Classic Trends Quotes

While a trend shown in the past is a fact, a “future trend” is only an assumption.

in a world full of trends, i want to remain a classic

She's a classic stuck in a world full of trends.

While tracking trends can be a useful tool in dealing with the unpredictable future, market research can be more of a problem than a help. Research does best at measuring the past. New ideas and concepts are almost impossible to measure. No one has a frame of reference. People don’t know what they will do until they face an actual decision. The classic example is the research conducted before Xerox introduced the plain-paper copier. What came back was the conclusion that no one would pay five cents for a plain-paper copy when they could get a Thermofax copy for a cent and a half. Xerox ignored the research, and the rest is history.

I just asked you, Alan, what was your opinion about the trend towards modernisation in the performance of the classics?" Larry's dad said, with his lip curled up all funny.[...] "I think it's okay. I don't think you should diss actors just 'cause they can't afford proper costumes." Then Larry laughed, but his family all looked at me like I had sauce all over my face or something. So I wiped my mouth, but it was clean anyhow. But I made sure I was extra careful eating after that, just in case.

My evanescent anarchistic tendencies are purely classical. I use the word anarchist in the sense in which it was understood by the ancient Greeks. They, of course, accepted the anarchist as a fairly respectable--if somewhat vehement--opponent of government encroachment on the individual's rights to think and act freely. It is in this sense that I glimpse myself as an anarchist--regretting the growth of government and the ever-increasing trend toward regulation and, worst of all, standardization of human activity.

By the early fifth century, the Church that had begun as a tiny group of fishermen and other poor people meeting in modest abodes had joined the Roman trend in classical culture in becoming logocentric, relying heavily on written texts -- the Bible, the sacramental services, and the theology of the Church Fathers. "Beginning as a movement in Egypt around 200 A.D. and reaching France by 500 A.D., a special place of holiness was attributed to monks and nuns in a monastic setting because of their celibacy. Monks often became bishops; nuns were told to stay in their convents and shut up.

While recognising the possibilities offered by the reformulation of classical Arab culture in the light of contemporary theoritical trends, while applauding the many efforts being made in this direction, and while feeling as much pride in this culture as any other Arab intellectual, it seems to m important nevertheless to retain the problem of “cultural retardation” at the centre of our thinking

To periodize or not to periodize? That is the question. Whether ’tis nobler in the mind to suffer the slings and arrows of outraged academes by periodizing (and thus to blaspheme through generalization) or to address large-scale stylistic trends without prevarication; ’tis a fardel to bear, and bear it we shall. For such utile aids are not to be scorned, but embraced lest even greater misunderstanding be our lot. O Baroque! O Classical! O Romantic! Though the thorns of despised love be your reward, we will invoke you even as we curse you, for, like our knees, thou art poorly made, but we cannot walk without you.

However, one cannot ignore the folklore of the times; the story of the Odyssey and other legends recounting the adventure and dangers of travelling through the Dardanelles and Bosporus, the legends of the Argonauts and Heracles, the nymph of Arethusa, and the goddess of Syracuse.[23] Centuries of overseas ventures undoubtedly produced a pioneering spirit among the Greeks. I am in agreement with A.G. Woodhead’s emphasis on the ‘general spirit of adventure’ that permeated ‘the dawn of classical Hellas’, and his observation that ‘many of the colonies had their origins in purely individual enterprise or extraordinary happenings.’[24] He writes: ‘This personal element, indeed, probably deserves more stress than it has received. It is fashionable to look for great impersonal causes and trends which, singly or in combination, produce a human response, and the economic considerations already discussed fall into that category.

What exogenous causes are shifting the allocation of moral intuitions away from community, authority, and purity and toward fairness, autonomy, and rationality? One obvious force is geographic and social mobility. People are no longer confined to the small worlds of family, village, and tribe, in which conformity and solidarity are essential to daily life, and ostracism and exile are a form of social death. They can seek their fortunes in other circles, which expose them to alternative worldviews and lead them into a more ecumenical morality, which gravitates to the rights of individuals rather than chauvinistic veneration of the group. By the same token, open societies, where talent, ambition, or luck can dislodge people from the station in which they were born, are less likely to see an Authority Ranking as an inviolable law of nature, and more likely to see it as a historical artifact or a legacy of injustice. When diverse individuals mingle, engage in commerce, and find themselves on professional or social teams that cooperate to attain a superordinate goal, their intuitions of purity can be diluted. One example, mentioned in chapter 7, is the greater tolerance of homosexuality among people who personally know homosexuals. Haidt observes that when one zooms in on an electoral map of the United States, from the coarse division into red and blue states to a finer-grained division into red and blue counties, one finds that the blue counties, representing the regions that voted for the more liberal presidential candidate, cluster along the coasts and major waterways. Before the advent of jet airplanes and interstate highways, these were the places where people and their ideas most easily mixed. That early advantage installed them as hubs of transportation, commerce, media, research, and education, and they continue to be pluralistic—and liberal—zones today. Though American political liberalism is by no means the same as classical liberalism, the two overlap in their weighting of the moral spheres. The micro-geography of liberalism suggests that the moral trend away from community, authority, and purity is indeed an effect of mobility and cosmopolitanism.202

Indeed, the propaganda by the liberal elite that the Trump resistance is white supremacist, an idiom of propaganda which itself is indicative of a trend toward Nazism by employing the classic tactic of the big lie, has not worked and it will not likely fly regardless of their dominance over the main institutions of culture and media.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

One of the basic rules of classical charting is that you should not trade against the trend, so in a bull flag you should be looking to go long at the bottom of the channel, rather than looking for spots to short at the top of that channel.

Who are we, the people who have ADHD? We are the problem kid who drives his parents crazy by being totally disorganized, unable to follow through on anything, incapable of cleaning up a room, or washing dishes, or performing just about any assigned task; the one who is forever interrupting, making excuses for work not done, and generally functioning far below potential in most areas. We are the kid who gets daily lectures on how we’re squandering our talent, wasting the golden opportunity that our innate ability gives us to do well, and failing to make good use of all that our parents have provided. We are also sometimes the talented executive who keeps falling short due to missed deadlines, forgotten obligations, social faux pas, and blown opportunities. Too often we are the addicts, the misfits, the unemployed, and the criminals who are just one diagnosis and treatment plan away from turning it all around. We are the people Marlon Brando spoke for in the classic 1954 film On the Waterfront when he said, “I coulda been a contender.” So many of us coulda been contenders, and shoulda been for sure. But then, we can also make good. Can we ever! We are the seemingly tuned-out meeting participant who comes out of nowhere to provide the fresh idea that saves the day. Frequently, we are the “underachieving” child whose talent blooms with the right kind of help and finds incredible success after a checkered educational record. We are the contenders and the winners. We are also imaginative and dynamic teachers, preachers, circus clowns, and stand-up comics, Navy SEALs or Army Rangers, inventors, tinkerers, and trend setters. Among us there are self-made millionaires and billionaires; Pulitzer and Nobel prize winners; Academy, Tony, Emmy, and Grammy award winners; topflight trial attorneys, brain surgeons, traders on the commodities exchange, and investment bankers. And we are often entrepreneurs. We are entrepreneurs ourselves, and the great majority of the adult patients we see for ADHD are or aspire to be entrepreneurs too. The owner and operator of an entrepreneurial support company called Strategic Coach, a man named Dan Sullivan (who also has ADHD!), estimates that at least 50 percent of his clients have ADHD as well.

In a world of trends, be a classic. Authenticity never goes out of style.

The second way we lose the habit of truth is by refusing to think clearly when damaging cultural trends become political orthodoxies. The last thing too many people want is to be seen as retrograde in their views when the cost may be social exile. The same-sex marriage debate was, and remains, a classic case.

One of the masters of trendspotting is Rohit Bhargava, author of Non-Obvious. He curates the biggest trends each year and packages them up into a book. Then he explains how people and businesses can take advantage of these trends to improve their position in the marketplace. Thinking deliberately about trends is a secret sauce for most successful hustlers, because it creates an unfair advantage. When Evan Spiegel built Snapchat, he was capitalizing on a trend. He saw people using Facebook and their phones to share photos, but noticed they felt inhibited by the fact that the images were either permanent, or public. By reversing those two elements―making image-sharing ephemeral and private, he solved a big problem. Snapchat exploded across the younger demographics and quickly became a multibillion-dollar business. Another example is Kik, a popular messaging app. When Kik launched, plenty of messaging services already existed. In fact, the ultimate messaging services seemed to be the ones already  built into everyone's phones. Apple had a messaging app, and so did Android. So, why reinvent the wheel? Ted Livingston, the founder of Kik, had other ideas. Why? Because he had identified a trend. Consumers were clearly upset with the built-in messaging services. First, the telecom companies were charging per message sent and received, which was a horrible experience. It felt like classic, capitalistic highway robbery. Second―and this was a big problem for teens: You could only exchange messages by giving out your phone number. Livingston noticed that teens wanted to chat with other people they met online, but had no safe way of doing that without giving out their number. So he created Kik, which allows people to create a username instead. Kiksters can then share their username to start chatting, while keeping their digits private. But even better, messaging is unlimited, and completely free. By examining the trends happening in the messaging market, Livingston was able to build a product that rivaled the multi-billion dollar incumbents. Now his company is valued at over a billion.   

These classic Donchian trading rules were first published over 
75 years ago: General Guides Beware of acting immediately on

Barbara Eden Primarily known as the star of the classic 1960s sitcom I Dream of Jeannie, Barbara Eden remains one of television’s most distinguished and identifiable figures. Her feature film credits are also extensive, including Flaming Star in 1960, The Brass Bottle in 1964, and Harper Valley PTA in 1978. She has starred opposite many of Hollywood’s most famous leading men, Elvis Presley and Tony Randall among them. She was very real, but also a little bit magical, like an angel moving around the world helping people wherever she went. And we got to see her children, Prince William and Prince Harry, grow up to young manhood. I know they were very proud of their famous beautiful mom, as I’m sure she was of them. Surely, she was an inspiration to all of us, everywhere. And it may not be generally known, but Diana donated to charity many dresses she had worn on important occasions so they could be sold to raise funds for the needy. She had impeccable taste in her clothes, which often were copied and began global fashion trends of their own, helping the careers of many young British designers.

Andrei avoided the internet as well and this evasion only added to his gloom. He loved music, especially old songs, and he loved movies, of all sorts. If he had the patience, sometimes he would read. While most of the pages he turned bored him to sleep, certain books with certain lines disarranged him. Some literature brought him to his feet, laughing and howling in his room. When the book was right, it was bliss and he wept. His room hushed with serenity and indebtedness. When he turned to his computer, however, or took out his phone, he would inevitably come across a viral trend or video that took the art he loved and turned it into a joke. The internet, in Andrei’s desperate eyes, managed to make fun of everything serious. And if one did not laugh, they were not intelligent. The internet could not be slowed and no protest to criticize its exploitation of art could be made because recreations of art hid perfectly under the veneer of mockery and was thus, impenetrable. It was easy to use Chopin’s ‘Sonata No. 2’ for a quick laugh, to reduce the ‘Funeral March’ to background music. It was a sneaky way for a digital creator to be considered an artist—and parodying the classics made them appear cleverer than the original artist. Meanwhile, Andrei’s body had healed playing Chopin alone in his apartment. He would frailly replay movie moments, too, that he later found the world edited and ripped apart with its cheap teeth. And everyone ate the internet’s crumbs. This cruel derision was impossible to escape. But enough jokes, memes, and glam over someone’s precious source of life would eventually make a sensitive body numb. And Andrei was afraid of that. He needed his fountain of hope unblemished. For this reason, he escaped the internet’s claws and only surrendered to it for e-mails, navigation, and the weather.

Conversely, animals can be quite sensitive to human music. There are stories of dogs who hide under the couch for piano works by atonal composers but not for those by, say, Mozart. One music teacher told me that her dog would heave an audible sigh of relief if she stopped playing complex, fast-moving pieces by Franz Liszt and proceeded to something calmer. And there are reports of cows that produce more milk listening to Beethoven (although, if this is true, shouldn't one hear more classical music on farms?). Birds listen as carefully to sounds as any musician. They have to, because they learn from each other. Many birds are not born with the song they sing: the symphonies they offer us for free in forests and meadows are cultural. White-crowned sparrows, for example, develop their normal song only when they have been exposed early in life to the sounds of an adult of their species. Many songbirds have dialects-differences in song structure from one population to another. One theory about this is that if a female can tell from a male's song that he is a local boy, she may prefer him as a mate, as he may be genetically adapted to regional conditions. Given the variability in song from location to location it is hard to maintain that birdsong is instinctive in the usual sense. There is room for creativity and modification. Some individuals act as star performers, setting new trends in their region.

At odd moments, when sunk in contemplation of some cosmic navel, the vague suspicion that I am, at heart, an anarchist flashes through my mind. Not that any impulse to strew high explosives in palace gardens or parliamentary antechambers stirs within me; I certainly bear no malice whatsoever toward aged archdukes or young czarevitches. My evanescent anarchistic tendencies are purely classical. I use the word anarchist in the sense in which it was understood by the ancient Greeks. They, of course, accepted the anarchist as a fairly respectable -- if somewhat vehement -- opponent of government encroachment on the individual's rights to think and act freely. It is in this sense that I glimpse myself as an anarchist -- regretting the growth of government and the ever increasing trend toward regulation and, worst of all, standard-ization of human activity.

Security analysis does not assume that a past average will be repeated, but only that it supplies a rough index to what may be expected of the future. A trend, however, cannot be used as a rough index; it represents a definite prediction of either better or poorer results, and it must be either right or wrong.

The trend is, in fact, a statement of future prospects in the form of an exact prediction.

As an adult, and as a poet of deprivation and ‘being on the edge of things’, Larkin championed public and university libraries. Though sympathetic to Toryism, he came to oppose the 1980s trends—new public management and neo-classical economics—that were antithetical to libraries. For many years, Larkin was university librarian at Hull University’s Brynmor Jones Library. When Larkin first met a new vice chancellor there, the VC asked for the library’s payroll/non-payroll breakdown. ‘Mind your own fucking business’ was the poet’s muffled reply. Larkin served on the board of the British Library, but resigned because of the early starts, and because the ‘fire-trap’ meeting room gave him claustrophobia.

Henry David Thoreau said long ago, “Every generation laughs at the old fashions, but follows religiously the new.”2 In most cases, it is classic fashion, not the trending pieces and colors, that stands the test of time.

Mozart began composing highly intricate pieces of music in a period of time when the most popular genre of music was style galant—an elegant genre to be sure, but defined by the simplicity of its structure. The style galant was in and of itself a reaction to the musical style that had come directly before it, commonly referred to as the Baroque period. Music in the Baroque style was highly embellished, defined by the use of ornamentation, or unnecessarily complicated measures inserted throughout the piece of music. Critics of the period were quick to say that the Baroque style lacked a coherent melody and was largely dissonant, even to the trained ear. Popular musical forms in the Baroque period included sonatas and cantatas, the former of which Mozart would return to and utilize toward the end of his career. Baroque music was defined by its seriousness—it was often cited as being largely unpleasant to listen to unless one was a musician oneself. The style galant, in response, depended on its light-heartedness and its wide range of appeal to a variety of audiences. The Classical style, which Mozart and his peers pioneered, was another response to the oversimplification of popular music that the style galant characterized. As previously discussed, Mozart spent a great deal of his early years in Paris studying the works of Baroque masters Bach and Handel, and that period of music greatly influenced many of his most recognizable works. Mozart, however, had the talent (and the distance from the period when Baroque music was at its height) to study the most valid criticisms of the Baroque style and pick and choose the intricacies of the style that worked, while discarding the ones that did not. He was able to adapt the dated style to form a completely new aesthetic while steering popular music back toward the trend of compositions that were more complex than the style galant afforded.

As I travel around the financial services industry today, the most interesting trend I see is the one toward relationship consolidation. Now that Glass-Steagall has been repealed, and all financial services providers can provide just about all financial services, there's a tendency - particularly as people get older - to want to tie everything up... to develop a plan, which implies having a planner. A planner, not a whole bunch of 'em... You've got basically two options. One is that you can sit here and wait for a major investment firm, which handles your client's investment portfolio while you handle the insurance, to bring their developing financial and estate planning capabilities to your client's door. And to take over the whole relationship. In this case, you have chosen to be the Consolidatee. A better option is for you to be the Consolidator. That is, you go out and consolidate the clients' financial lives pursuant to a really great plan - the kind you pride yourselves on. And of course that would involve your taking over management of the investment portfolio. Let's start with the classic Ibbotson data [Stocks, Bonds, Bills and Inflation Yearbook, Ibbotson Associates]. In the only terms that matter to the long-term investor - the real rate of return - he [the stockholder] got paid more like three times what the bondholder did. Why would an efficient market, over more than three quarters of a centry, pay the holders of one asset class anything like three times what it paid the holders of the other major asset class? Most people would say: risk. Is it really risk that's driving the premium returns, or is it volatility? It's volatility.... I invite you to look carefully at these dirty dozen disasters: the twelve bear markets of roughly 20% or more in the S&P 500 since the end of WWII. For the record, the average decline took about thirteen months from peak to trough, and carried the index down just about 30%. And since there've been twelve of these "disasters" in the roughly sixty years since war's end, we can fairly say that, on average, the stock market in this country has gone down about 30% about one year in five.... So while the market was going up nearly forty times - not counting dividends, remember - what do we feel was the major risk to the long-term investor? Panic. 'The secret to making money in stocks is not getting scared out of them' Peter Lynch.

DeepArt.io: What it’s for: Transforming photos into artwork. How it works: Whether it’s Van Gogh’s starry swirls or Warhol’s pop art you’re after, DeepArt brings a touch of classic artistry to your designs. 2. Lumen5: What it’s for: Video content creation for products. How it works: Convert those text descriptions into vibrant video narratives. Lumen5 crafts visual stories tailored to your product, making your designs not just seen but experienced. 3. Crello: What it’s for: Design and animation. How it works: As your on-call graphic designer, you can feed Crello a theme and get back a flurry of design elements and animations. Perfect for those captivating store banners and promotional materials. 4. Everbee: What it’s for: Automated design creation. How it works: Everbee’s AI processes trends and popular designs to suggest fresh, market-ready creations. It’s like having a personal design assistant who’s always in the know. 5. RelayThat: What it’s for: Brand consistency in designs. How it works: Maintain a consistent look and feel across all your products. Input your brand elements— colors, fonts, logos—and RelayThat ensures every design harmonizes with your brand voice. 6. Printful’s Mockup Generator: What it’s for: Product mockup visualization. How it works: A gem for visualizing your designs in the real world. See how they’d look on T-shirts, mugs, posters, and more—basically, a digital fitting room for your art.

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Much of the constant effort you supposed to hold yourself together is actually unnecessary. You do not fall apart, go to pieces, or ‘act crazy,’ if you let up on your deliberate holding back, forcing attention, constant ‘thinking’ and active interference with the trends of your behavior. Instead, your experience begins to cohere and to organize into more meaningful wholes.

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