Drunk Clown needed to party with a group of friends this Sunday.
Dress up like a clown, be willing to get drunk, and hang out with a cool group of people and bar hop with us this Sunday (August 28th) You will meet us at Kung Fu probably around 3:00 pm- (you MUST be dressed up like a clown, face paint.. etc… it would be awesome if you had those little blow up balloons with you too).... and we will have a Sunday Fun day on West 6th. We will pay you $10 an hour, and pay for your drinks. Contact me for details.
The film version of Hunter S. Thompson’s novel “The Rum Diary” is finally hitting the screen on October 28 after a long and tumultuous trip through development hell. The movie had been optioned by now-defunct production company The Shooting Gallery who never managed to get it off the ground.
On January 22, 2001, in a fit of frustration and anger, Thompson sent production executive Holly Sorensen the following letter:
Hunter S. Thompson
HOLLY SORENSON / Shooting Gallery / Hollywood / Jan 22 ‘01
Okay, you lazy bitch, I’m getting tired of this waterhead fuckaround that you’re doing with The Rum Diary.
We are not even spinning our wheels aggresivly. It’s like the whole Project got turned over to Zombies who live in cardboard boxes under the Hollywood Freeway… I seem to be the only person who’s doing anything about getting this movie Made. I have rounded up Depp, Benicio Del Toro, Brad Pitt, Nick Nolte & a fine screenwriter from England, named Michael Thomas, who is a very smart boy & has so far been a pleasure to talk to & conspire with…
So there’s yr. fucking Script & all you have to do now is act like a Professional & Pay him. What the hell do you think Making a Movie is all about? Nobody needs to hear any more of that Gibberish about yr. New Mercedes & yr. Ski Trips & how Hopelessly Broke the Shooting Gallery is…. If you’re that fucking Poor you should get out of the Movie Business. It is no place for Amateurs & Dilletants who don’t want to do anything but “take lunch” & Waste serious people’s Time.
Fuck this. We have a good writer, we have the main parts casted & we have a very marketable movie that will not even be hard to make….
And all you are is a goddamn Bystander, making stupid suggestions & jabbering now & then like some half-bright Kid with No Money & No Energy & no focus except on yr. own tits…. I’m sick of hearing about Cuba & Japs & yr. Yo-yo partners who want to change the story because the violence makes them Queasy.
Shit on them. I’d much rather deal with a Live asshole than a Dead worm with No Light in his Eyes…. If you people don’t want to Do Anything with this movie, just cough up the Option & I’ll talk to someone else. The only thing You’re going to get by quitting and curling up in a Fetal position is relentless Grief and Embarrassment. And the one thing you won’t have is Fun…
Okay, That’s my Outburst for today. Let’s hope that it gets Somebody off the dime. And if you don’t Do Something QUICK you’re going to Destroy a very good idea. I’m in the mood to chop yr. fucking hands off.
Here’s the trailer for The Rum Diary. It’s directed by Bruce Robinson based on his own screenplay. Robinson wrote and directed the fabulous Withnail And I, one of my all-time favorite movies. The Rum Diary is produced by and stars Johnny Depp who was close and very loyal to Thompson. These are good indicators that the movie may be a fine one indeed.
Robinson, a recovering alcoholic, was hit with a bad case of writer’s block while working on the screenplay for the movie. He jumped off the wagon and managed to kickstart his Muse by drinking a bottle of booze a day. I guess he needed to get into a gonzo frame of mind. Once the work was done, he immediately went back to his life of sobriety.
The long summers of Edwardian England were a product of the 1920’s imagination, when those who had been children during that decade looked fondly back to a time of seeming innocence. This in part became a theme central to a generation of British artists and writers - Christopher Isherwood, W. H. Auden, Nancy Mitford, George Orwell, Francis Bacon, Evelyn Waugh - all Edwardian children, who produced work that reflected the loss of certainty and identity caused by the Great War.
These photographs of Edwardians in color capture some of the wistful nostalgia that the ubiquity of cameras and film usage helped develop during the century.
Seldom-seen footage of the short-lived Krautrock “power trio” iteration of Kraftwerk consisting of Florian Schneider, Michael Rother and Klaus Dinger that existed ONLY briefly when Ralf Hütter left the group to study architecture in 1971.
As Rother and Dinger went on to form Neu! at the end of 1971, this could be looked at more like this is Neu! with “special guest” Florian Schneider (who totally rocks out here!) but this is a Kraftwerk performance. And the quality is stellar!
Below, “Köln II”
“Kakteen, Wüste, Sonne” (which translates as “Cactus, desert, sun”)
Black Sabbath were filmed live in Paris performing songs from their first album and Paranoid in December of 1970 for regional Yorkshire Television. It’s the best footage, bar none, that you will ever see of the band in their evil prime.
A scorching, killer set of the devil’s music. Play it LOUD.
Hand Of Doom
Behind The Wall Of Sleep
Fairies Wear Boots
I don’t always agree with Noam Chomsky. I think he’s too reflexively anti-American (to the detriment to his works being more widely read), that he’s been getting a lil’ cranky as he gets older (as we all do) and sometimes he veers a little too far into conspiracy theory territory for my tastes. Still, when he’s on it, Chomsky can zero in on a complex confluence of events and trends and elucidate them like few other observers of national and world politics can. He recently took on the topic of American decline on the pages of al-Akhbar:
The post-Golden Age economy is enacting a nightmare envisaged by the classical economists, Adam Smith and David Ricardo. Both recognized that if British merchants and manufacturers invested abroad and relied on imports, they would profit, but England would suffer. Both hoped that these consequences would be averted by home bias, a preference to do business in the home country and see it grow and develop. Ricardo hoped that thanks to home bias, most men of property would “be satisfied with the low rate of profits in their own country, rather than seek a more advantageous employment for their wealth in foreign nations.
In the past 30 years, the “masters of mankind,” as Smith called them, have abandoned any sentimental concern for the welfare of their own society, concentrating instead on short-term gain and huge bonuses, the country be damned—as long as the powerful nanny state remains intact to serve their interests.
A graphic illustration appeared on the front page of the New York Times on August 4. Two major stories appear side by side. One discusses how Republicans fervently oppose any deal “that involves increased revenues”—a euphemism for taxes on the rich. The other is headlined “Even Marked Up, Luxury Goods Fly Off Shelves.” The pretext for cutting taxes on the rich and corporations to ridiculous lows is that they will invest in creating jobs—which they cannot do now as their pockets are bulging with record profits.
The developing picture is aptly described in a brochure for investors produced by banking giant Citigroup. The bank’s analysts describe a global society that is dividing into two blocs: the plutonomy and the rest. In such a world, growth is powered by the wealthy few, and largely consumed by them. Then there are the ‘non-rich,’ the vast majority, now sometimes called the global precariat, the workforce living a precarious existence. In the US, they are subject to “growing worker insecurity,” the basis for a healthy economy, as Federal Reserve chair Alan Greenspan explained to Congress while lauding his performance in economic management. This is the real shift of power in global society.
The Citigroup analysts advise investors to focus on the very rich, where the action is. Their “Plutonomy Stock Basket,” as they call it, far outperformed the world index of developed markets since 1985, when the Reagan-Thatcher economic programs of enriching the very wealthy were really taking off.
Before the 2007 crash for which the new post-Golden Age financial institutions were largely responsible, these institutions had gained startling economic power, more than tripling their share of corporate profits. After the crash, a number of economists began to inquire into their function in purely economic terms. Nobel laureate in economics Robert Solow concludes that their general impact is probably negative: “the successes probably add little or nothing to the efficiency of the real economy, while the disasters transfer wealth from taxpayers to financiers.”
By shredding the remnants of political democracy, they lay the basis for carrying the lethal process forward—as long as their victims are willing to suffer in silence.