1930s
1) Work on one thing at a time until finished.2) Start no more new books, add no more new material to "Black Spring."3) Don't be nervous. Work calmly, joyously, recklessly on whatever is in hand.4) Work according to Program and not according to mood. Stop at the appointed time!5) When you can't create you can work.6) Cement a little every day, rather than add new fertilizers.7) Keep human! See people, go places, drink if you feel like it.8) Don't be a drought-horse! Work with pleasure
— Henry Miller
Above Constance's desk were nude photographs of women in the 1930s France, draped in provocative poses. She had put them there for Bob's viewing pleasure and in return he had placed African art of naked men above his desk for her.
— Cecelia Ahern
A Jewish woman in exile in the 1930s is an antihero.
— Núria Añó
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 least 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.
— Jeffrey H. Jackson
Driving like a man is one of her few foibles.
— Elizabeth Wein
Every sort of trouble I can think of, we've tried it out-become expert at some of it, even, so much so that I've come to wonder whether artists in particularity seek out hard times the way flowers turn their faces toward the sun.
— Therese Anne Fowler
Fairy tales only happen in movies." -George Meliesfrom The Invention of Hugo Cabaret
— Brian Selznick
For however inhospitable the wind, from this vantage point Manhattan was simply so improbable, so wonderful, so obviously full of promise - that you wanted to approach it for the rest of your life without ever quite arriving.
— Amor Towles
Inspector Milne's suspicious prying appeared to have awakened her inner Bolshevik, and so I discovered my own lady mother is not above quietly circumventing the law.
— Elizabeth Wein
Most of my money remains in England, although my unworthy carcass may not under usual circumstances ...
— Kellyn Roth
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