A Quote by Roselee Goldberg

My art history papers were really politics. They were about the manifestation of culture through the eye of political events. So there was always that refusal to settle in one place, or one discipline or medium.
The telling of stories, like singing and praying, would seem to be an almost ceremonial act, an ancient and necessary mode of speech that tends the earthly rootedness of human language. For narrated events always happen somewhere. And for an oral culture, that location is never merely incidental to those occurrences. The events belong, as it were, to the place, and to tell the story of those events is to let the place itself speak through the telling.
There's no hidden agenda, no political agenda [in Patriots Day]. The only politics we were really talking about was the politics of community, the politics of social love.
There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.
Growing up in the '80s, questions of style and music and youth culture all seemed inherently political - like gay rights issues, dressing up, wearing makeup, arms protests. A lot of attitude and opinions were expressed through clothes, and they all were meaningful. So in that way, I was so excited about the connection between our private lives and politics - who I kiss, how I like to dance.
When I was starting, I was working with actors who came up through the rep system, and they understood the discipline required: you were never late for rehearsal, you were never not ready to go on, you were always prepared; it was about showing respect to the rest of the company.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
As a composer, I believe that music has the power to inspire a renewal of human consciousness, culture, and politics. And yet I refuse to make political art. More often than not political art fails as politics, and all too often it fails as art. To reach its fullest power, to be most moving and most fully useful to us, art must be itself.
I don't mind being labeled as a political songwriter. I've chosen to do that. What really annoys me is being dismissed as a political songwriter. That really pains me, because life isn't all about love; it's not all about politics, either. It's a beautiful mixture of events that absolutely baffle you, and you think, "Why can't I do something about that?", whether those events are in your bedroom, or out there in the wide world. In our daily lives we engage with them at different times, and I'm trying to write about the whole human experience, or my perspective on it anyway.
I think any information about any type of art form, it's always the right time. But since the last one, I could see there were many things about the culture of DJing that we don't really talk about. We don't really look at how the music is made, how it's conceptualized, how it's put together. We talk about the equipment and the software, but we don't talk about the reasons why we put the music together in the first place.
Fashion is not just about trends. It's about political history. You can trace it from the ancient Romans to probably until the '80s, and you can see defining moments that were due either to revolutions or changes in politics.
The country and culture commonly known as "America" had had a badly split personality all through its history. Its overt laws were almost always puritanical for a people whose covert behavior tended to be Rabelaisian; its major religions were all Apollonian in varying degrees---its religious revivals were often hysterical in a fashion almost Dionysian.
The really interesting moment will be when you have a critical mass of people engaging through the networks, more than through the press and TV. When that happens, the culture of politics has to change, moving away from controlled one-way messages towards a political culture that is more questioning.
Even those who specialize in the history of philosophy often ignore the political and cultural context, and the natural world in which their philosophers were philosophizing. This has consequences both trivial and important. If you systematically read the last fifty years of the major journals in our discipline you would be amazed at the amount of redundancy. Most of this is unacknowledged because most of us know so little about the history of our discipline and even the subfields in which we work.
The Israel stories were really hard for me to write, because I think that my book is very much about politics, but it isn't political. It really was important for me to not have a political agenda at all, because I have a hard time stomaching any political fiction that feels message-y.
Above all things, Strikeforce is a stable, established business that has experience with live events, and it has the martial arts culture. I worked closely with EliteXC and they had no martial arts culture. They didn't really understand what they were doing, so the odds of them being successful were kind of a crapshoot.
He [Michael Jackson] would choose specific moments. They were art history books that I prefer. They were paintings that he prefers. It's this dance back and forth. We were halfway through the dance. He died.
This site uses cookies to ensure you get the best experience. More info...
Got it!