A Quote by Marc Almond
I'm not one of these people who thinks everything in the past is great and everything modern is terrible. But I do think cities should be a mix of old things and new things.
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When we think of all the things we want to do with our other half the answer should be simple; we should want to do absolutely everything with them. We should want to experience everything, feel everything, see everything with no one but them by our sides. When we look back on our lives it's not the things we did do with them that we'll regret, it's the things we didn't do.
I think the most important thing is to take the long view on things. We live in such a 24/7, Twitter-fed, constant news cycle, and everything's a crisis, everything is terrible, everything is doomsday, everything is - if it doesn't get solved tomorrow, your presidency is going off the rails.
And since the portions of the great and the small are equal in number, so too all things would be in everything. Nor is it possible that they should exist apart, but all things have a portion of everything.
Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires.
The thing about new things is you feel new when you buy them, you feel as though you are somebody different because you own something different. We are our possessions, you know. There are people who get addicted to buying new stuff. Things. Piles and piles of things. But the new things become old things so quickly. We need new things to replace the old things.
Families have always been in flux and often in crisis; they have never lived up to nostalgic notions about "the way things used tobe." But that doesn't mean the malaise and anxiety people feel about modern families are delusions, that everything would be fine if we would only realize that the past was not all it's cracked up to be. . . . Even if things were not always right in families of the past, it seems clear that some things have newly gone wrong.
I don't really care about labels that much. I wouldn't really call our music retro. There are influences of things from the past, which there is in everything. I think we're quite a modern band, actually. We don't record with old equipment. We use computers and programmed drums. We don't use any guitar amplifiers. We're very much a modern band in the sense that we love computers and what they can do to music. I guess we're just good at a different sound.
It must be that when God speaketh, he should communicate, not one thing, but all things; should fill the world with his voice; should scatter forth light, nature, time, souls, from the centre of the present thought; and new date and new create the whole.Whenever a mind is simple and receives a divine wisdom, old things pass away, - means, teachers, texts, temples fall; it lives now, and absorbs past and future into the present hour. All things are made sacred by relation to it,-one as much as another. All things are disolved to ther center by thier cause.
I love saying terrible things. Things that I think are terrible and I've gotten in to trouble in the past - just hearing it come out of my mouth or seeing it typed and seeing it out there - something terrible that in real life isn't funny.
I mix everything up. A museum curator once said to me that there is a great jazz component to the way I do things because good jazz is improvisation and draws elements from all different cultures. And that's the way I do everything - the way I dress and decorate.
I think as a performer, it can be really great to stand on stage, especially when you have more time, but I do think about the specific people in the audience, how it's hard for them to get up and go to the bathroom, how they chose not to do other things that night and have turned off their phones and everything. So for that reason, I think it's necessary to mix it up and talk to the audience.
Artist should look at the reality and brutality of modern life in all its color, nature with all its imperfections - that should be the challenge to the modern painter not the didactic idealization of the past. The new generation should forge a new path.
In a way I spend my entire life stealing from everything - from the past, from cities I love, from where I grew up - grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music.
In trading with each other cities can't be in too different stages of development, and they can't copy one another. Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires. Empires want them only to trade with the empire, which doesn't help them at all. It's just a way of exploiting them.
Curious indeed how these things happen. The wand chooses the wizard, remember...I think we must expect great things from you, Mr. Potter... After all, He-Who-Must-Not-Be-Named did great things — terrible, yes, but great.
New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.
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