Heyday Quotes

“Heyday, now that is a funny word ain't it? Part of a heyday is, you don't never know you are having yourself one till later when it's all over with, long gone.”

“Heyday, now that is a funny word ain't it? Part of a heyday is, you don't never know you are having yourself one till later when it's all over with, long gone.”

“Have you ever felt you were born in the wrong decade, or came just a bit too late and missed out on all the good stuff when it was in its heyday?”

“Romantic poetry had its heyday when people like Lord Byron were kicking it large. But you try and make a living as a poet today, and you'll find it's very different!”

“In its heyday, the car was an expression of technical flair and design genius: the original Mini, the Beetle, the 2CV, and the Fiat 500 were all, in their various ways, inspired incarnations of functionality.”

“If you look at shows like 'Def Comedy Jam' in its heyday, there were so many really funny, talented black comics that never would have gotten on that show because they just weren't doing comedy that fit that mold.”

“People nowadays think of gamebooks as rather old hat - and, after all, it was twenty years ago. In their heyday, though, they were a phenomenon, selling upwards of a hundred thousand units per title. And it's not as old hat as you might think: the same design skills I used in those days apply equally when I'm creating modern videogames.”

“Interestingly, one mate of mine, a proper leftie, in his heyday all Red Wedge and right-on punch-ups, was melancholy. "I thought I'd be overjoyed, but really it's just … another one bites the dust …" This demonstrates, I suppose, that if you opposed Thatcher's ideas it was likely because of their lack of compassion, which is really just a word for love. If love is something you cherish, it is hard to glean much joy from death, even in one's enemies.”

“Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.”

“Siarad Cymraeg?" said Old Shacob."He wants to know if you speak Welsh," said the surveyor."NO!" yelled the official at the old man before him."Tamn it all; his language, man!" shouted Dan. "What you expect in Wales - Chinese, or what?!”