In the wintertime, in the snow country, citrus fruit was so rare, and if you got one, it was better than ambrosia.
James Earl JonesRead
I got out of the Army - in my world - I came to New York, for instance, when the civil rights movement was just beginning, and that created a certain energy, a certain rumble, a certain impetus for black actors.
Interpretation
James Earl Jones reflects on the transformative energy of the civil rights movement for black actors in New York.
In this quote, James Earl Jones expresses how the civil rights movement, which gained momentum during his time after leaving the Army, energized and inspired the landscape for black actors. He suggests that the social upheaval and striving for equality during that period created new opportunities and a vibrant environment for artistic expression among African American performers, thus highlighting the intersection of social change and the arts.
In practice
During a discussion on the impact of social movements on the arts.
In the wintertime, in the snow country, citrus fruit was so rare, and if you got one, it was better than ambrosia.
More and more, when I single out the person out who inspired me most, I go back to my grandfather.
Love was just a word to me. Until you came along and gave it meaning.
The goal wasn't to be a millionaire or to be a Hollywood star. That was not the goal. The goal was something about - the goal was to find the goal, but I knew where it was.
Just so you know, there's a space that only you can fill. Just so you know, I loved you then, I guess I always will.
You sang in church, you know, and you didn't act at all. You tried not to act, you tried to tell the truth. The idea of being a troubadour on the road singing for your supper was very disturbing to him.
You say a new era in art is preparing; you sensed it coming; continue your studies without weakening. God will do the rest.
The art of tomorrow will be a collective treasure, or it will not be art at all.
For it would seem - her case proved it - that we write, not with the fingers, but with the whole person. The nerve which controls the pen winds itself about every fibre of our being, threads the heart, pierces the liver.
No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
It is not enough to place colors, however beautiful, one beside the other; colors must also react on one another. Otherwise, you have cacophony.
Man must speak, then sing, then dance. The speaking is the brain, the thinking man. The singing is the emotion. The dancing is the Dionysian ecstasy which carries away all.
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