“The range of choice open to the individual is not the decisive factor in determining the degree of human freedom, but what can be chosen and what is chosen by the individual. The criterion for free choice can never be an absolute one, but neither is it entirely relative. Free election of masters does not abolish the masters or the slaves. Free choice among a wide variety of goods and services does not signify freedom if these goods and services sustain social controls over a life of toil and fear- that is, if they sustain alienation. And the spontaneous reproduction of superimposed needs by the individual does not establish autonomy; it only testifies to the efficacy of the controls.”—Herbert Marcuse, The One-Dimensional Man (via daplaney)
Chi lo ama, chi lo odia. Chi lo osanna e lo consiglia ad ogni conoscente, chi lo demonizza e lo denuncia a gran voce. Chi ne tesse le lodi, chi “ma che sei matto? E’ tutta panna, ci credo che alla gente comune piace!”. Chi attraverserebbe tutta Roma per una vaschetta da mangiare appoggiato al…
“God knows how much money we’ve given to Obama and the Democrats and yet they’re not supporting our interests. There’s been no greater supporters of him than we’ve been from the first day and the first fundraisers continuing until he was elected. We all were pleased. And, at its heart institutionally, Hollywood supports the Democrats. Now we need the administration to support us. This is a very important time for Hollywood. The issue at hand — piracy — is a legitimate concern. But Google and those Internet guys have been swiftboating the entertainment industry by saying we’re trying to shut down the Internet just because we don’t want them to advertise pirated movies.”—
As a Cinema historian I find that the notion of copyright for Hollywood, it’s truly a double standard. Unfortunately people tend to have a very short memory. I would like to remind them where they come from:
"The film patents wars of the early 20th century led to the spread of film companies across the U.S. Many worked with equipment for which they did not own the rights, and thus filming in New York could be dangerous; it was close to Edison’s Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the location’s proximity to Mexico, as well as the region’s favorable year-round weather." (taken from Wikipedia)
If another government in a different time, would have been as drastic and inconsiderate in their decision as they now required, there would have been no movie industry.
Also I would like to remind Hollywood how much they have to thank historical accidents, to make it so all European technicians, directors, screenwriters and actors escaped to America. Without these people Hollywood would have never become what it is today, and would probably not even have half of the influence that they claim to have on the government.
LOREN CONNORS & DAVID GRUBBS- BLOSSOM TIME ARBORVITAE (HÄPNA, 2003)
Here’s a record that I always forget I own, mostly because Häpna releases rarely have spines, rendering them nearly invisible on the shelf. I admire Connors but have never waded too deep into his discography; meanwhile, Grubbs’ work in Gastr Del Sol had a formative impact on me as a young teen, but after that group’s split, I guess I subconsciously decided to follow O’Rourke and rarely gave Grubbs much thought after that.
Like a lot of collaborative albums, Arborvitae is certainly uneven, but this, its first track, captures what I consider to be the best qualities of both artists. Grubbs, on piano, offers clusters in the vein of Gastr masterpieces like “The Sea Incertain” or “Blues Subtitled No Sense of Wonder,” heavily melancholy but imbued with a sense of mystery. Meanwhile, Connors suggests such frail, aching beauty with each solitary guitar note, pinging like sonar beneath the surface. A poignant demonstration of how effective restraint can be.