Quotes About Relevance

I want big ideas to have aesthetic relevance. I want to tickle people's intellectual sensibilities and instill a sense of wonder.

Having been in the newspaper business for a long, long time, I often wonder, Why do we actually need to know about something like a bus crash in Bangladesh that has no effect on us at all? That can be nothing other than voyeurism.

Especially in music, you wonder, Okay, should I still be doing this? Like, are you overstaying your welcome at the party? But I don't know.

I wondered if people might not have had enough of Simon Armitage and wondered whether I hadn't had enough of Simon Armitage.

I always wondered what the longevity of the name Lil Xan would be. I always contemplated whether I'd have to change it, but I learned you don't have to if the formula is working.

We are sort of not at the level of entertainment that the Western world is. Everything we see on the play in the screen, we read, we take serious. We take that it speaks to me. And so wonderful to see how the Johannesburg, South African audiences will say: What does it say to me? What does it make me feel? Why am I celebrating it?

I believe that one-product wonders come and go.

Obviously, in a sport like golf, we see Tiger Woods fall off. There's not really too much damage he can take from that, although when you watch him and he sucks, and you're like, 'God, you used to be so good but you suck now,' it's disconcerting as a fan.

The 'rock world' is a lot smaller than it used to be. It's doing a lot less things than it used to be. From Woodstock back in the day and Rage Against the Machine, no one sells millions of records anymore.

There's a reason Archie didn't go the way of Betty Boop or Davy Crockett or Woody Woodpecker, forgotten relics of a bygone era, and it's because when 'Archie' stories are at their best, anyone of any age can see a little bit of themselves in them.

What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.

To be a Christian who is willing to travel with Christ on his downward road requires being willing to detach oneself constantly from any need to be relevant, and to trust ever more deeply the Word of God.

I don't like the word 'experiment' in the context of art in general. It implies something immature, unfinished, something entertaining for a moment before it becomes irrelevant.

If Botticelli were alive today he'd be working for Vogue.

I get a lot of inspiration from research in mythology and folklore. I find that, you know, stories people told each other thousands of years ago are still relevant now.

There's a reason you can still read Thucydides, and it still makes sense to you thousands of years later.

Minor Threat was an important band, believe me that it was important it in my life, but it belongs to an era that no longer exists. I'm not nostalgic. I think music today is much more important, because something can be done about it.

My 15-year-old threw open the door the other day to my room and screamed, ''Freaks and Geeks' only has one season? Can they make another one?' And I tried to explain to her that it happened a long time ago. She didn't understand that because it felt very relevant to her.

There's an undeniable thrill in seeing what's most current in our lives offered back to us in fictional guise, but it soon dates and it's never enough.

If it were up to me, I'd rather create things that last long-term, but my thrill comes from reflecting what's going on now.

Bands are always told, 'Nobody wants to hear your new stuff - just stick with the meat and potatoes - that's what people come for.' That's only half-true. I know if I went to see U2, I would be thrilled if they did 'I Still Haven't Found What I'm Looking For,' but I'm equally as thrilled to hear their new stuff.

If you're in pop music, you've got to deal with the changing of the guard every few years. By the time the '70s arrived, I was well aware of the cyclical nature of the game. Pop music is a creature of the moment; it thrives on the mood of its time. Either you hook into that or you're not going to be part of it.

Cambridge is thriving and Britain is working. We have been telling people - 'if you value it, vote for it' - and this is particularly relevant in Cambridge.

Any brand in the world wants to make desirable product. But we don't shove it down people's throats.