I was a student in London in the '70s, so CBGB really wasn't on my radar at all. Obviously, I was aware of the emergence of the Police in England and as an art student, I was very aware of David Byrne, but I suppose my musical taste at that time certainly didn't stretch towards the Dead Boys or the Ramones.
We have lost the art of living, and in the most important science of all, the science of daily life, the science of behavior, we are complete ignoramuses. We have psychology instead.
I thought I was gonna be an attorney, so I went to Dartmouth and I was a government major and I minored in environmental policy, and I didn't do anything academically around the arts.
It is the fate of most men who mingle with the world, and attain even the prime of life, to make many real friends, and lose them in the course of nature. It is the fate of all authors or chroniclers to create imaginary friends, and lose them in the course of art. Nor is this the full extent of their misfortunes; for they are required to furnish an account of them besides.
There was a child went forth everyday, And the first object he looked upon and received with wonder or pity or dread, that object he became, And that object became part of him for the day or a certain part of the day... or for many years or stretching cycles of years.
From high Meonia's rocky shores I came, Of poor decsent, Acoetes is my name, My sire was measly born: no oxen ploughed, His fruitful fields, nor in his pastures lowed, His whole estate within the waters lay' With lines and hooks he caught the finny prey; His art was all his livelehood, which he Thus with his dying lips bequeathed to me: In streams, my boy, and rivers take thy chance; There swims', said he, Thy whole inheritance.
But thou art fair, and at thy birth, dear boy,
Nature and Fortune join'd to make thee great:
Of Nature's gifts thou mayst with lilies boast,
And with the half-blown rose; but Fortune, O!
The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility. In the end, these unavoidable conflicts provide architecture's essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.
I wish to boast that Pygmalion has been an extremely successful play all over Europe and North America as well as at home. It is so intensely and deliberately didactic, and its subject is esteemed so dry, that I delight in throwing it at the heads of the wiseacres who repeat the parrot cry that art should never be didactic. It goes to prove my contention that art should never be anything else.