I make music as good as possible, but I do reference cultural icons, because I want my music to be a time capsule of 2007.
The role of humankind is to use the cultural and social environment it has created to devise new global values. . . . Human relations with nature are intimately bound up in interpersonal relations and with the relation of the self and its inner life.
The people themselves are not a homogeneous cultural collectivity but present numerous and variously combined cultural stratifications which, in their pure form, cannot always be identified within specific historical popular collectivities.
I'm a big fan of cultural music, and that's how I try to expand my playing, by listening to music that is not conventionally American.
For me, writing stories set, well, wherever they're best set, is a form of cultural curiosity that is uniquely Scottish - we're famous for travelling in search of adventure.
Shame can kill the imagination. It's hard to keep writing in the face of cultural derision.
As far as inspiration goes, I'm constantly inspired by traveling, symbols, magic and different cultural traditions around the world.
We have this cultural obsession with work and productivity as if we're better people if we don't stop and take some time for ourselves.
The giant neon spinning discs are a reminder of the huge role that Sam Sniderman and his store played in the cultural life of Toronto and I believe they should be preserved and remounted in the interests of our city's heritage.
A lot of the ways that I like to approach comic books, or anything like that, is not just the book itself, but the fans of it, the readers, the world that exists around it as a cultural object.
I think that New York is not the cultural centre of America, but the business and administrative centre of American culture.
But the biggest challenge overall was narrowing down the complex narrative elements into a clean and straightforward story while maintaining a sense of the cultural context that makes the film special.
That really sums up the strange bluntness that a really prime German interview can have. They're really interested in your cultural velocity in this way that I don't think people in the United States even necessarily think about alternative-rock bands. So it's not like we're against regular rock. We're not like a battling army shaking our weapons against The Rolling Stones.
It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.
I was trying to write a straightforward book of sociological analysis, or at least cultural criticism, and I failed.
. . Acts of appropriation are part of the process by which we make ourselves. Appropriating - taking something for one’s own use - need not be synonymous with exploitation. This is especially true of cultural appropriation. The “use” one makes of what is appropriated is the crucial factor.
Cultural standards evolve. The meaning of the public interest also, of course, evolves.
Given the cultural barriers to intersex conversation, the amazing thing is that we would even expect women and men to have anything to say to each other for more than ten minutes at a stretch.
Brands and branding are the most significant gifts that commerce has ever made to popular culture. Branding has moved so far beyond its commercial origins that its impact is virtually immeasurable in social and cultural terms.
But herein lies the rub: Christianity has been on a long-term trend of decline in every Western cultural context that we can identify.