A Quote by Jane Jacobs
The notion - and I tell you this one even worries me that it extends into New Urbanism - the notion of the shopping center [as] a valid kind of downtown. That's taken over. It's very hard for architects of this generation even to think in terms of a downtown or a center that is owned by all different people, with different ideas.
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Downtown Cairo is at the center of the city, it is a place that has to be shared between different classes. It's a place where you see the bigger picture of the city's social fabric. It's also a place where you see all the contradictions of having all these layers, classes, and differences at the same time. And this is also where they clash, and where they negotiate. They negotiate their demands, their tastes, the lifestyles they want to have. So it's a very interesting space. I think that Downtown has maintained that identity before, during, and after the revolution.
It's sometimes hard to accept that the people you love and feel the closest to may have different dreams and goals from yours, and those are valid. And I've felt that way: accepting people's differences and recognizing them as valid choices even if they're different from your own.
And you may find somebody kind to help and understand you
Someone who is just like you and needs a gentle hand to guide them along
So maybe I'll see you there
We can forget all our troubles, forget all our cares, and go
Downtown, things'll be great when you're
Downtown, don't wait a minute more
Downtown, everything's waiting for you
The notion that anyone in the 21st century could take seriously the notion that the sun orbits the Earth, or that the Earth is the center of the universe, is almost unbelievable.
The hardest thing for me was probably the different roles in the Performance Center because when you go to the Performance Center and become a WWE Superstar, you're on a different schedule. But in the indies or in Mexico, you have your time.
The truth be told, the World Trade Center was neither a very good work of architecture nor a very successful piece of urbanism. Its shortcomings were somewhat mitigated by the westward and southward expansion of the World Financial Center and Battery Park City during the 1980s.
There's been a big spur in downtown development with new business, restaurants and a lot of loft buying. The buses run, and there's a subway that runs through downtown.
Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
I grew up in Los Angeles, and my first musical theatre experiences were at the Music Center in downtown L.A.
The new generation of Labour is different. Different attitudes, different ideas, different ways of doing politics.
I think so many great artists are flocking to LA because the downtown art scene is so vibrant, there is cheap living and you can really flourish as an artist there. There is an unbelievably supportive and really smart, talented theatre audience in LA full of young, hungry, vibrant people. It's something that sort of makes me think of what New York must have been like in its downtown theater scene in the 1980s - before my time.
I grew up in the suburbs, so I figured 'Why not try downtown living?' And, honestly, I love it. I've been very pleasantly surprised at how much downtown Indianapolis has to offer.
Time and space are absolute. Diseases are evil spirits that inhabit the body. Parallel lines never meet. The earth is the center of the universe. Children are miniature adults. At one time in history each of these beliefs was generally held to be true. Each, however, gave way to different ideas and even different world views.
Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.
I think having a great range of experiences in my life had helped me as a writer, particularly a writer of fiction. I have known a great many different sorts of people in different situations, and I have a notion how very well of badly people can behave in times of stress or danger or violence.
You hear different things from different people, and they're all valid: they're all valuable. I think that's what comprises a performance is all those ideas.
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