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Ray Pride

By Ray Pride

ChiTrib: cyber, savvy, hep [plus nekkid Sharon Stone]

The Chicago Tribune continues a series of editorials with cranky granddad verbiage about the modern world, commenting on the internet’s “”: “…[T]oday we’re neck-deep in the unforgiving age of cyberspace… Some users—MySpace alone has 32 million—dismiss these warnings with the belief that they can sanitize their postings whenever they wish. Maybe, maybe not. Provocative material tends to migrate swiftly to points unknown… it’s only a matter of time before some shrewd dweeb with tape on his glasses develops software that can miraculously recapture much of what has appeared and supposedly been deleted… [A]lways assume the Internet is forever.” [Or behind a for-pay barrier after 7 days.] not tubby-1.jpgAt least Marc Caro‘s Pop Machine blog feels up-to-date, such as this posting about Sharon Stone, compiling seven of her hottest hits as she primes the pump for Basic Instinct 2.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch