There’s a big difference, as I’m sure you know, it’s a slightly manneristic one, between people of the ’60s and people of ’68. Being a soixante-huitard – it’s so nice to have a French word for it – is very different from just having happened to been a baby boomer in the ’60s.

My grandfather lived to be late 90s on one side and on the other side, 70s or something. And my father died young, at 63. But he didn’t take very good care of himself.

There were some great clinicians in the 20th century – great men. Freud was a genius; Jung was a genius, Carl Rogers was a genius – there’s a half-dozen psychologists of the 1950s and humanists of the 1960s.

The 1950s and 1960s had been a period of enormous growth, the highest in American history, maybe in economic history.

If you’d have said Evangelical in 1957, most people wouldn’t know what you were talking about. And then, they’d be against it.

One of the most interesting reactions to come out of 1968 was in the first publication of the Trilateral Commission, which believed there was a ‚crisis of democracy‘ from too much participation of the masses.

In my father’s generation, the product was 80 percent of what you were putting into the world, and your personal life was 20 percent. It now seems that 80 percent of the product I put out is silly, made-up stories and what I’m wearing.

When I began in 1960, individuality wasn’t an accepted thing to look for; it was about species-specific behaviour. But animal behaviour is not hard science. There’s room for intuition.

For me, there are two types of people: the young and the experienced.

Nineteen sixty-eight was one exciting moment in a much larger movement. It spawned a whole range of movements. There wouldn’t have been an international global solidarity movement, for instance, without the events of 1968. It was enormous, in terms of human rights, ethnic rights, a concern for the environment, too.

I felt Clinton represented the worst of the 1960s.

Trap is new. It didn’t start yesterday, but when I was 5, it didn’t exist – not even in the U.S. I’ve evolved with the music.

The thing the sixties did was to show us the possibilities and the responsibility that we all had. It wasn’t the answer. It just gave us a glimpse of the possibility.

During the 60’s, I was, in fact, very concerned about the civil rights movement.

In the ’60s and ’70s and early ’80s, the trainers would grind you, and eventually they would break something – they would break an ankle in ways that it would heal. It was just the way of the business, to ensure that you learned respect for wrestling.

My parents met when they were graduate students at UC Berkeley in the 1960s. They were both active in the civil-rights movement.

People today are still living off the table scraps of the sixties. They are still being passed around – the music and the ideas.

My dad was into the 1950s doo-wop era. If you look at those groups, or at James Brown, Jackie Wilson and the Temptations in the 1960s, you’ll see you had to be sharp onstage.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

In the late 1960s, the masses were supposed to be passive, not entering into the public arena and having their voices heard.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

My kids are coming up in a different time then me. Interracial couples are of the norm. With me, it’s about making sure my kids understand the importance of education and having opportunities that I didn’t. My goal as a parent is to make sure they don’t take what they have for granted.

We stand today on the edge of a new frontier – the frontier of the 1960’s – a frontier of unknown opportunities and perils – a frontier of unfulfilled hopes and threats.

My company survives because I’ve learned to respect the ideas of people younger than me and recognize when my wisdom is obsolete.

I like Italian movies. I was frequently there in the ’60s, in Rome and the vicinity. It was a great period in life. I was very influenced by their stuff.

My daughter doesn’t even get my humor. She’s like, ‚Um, no. I don’t get it, Dad. Mmm, no, not that one, Dad.‘

I’m not suggesting people abandon musical instruments and start playing their cars and apartments, but I do think the reign of music as a commodity made only by professionals might be winding down.

In the 1960s, there was a point, 1968, ’69, when there was a very strong antiwar movement against the war in Vietnam. But it’s worth remembering that the war in Vietnam started – an outright war started in 1962.

I’m a lad of the ’60s. I started a magazine to try and end the Vietnam war, but it was a number of years before I had the profile, the financial resources and the time to do more.

Are we simply waving farewell to the days when some of the most interesting thinking in Europe and America came to us from our fiction film-makers? BBC2, which once introduced and showed great films, now shows none.

By 1960, the South Africans knew that they were becoming a pariah state.

The prospect of dating someone in her twenties becomes less appealing as you get older. At some point in your life, your tolerance level goes down and you realize that, with someone much younger, there’s nothing really to talk about.

Just as the humble, unassuming, assenting ‚O.K.‘ has deposed the more affirmative ‚Yes,‘ so the little cringe and hesitation and approximation of ‚like‘ are a help to young people who are struggling to negotiate the shoals and rapids of ethnic identity, the street, and general correctness.

By the mid-’60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

In the late Fifties and early Sixties, opposition to state terror and aggression and torture and so on was zero. That was a horrible time: the massive Kennedy terror operation against Cuba, the first attacks on Vietnam in 1962, the imposition of national security states in South America.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.