broadway debut in the distant, distant future, maybe in my 60s or 70s when somebody revived one of my off-Broadway plays with a star.
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