A Quote by Ryan Lewis

When artists who are not associated with the typical infrastructure get recognition, that becomes a cultural movement. — © Ryan Lewis
When artists who are not associated with the typical infrastructure get recognition, that becomes a cultural movement.
I have to say, that's pretty typical for artists, kind of embarrassingly typical for artists that everything is all about selection.
A movement only becomes a movement of substance, size, and power when the artists say 'we want to add our voice.'
We still have a lot of work to do as African artists to get more recognition in the U.K. and the U.S., but right now, definitely, we're getting the recognition. The thing is we have to earn it. Keep working. Stay working.
I think we have to understand that when tolerance becomes a one-way street, it will lead to cultural suicide. We should not allow the Muslim Brotherhood or associated groups to be influencing our national security strategy.
A lot of times the thoughts of religion are not all bibliocentric, sometimes they're cultural. Then it becomes cultural to say, 'it's wrong to do this and it's wrong to do that.' It becomes a misinterpretation of scripture.
Artists are looking for a new modernity that would be based on translation: What matters today is to translate the cultural values of cultural groups and to connect them to the world network. This “reloading process” of modernism according to the twenty-first-century issues could be called altermodernism, a movement connected to the creolisation of cultures and the fight for autonomy, but also the possibility of producing singularities in a more and more standardized world.
In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
I've always associated consciousness with artists like Bob Marley or Joni Mitchell or Bob Dylan. You know, artists that really talked about what was going on in the world and really artists that are timeless.
I think a lot of Indians want Indian artists to be cultural cheerleaders rather than cultural investigators.
The blind spot for the in the Southern Progressive Movement - as for that matter in the national [progressive] movement - was the Negro, for the whole movement in the South coincided paradoxically with the crest of the wave of racism. Still more important to the association of the two movements was the fact that their leaders were often identical. In fact, the typical Progressive reformer rode to power in the South on a disenfranchising or white-supremacy movement.
In cultural history, the civil rights movement came before the women's movement.
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
In the 60s there were a lot of things which were anarchistic. May-June '68 was riddled by anarchistic sentiments, dreams and ideals, but insofar as this was not strengthened organizationally and intellectually by a very effective, powerful infrastructure, then what happens is the movement becomes dissipated.
There is a cultural movement in the white working class to blame problems on society or the government, and that movement gains adherents by the day.
I would like to accept this recognition on behalf of all the staff members that that I’ve been associated with; all of the office people behind the scenes who never get credit and make this game so great along with the great coaches and players.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
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