By Ray Pride Pride@moviecitynews.com

Alan Curtis

“The astonishing thing in my country after Brexit—and I think probably you’re seeing it now after the election of Trump—is that all the metropolitan hipsters looked around at each other and went, ‘Fuck, where did those people come from?’ They didn’t even know the Trump supporters and Brexit supporters existed, because they were so in their little bubble they just couldn’t see them. What then happened is that they started blaming those people, which I thought was pretty bad. You’d hear in bars, ‘God, the really stupid people are in control now.’ And I just wanted to say, ‘No, hang on, you’re stupid: you lost the election.’ Instead of trying to blame people for voting, they should go out and find out what is really going on, bring it forward, and try and show why people voted like that. And to do that you have to identify where real power is in our societies. And that’s what I was trying to do in HyperNormalisation.  The current system of power is fundamentally pretty invisible to us. It resides in finance, in all sorts of new kinds of management, and within computers and the media, which involves invisible algorithms that shape and manage what information we get. I think one of the most beautiful things artists and journalists can do at this moment in time is to be sympathetic and understanding to the people who voted for Brexit and Trump, and then bring to the fore the invisible power structures that those people feel completely distanced from so that they know where power is. And do it in such a way that isn’t obscure so people like me don’t have to read it three times just to understand it. Do it in a way that really grabs ordinary people’s imaginations.”
~ Filmmaker Adam Curtis

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“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

To me, Hunter S. Thompson was a hero. His early books were great, but in many ways, his life and career post–Fear and Loathing on the Campaign Trail is a cautionary tale for authors. People expected him to be high and drunk all the time and play that persona, and he stuck with that to the end, and I don’t think it was good for him. I always sort of feel mixed emotions when I hear that people went and hung out with Hunter and how great it was to get high with Hunter. The fact is the guy was having difficulty doing any sustained writing at all for years probably because so many quote, unquote, “friends” wanted to get high with him … There was a badly disappointed romantic there. I mean, that great line, “This is where the wave broke, the tide rolled back … ” This was a guy that was hurt and disappointed and very bitter about things, and it made his writing beautiful, and also with that came a lot of pain.
~ Anthony Bourdain