In New York the stakes are so high. In urban centers the stakes are so high. You marry the wrong person, you go to the wrong college, you take the wrong job. Any of these things could really get you in trouble down the road. Or in your mind anyway. You're afraid to make any move, it's paralyzing.
I've always been interested in fashion, and Urban Outfitters presented me with a huge opportunity to pursue that interest.
I don't think of myself as a rebellious artist, a lot of people have said that about me because I came from Cornwall and choose to paint people in what they considered to be an urban style instead of Cornish landscapes. I've never agreed with them. It's bullshit.
At the population level, making the world more just and less unequal, while trying to figure out the toxic aspects of the urban environmental will probably help prevent a lot of psychosis.
As soon as we get out of our urban shell, we're still at the mercy of nature as individuals.
There are few jobs in the world that are more fun than being the head of Urban Development for a great and thriving city.
I came to a point where I couldn't walk into an urban store and find anything I liked. Everything was just getting too baggy, everything was getting so over [priced]. It's as if what I wanted in street wear was nowhere in stores, with no disrespect to any hip-hop brands.
We've gone through the urban renewal cycle in the '60s and '70s that really did a lot of damage to the fabric of urban life - neighborhoods bulldozed and highways pushed through, and all that kind of stuff that really destroyed the kind of social underpinning and the kind of mom and pop stores and all the stuff that makes a community viable.
We kind of know that food is necessary to survive. But our ways of connecting with food have been, in many ways, taken over by capitalism - certainly taken over by the influence large corporations have on the way that we eat and the way that we think about food. That's why kids these days are more prepared to take nutritional advice from Ronald McDonald than they are from their parents or their teachers or from scientists. And particularly in urban areas, you'll see kids who honestly believe tomatoes come from the supermarket rather than from a plant.
I don't know Hillary's Clinton stance on urban farming. I don't know Donald Trump's stance or Bernie Sanders's for that matter. But the Obamas have been amazing. You know, Michelle Obama, she planted that garden. She keeps bees there at the White House. Little known fact, though, is that Laura Bush also had an organic garden but she never told anyone about it.
Urban farming appeals to people on the right and the left. People have different reasons for getting into it. Some people are like doomsdayers, they think there's going to be some horrible catastrophe and how will we survive? And then there's people that are more like, "We want to be socialists and have communal chicken coops." It really runs the whole gamut.
People don't know where they stand and what they're going to lose, and that makes things uncertain. The political parties try to meld people together, but then that becomes a problem. There are parallels here, to American cities, which, in the '80s, with massive rural to urban migration, saw incredible amounts of violence.
Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.
I think of my life as divided between a lot of different periods. I grew up in the country, but as I got older I became more of an urban person. That's really when I started to become more of a creative person who was interested in fine arts, painting, drawing, and music. I studied jazz for a long time. Looking back, all those things were great training.
The other thing that I got back then - the Parker novels have never had much of anything to do with race. There have been a few black characters here and there, but the first batch of books back then, I got a lot of letters from urban black guys in their 20s, 30s, 40s. What were they seeing that they were reacting to? And I think I finally figured it out - at that time, they were guys who felt very excluded from society, that they had been rejected by the greater American world.
I love dipping into worlds at a fast and furious pace. A little glimpse allows the audience to put together the rest of that world in their brain. I love sketches that require the audience to piece together the comedic engine themselves. Give them all the information but not tell them what the scene is about so they can have that eureka moment of, "Oh my God, he's only used to the way urban students pronounce their names. That's what's going on here.".
Because we're becoming such an urban nation, we're going to need to be producing so much more food in cities. These institutions have members, obviously. They have the resources to start projects like urban farms and gardens, teaching tools, and the ability to educate their members so that they can then go home and start their own urban gardens. I just really think that faith-based institutions can take the lead in creating community-based food systems, and I'd really like to see that happen.
I enjoy places that have mystery and atmosphere, perhaps a patina of age, a suggestion rather than a description, a question or two. I look for memories, traces, evidence of the human interaction with the landscape. Sometimes I photograph pure nature, sometimes urban structures.
I think that when you have any folks in our population who live under the threat of violence, who live under the threat of crime, who don't have the opportunity that others have because the schools in our urban areas are a dreaded failure, because of the positions that Hillary Clinton has taken and the people who support her, that I think any candidate should speak out to say that that type of thing is unacceptable.
Reversed [Hillary Clinton's] position on charter schools, reversed her position on changing the way our urban education is run, because she has sold out to the teachers union.
And Donald Trump is not going to give in to the special interests in this country, like the teachers' union, who say that substandard education in our urban areas can only be fixed by giving it more money and that that's all they're going to do about it and not change the underlying problems that we have on violence.
I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.
Every place has its own challenges. In Canada, we have blessings like grants, but we also have curses in the sense that when you start to do more urban classified music, we no longer have a single urban radio station left.
I probably lead a very spoiled life, because I travel from people interested in permaculture to people interested in permaculture. Some of them are tribal, and some of them are urban, and so on.
I find it striking that the quality of the urban habitat of homo sapieans is so weakly researched compared to the habitats of gorillas, elephants, and Bengal tigers and panda bears in China…you hardly see anything on the habitat of man in the urban environment.
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