Who is more inclined to bad behavior, classical musicians or rockers?
Just as there is good and bad neo-classical architecture, so there is good and bad modern architecture.
It's sometimes hard to believe that Pierre Boulez, who celebrates his 80th birthday tomorrow, was in the 1960s the bad boy of classical music, an iconoclastic bomb thrower who half a lifetime earlier wanted to destroy the classical music establishment.
"In architecture, however, look at what they have done – the mosques are one-to-one bad imitations of classical Ottoman architecture".
Two unrelated programs last week showed the good and the bad of combining classical music with video projections, a recourse hailed in some quarters as an ideal way to attract new listeners in a visually oriented age if not the very salvation of the field.
And then there was Leopold Stokowski, the bad boy of classical music, notorious for his tinkering with composers' orchestrations, for his shameless appearances in films such as A Hundred Men and a Girl, for his vivid love life (Garbo, Gloria Vanderbilt), and for his orchestral transcriptions of, most famously, the organ music of JS Bach.
He's getting a bit long in the tooth now still to be seen as the bad boy of classical music, but he can still ruffle a few feathers, so his return to the Proms after 21 years shouldn't necessarily be seen as a sign that Mr Angry has turned into Mr Amenable - he'll walk on to the stage at the Royal Albert Hall very much on his own terms.
Now that you've done your upteenth young artist training program, it's time to venture out into the big bad world of classical singing.
Pharmacological promiscuity is considered to be a bad omen in classical drug discovery projects, focused for example on enzymes or G protein-coupled receptors (the "one drug-one target" paradigm), leading to adverse drug reactions and obscuring pharmacodynamics effects in animal models.
