The Arab spring that began in 2010 was driven by the educated youth who were connected to the outside world. They had visions of liberal politics derived from social networks. They used innovative means to spread awareness and to network among activists.
Looking forward, we see that it is the youth of today who hold the key to tomorrow. And we can help unlock it.
Civil rights happened because youth got involved. The youth stood up and helped to break the pattern that their parents had got accustomed to living. The next generation has to take that stand for whatever it is, socially, that they are involved in.
I have never known a man who was sensual in his youth, who was high-minded when old.
The proud decades of victorious advance of the Juche-oriented youth movement are associated with the invaluable blood and sweat and heroic exploits of the young people who fought self-sacrificingly for the Party, the leader, the country, and the people.
In publishing 'JFK: Reckless Youth' almost twenty years ago, I had gotten into trouble myself with the Kennedys. Not because of my portrait of JFK - which was highly laudatory - but because I had described his parents, Joseph P. Kennedy and Rose Fitzgerald Kennedy, in less-than-flattering terms.
We need punk now; we need it more than ever. We need rebellion by youth.
I don't even think places like the National Youth Theatre (NYT) are necessarily about wanting to be an actor when you grow up. They're about meeting people from different backgrounds and different religions and different cultures, and mixing with people that you wouldn't ordinarily meet.
I was entirely natural and in many ways I have the same attitude now. I don't mourn the loss of my youth because I believe you should enjoy what you have while you have it.
Urbanisation, poverty, youth unemployment are leading to violence-prone cities.
Reading 'Youth in Revolt' might have ruined my career because suddenly I wanted to abandon all the emotional truth of something and just go out far on a literary limb with completely implausible things that relied completely on voice and humor. And what saved me is realizing that I couldn't do that very well.
I discovered philosophy in my youth when I read 'wildly,' and thus I was exposed to the world of ideas.
I'm not a big crime reader, but I'm reading Michael Connelly's 'The Reversal.' I'm going back to his novels. I'm also reading Keith Richards' 'Life.' I'm always fascinated by the transition from the innocent late '60s and early '70s and the youth culture becoming an industry.
I've achieved 'the American dream.' I feel it's my duty to help others achieve their vision, too - especially the youth.
I write incredibly slowly. And, on top of that, I spent my entire youth and twenties working like a dog, so one of the things that happened when I finished 'Drown' was that I got busy living. I'd never travelled, I'd never seen anything. So I did as much travelling as my job teaching would allow.
I come from a very humble background. My father had to work really hard to become an assistant director. For a large part of his youth, he worked in a mill and took up odd jobs to make ends meet. We lived in a small room and could only afford a meal a day.
I live in that solitude which is painful in youth, but delicious in the years of maturity.
I think that what I'd like to instil is that if you join the youth theatre, it's a gateway into greater career prospects.
As someone who runs a solar financing company and founded the world's largest youth clean energy organization, I know solar energy is a very good investment.
The youth of an art is, like the youth of anything else, its most interesting period. When it has come to the knowledge of good and evil it is stronger, but we care less about it.
An economically peaceful and prosperous Sri Lanka is the dream of youth of the nation. My message for the youth is to collectively work for an inclusively developed Sri Lanka.
I did not set out to write another novel. One day I sat down with the thought of trying my hand at a piece of nonfiction, a personal memoir of youth, but over the next several weeks, without intending it, the work began evolving into what has become 'Tomcat in Love.'
Except for a short period at the end of World War II, I attended an elementary school affiliated to Kobe University from ages six to twelve and then moved on to Nada Middle and High School from ages twelve to eighteen. I enjoyed many out-door activities in my youth.
For them who delay aging, who infuse decrepit bodies with youth and beauty - they must rejoice in the fullness of their deeds.
I think ancient cultures incorporated death into the experience of life in a more natural way than we have done. In our obsessive focus on youth, on celebrity, our denial of death makes it harder for people who are grieving to find a place for that grief.
The things that people won't totally accept come in all shapes and sizes and forms, and I can relate to that in my own youth.
The heroes of our youth grow old - 'the boys of summer in their ruin', in Dylan Thomas's verse - yet we seem the same.
