A Quote by Iman Shumpert
I'm a culture guy. I sort of know all the familiar ingredients to get something going. Once everyone starts to buy in collectively, then that culture can start being built.
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Once you become an elaborate and well-developed culture, anything from Rome or the Etruscans, for that matter, the food starts to become a representation of what the culture is. When the food can transcend being just fuel, that's when you start to see these different permutations.
Something as simple as transparency is really scalable because it quickly impacts the culture. And the culture is something everyone feels. If upper management is really transparent with everyone, that has this amplifying effect. Then you tend to attract players who operate that way, on the same wavelength, and coaches and fans.
...culture is useless unless it is constantly challenged by counter culture. People create culture; culture creates people. It is a two-way street. When people hide behind a culture, you know that's a dead culture.
Since the 1960s, mainstream media has searched out and co-opted the most authentic things it could find in youth culture, whether that was psychedelic culture, anti-war culture, blue jeans culture. Eventually heavy metal culture, rap culture, electronica - they'll look for it and then market it back to kids at the mall.
America is essentially an entrepreneurial culture: the sizzle is the steak, because, after all, if you buy the sizzle, the steak comes with it. Canada's, in contrast, is a primary-producing culture: we'll buy the steak and hope to get a little sizzle with it. But we know we can't eat sizzle.
The reality is the only place a company's culture is going to start and end is at the beginning of that company. And it always starts with the founders. So if you can't create an environment of founders and founding employees who are going to represent the company you want, then you are never going to get there. You have to look at your own network and find what you are missing. So if you don't have a female or someone who has an international perspective or a person with a bio degree, but those perspectives matter to the firm or product you want to create, then it's never going to work out.
You know, if you love something, you should love it regardless of whether it costs five dollars or 500 or 5,000 dollars. Unfortunately, that's not the way our culture works, and we do collectively buy into this idea that things that are more expensive probably have more value.
The things that inform student culture are created and controlled by the unseen culture, the sociological aspects of our climbing culture, our 'me' generation, our yuppie culture, our SUVs, or, you know, shopping culture, our war culture.
Many teachers of the Sixties generation said "We will steal your children", and they did. A significant part of America has converted to the ideas of the 1960s - hedonism, self-indulgence and consumerism. For half of all Americans today, the Woodstock culture of the Sixties is the culture they grew up with - their traditional culture. For them, Judeo-Christian culture is outside the mainstream now. The counter-culture has become the dominant culture, and the former culture a dissident culture - something that is far out, and 'extreme'.
I think there is sort of a disconnect in this country between people that served in the military, understand the culture of it and what it is, and the people who only know what they see on the news and read - and they don't really get a feel for the culture.
You know, one of these things that happened in the '60s and '70s was this confluence of, sort of, a counter-culture with computer culture.
It's a sort of piss-take on culture, because a drag queen is a clown - a parody of our society. It's a sarcastic spoof on culture, which allows us to laugh at ourselves - but in a way that is inclusive of everyone.
Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.
When I moved from Canada to Korea, I experienced a massive culture shock. I wasn't familiar with Korean culture at all and was very surprised at the hierarchical elements of Korean culture. However, at the time I was determined to succeed so I became a sponge and just soaked in everything I could.
I quite like the transitions of being an actor, because you get to explore these little pockets of life. So if you're playing a builder you get to know about building, if you're playing a scientist or a physician or something you get to know about physics. And similarly with this world I like exploring their culture, that very sort of upper middle class, addictive... that's part of the reason I love it.
I had many reasons for writing this book but among them was the hope that every Latino child and adult would find something familiar in it. And my hope is that when they finish reading the book, that they will come away with a renewed sense of pride in our culture and in who we are. We get a lot of strength from that [culture and identity] and we should be proud of it.
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