The most important of my achievements, if you want to call them that, was that I successfully introduced mystical ideas into pop culture, which was my obsession and my compulsion when I was 16 years old. So, behind all of this fame and fortune, there was a seeker, on a spiritual path — a young man who wanted to discover and share with others an alternative way of looking at the world. I wanted to save our culture from the stupidity and the bigotry and the ignorance that threatened it. And there was the Buddhist way, and the Celtic way.
Donovan
You wanted God’s ideas about what was best for you to coincide with your ideas, but you also wanted him to be the almighty Creator of heaven and earth so that he could properly fulfill your wish. And yet, if he were to share your ideas, he would cease to be the almighty Father. p. 37
Soren Aabye Kierkegaard
When I was 14 or 13 or 15 I went to Sri Lanka on the Experiment in International Living for a summer. I wanted to travel. And going outside of my own culture and traveling and seeing my own world from a foreign perspective is a big part of my life and who I am. That's what I was talking about earlier, is stepping outside of yourself and examining yourself with a different perspective is very important, and it's important to do as an artist for others.
Julie Taymor
We are one, we are all brothers and sisters, but the people of the world do not know this. So this was the teaching, but how do you teach it? As young people, John Lennon, George Harrison, myself, Carlos Santana and other spiritual seekers in pop music, we wanted to know the answer but we found a question: How do you convince the rest of the western world that they are ill, they are mentally ill, that they have a sickness and that they have lost the way? How do you teach that? You cannot teach that in the normal sense. You have to encourage a spiritual call, so we devoted ourselves to making songs which would have a spiritual call inside of them, hoping to awaken an awareness with this music. And other people in the arts felt the same...
Donovan
And he [Bryant] was a smart enough man to know that all kinds of great football players from Alabama, some of whom just happened to be black and were not able to play for him because of the prevailing prejudice, in many cases young men who were on their way to the pros, and he knew as well that he had the law of the nation on his side now if he wanted to play them, and that only local prejudice kept him from recruiting them, and most important of all, he was the one man in all of Alabama who could go ahead and recruit them, and stand up to George Wallace, and bring the culture along with him. And for 13 years, when he could have made a great difference, he did very little and did not really dissent from the biases of the region.
Bear Bryant
A free culture has been our past, but it will only be our future if we change the path we are on right now. Like Stallman's arguments for free software, an argument for free culture stumbles on a confusion that is hard to avoid, and even harder to understand. A free culture is not a culture without property; it is not a culture in which artists don't get paid. A culture without property, or in which creators can't get paid, is anarchy, not freedom. Anarchy is not what I advance here. Instead, the free culture that I defend in this book is a balance between anarchy and control. A free culture, like a free market, is filled with property. It is filled with rules of property and contract that get enforced by the state. But just as a free market is perverted if its property becomes feudal, so too can a free culture be queered by extremism in the property rights that define it. That is what I fear about our culture today. It is against that extremism that this book is written.
Lawrence Lessig
Donovan
Dooley, Thomas Anthony
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