A Quote by Rowan Atkinson
We still have a tradition certainly in English television; it's faded a bit in the last five years, but we still have a tradition where the important thing is the quality and the challenging nature of the programming.
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Christians got a lot of work to do. But, the spirit of Dorothy Day is alive. Martin Luther King is still alive. Malcolm X and the prophetic Islamic tradition is still alive. We can't lose sight of those prophetic religious folk who, even given their kin in the same tradition, says, you all are wrong on this, but we're still in the same tradition.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
I like things to be modern and still have a bit of tradition
For 180 years, we voted in English. That is the true American tradition, and this amendment is true to our heritage, not what has existed unnaturally for the last 20 years.
It's time to realise that tradition is fantastic but if because of tradition and only tradition you lose everyone it's less fantastic so you have to keep some tradition to this sport of course but you also have to live in your century.
The Western music tradition is mostly addressed to a public that has a critical mind, and judges the quality of the writing, of the interpretation. And I think it is a great tradition! It pushes the musicians to always go further, and to never stop pushing the limits and explore what can be done with sounds. And great pieces of art were born from that tradition.
What is literary tradition? What is a classic? What is a canonical view of tradition? How are canons of accepted classics formed,and how are they unformed? I think that all these quite traditional questions can take one simplistic but still dialectical question as their summing up: do we choose tradition or does it choose us, and why is it necessary that a choosing take place, or a being chosen? What happens if one tries to write, or to teach, or to think, or even to read without the sense of a tradition? Why, nothing at all happens, just nothing.
Television has certainly become a wasteland of quality programming.
The modern tradition is the tradition of revolt. The French Revolution is still our model today: history is violent change, and this change goes by the name of progress. I do not know whether these notions really apply to art.
Tradition is no longer a continuity but a series of sharp breaks. The modern tradition is the tradition of revolt.
We are all affected by Le Corbusier, Frank Lloyd Wright, Alvar Aalto, and Mies van der Rohe. But no less than Bramante, Borromini, and Bernini. Architecture is a tradition, a long continuum. Whether we break with tradition or enhance it, we are still connected to that past. We evolve.
I started off in theater; I did exclusively theater for four or five years. In the last few years, television has come along but I can still make film. I feel very privileged that I can move between them.
I grew up on a council estate in Luton, and as a child, I was very much into the brass-band tradition. I was basically a Salvation Army boy. My English granddad bought me a cornet when I was five years old.
The attitude of foreign to English musicians is unsympathetic, self-opinionated and pedantic. They believe that their tradition is the only one (this is specially true of the Viennese) and that anything that is not in accordance with that tradition is "wrong" and arises from insular ignorance.
The tradition of classical music and the opera is such that it used to be the place where social intercourse could take place between all parts of society: politicians, industrialists, artists, citizens, etc. That tradition, I think, still exists, but it's much, much more diluted.
Those who feel guilty contemplating "betraying" the tradition they love by acknowledging their disapproval of elements within it should reflect on the fact that the very tradition to which they are so loyal—the "eternal" tradition introduced to them in their youth—is in fact the evolved product of many adjustments firmly but delicately made by earlier lovers of the same tradition.
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