Quotes of All Topics . Occasions . Authors
When I started in the late nineties, it was all about young Hollywood. There were jobs for all of us if you were 18 to 21, were slightly good looking, or could be funny.
Fame put a lot of pressure on me in the Eighties and early Nineties - and I'm glad that I had the kind of makeup where I could come through it alive, keep myself in hand.
By the Nineties, so many people were moonlighting and creating their own professional identities that China generated a brisk new business in the printing of business cards.
I really like the Nineties! I want to bring back more of the Nineties, like the 'Spice Girls', 'Empire Records', Chloe Sevigny. I don't think anyone really gave it enough credit.
Like every child of divorce, I had parent-trap fantasies. In fact, 'The Parent Trap' was my favourite movie. I was a Nineties baby, so I particularly loved the Lindsay Lohan version.
I spent a good part of the nineties roaming the Earth writing about conflict. It was very grueling. I was beginning to find this way of life was, wow, addictive and deeply meaningful.
My sound definitely pays a lot of homage to the Nineties, but not just the dance music. There's also breakbeats, R&B, the big ballads. It's that whole era infused with very modern sounds.
Caracas was a crazy place in the early Nineties. For instance, when I was 11 years old, I pierced my ear. No big deal, right? But everyone was so scandalised that they shut down the school.
And then came the nineties, when management, suddenly frightened that they had ceded control to the players, sought to restore baseball's profitability by 'running the game like a business.'
I had a band called Infectious Grooves back in the Nineties. That music was really a mixture of styles, and we had some stuff that was punk rock, ska, but then we had a lot of funk in there.
In the early Nineties, after my first round of financial problems, I started a studio in Kensal Road in London right at the time when no record company wanted to hear anything from Leo Sayer.
In the nineties, it was common to see people who expressed themselves through one designer - the Jil Sander woman, the Martin Margiela woman. You saw her on the street, and you knew who she was.
A doctor in a hospital told me that when the mujaheddin were fighting in the early Nineties, he often performed amputations and Caesarean sections without anesthesia because there were no supplies.
It is also interesting to note that the original supermodels are now making a comeback after being dismissed in the Nineties as being 'greedy' by a gaggle of male designers who lived like Sun Kings.
My problem is that I always find jeans that are either high-waisted or low-rise, but nothing in between, like they used to be in the eighties and early nineties. That's actually the most flattering cut.
I love the Nineties because more than any other period of time, there was such an eclectic mix of styles going on. More so than in the Sixties and Seventies, when there was an overriding look and sound.
To me, Scorpio was a big bet and a quantum leap in the kind of sophistication of our products. People forget that, apart from the Bolero and the Armada, until the nineties we never made hard-top vehicles.
Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.
When I first moved to London for university, I was already a big fan of Diesel because, in the nineties, Diesel was, like, the brand. The stores were the place to go. It wasn't workwear like Levi's or G-Star.
I was obsessed with the idea of going to college. And I took many years off after that, so I sort of missed the weird, crazy transition that was what making movies was in the nineties to what's happening now.
I have Nineties music oozing out of my pores. What made rock & roll back then is that it was uncensored. It was raw and dark. Think of 'Something in the Way,' by Nirvana - he was telling everyone how he felt.
I found myself in the doldrums in the early Nineties. I was too old to play the dolly bird any longer and I looked too young to play a woman of my real age. No one ever saw me as the aunt, mother or grandmother.
To me, 'Crash Love' is the most stripped-down record that we've made since the early Nineties, and I would say that 'I Hope You Suffer' is indicative of the overall tone of this record in being the opposite of that.
Most of my youth I spent being obsessed with Baby Spice, so she was my favorite for a really long time. Now that I'm older, I actually really like Posh Spice the best. Nineties Victoria Beckham is perfection, I think.
I'm fascinated by people in their eighties and nineties. Especially those who are still creating and living in an interesting way. I am fascinated by them because they have so much to say now that they've lived for so long.
When I first started coming to New York in the early Nineties and seeing the vitality of the programme compared to what was going on back in London or Paris, it was just in a different league. It's like a 16th-century court.
That period in the late Eighties and early Nineties was when I was playing my best snooker. My trouble was that I had so many bad habits that my preparation was terrible: people like Steve Davis or Dennis Taylor were model pros.
Growing up in the eighties, you could go from one style in a movie to another style, and that was okay. In the nineties, you had to obey your niche. You had to follow the code and never step outside of exactly what you're doing.
Even in the nineties, when it was mad and there were photographers all around the house, it never occurred to me to send someone else out to get cigarettes. It took me five minutes - went for a walk, gave a wave, went back inside.
Next door, there's an old man who lived to his nineties and one day passed away in his sleep. And his wife, she stayed for a couple of days and passed away. I'm sorry, I know that's a strange way to tell you that I know we belong.
The fashion world is much more ephemeral than the film industry and moves at a faster pace, and it's got even more frenetic since the Nineties; more paparazzi hanging about and it seems to me there are even more fashion magazines.
Something happened in the nineties. There was a shift. I don't want to blame it on grunge or the rise of indie - but that was basically it. It was seen as dirty and kind of ignorant to have these ambitions, to want to be a big band.
In some ways, I feel like I was Nirvana's biggest fan in the Nineties. I'm sure there are a zillion people who would make that claim, but I was just so passionately in love with the music that it made me feel sick. It made my heart hurt.
I feel some allegiance to pushing electric-guitar music into a different realm, somewhere that isn't retrospective. There's a lot of guitar bands that are a tribute to the 1970s or the Nineties. I want to experiment with guitar music more.
In the Nineties, there was all this new research into brain development, with evidence saying poor kids fall behind in school because no one is talking to them at home, no one is reading to them. And middle-class parents seized on this research.
Few in the Nineties would have ventured to prophesy that the remote dim singer of the Celtic Twilight would, in a new age, become the leading poet of the English-speaking world. None have disputed the claim of William Butler Yeats to that title.
Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.
Going back to the films I made in the nineties, they might not have been the most thought-provoking movies, but there was always this conscious thing of knowing that it was fourteen-year-old surfers who were really into it, and so I've wanted to be responsible with that.
To be honest with you, I don't have one track that I consider better than the next because all I'm trying to do is still grow as an artist. I got way better since the early nineties, as far as putting words together. My best energy probably was the '90s, because I was new.
Gerald Wilson was one of my mentors: he was in his nineties before he passed and, literally, every time I saw him, he'd be like, 'Man, Kamasi, I've got this new thing! Nobody ever heard anything like this before!' It's amazing hanging out with somebody that was born in 1918.
I've been an art collector since the Sixties, and I kept it very separate from my showbusiness career. I've had art shows since the early Nineties, a museum show that travelled to four countries. I've had three or four art books; it's just another way I have to tell stories.
In truth, I've never been a big superhero fan. I don't mind some of the movies, and a couple of the cartoons were alright - that Batman series from the early nineties where Mark Hamill voiced the Joker is sweetness. But largely, I've not really had much time for superheroes.
I was a guy back in the Eighties who was one movie away from a huge career, which at that time didn't happen. In the Nineties, I worked a lot, but it was kind of, 'Get out there and dig and find things.' Then I guess 'The Rookie' and 'Far From Heaven' were referred to as my comeback.
There was a clarity to the Nineties. It was pre-9/11, before that anxiety kicked in that exists right now about the financial crisis or terrorism. We were all just going to move forward into the millennium and everything was always going to get better. Then, whoops, that didn't happen.
When my career in hotels was taking off in the Nineties, I went to work as a head baker in Cyprus, where I was making Danish pastries every day. I can remember that the head chef was always on my back to put more seasonal fruits in with the creme patissiere. I'd even make them with rhubarb.
I grew up playing guitar in the late Nineties, early 2000s, so a very acoustic-driven pop-rock era, and then in college, I started listening to Jason Isbell and Kacey Musgraves. Then I really fell in love when I discovered really old country, like June Carter Cash - one of my all-time favorites.
Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
I liked back in the sixties where you'd turn on the radio and go 'Oh that's Hendrix, that's Creedence Clearwater, that's The Doors, there's The Grass Roots, The Monkees, there's Big Brother.' You could just instantly hear it and tell. But in the eighties and nineties there's no way you could do that.
Maybe I wish I could be out there on the big occasions playing like I did at my peak, but I certainly don't miss the six and seven hours a day practice that went hand in hand with being world champion in the nineties - or losing to guys knowing that it would never have happened when I was at my best.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.