Anytime something makes money, no matter how outré, it's instantly mainstream. A good example is rock 'n' roll. When rock 'n' roll was first played to a wide audience it was considered the devil's music.
Infiltrating the mainstream was a natural extension of my street art. I've always tried to communicate ideas to the public as directly as possible.
All the things I used to count on to get my music out there - record companies, they're all gone. And radio stations, they're gone - they're completely controlled by the government. If they're not controlled by the government, they're controlled by a programmer who's controlled by the government. Mainstream radio is suspect. You can't trust it.
Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.
We are a very like-minded group, the senior members of this government. The outliers are not very far away from the mainstream.
When bands come from that underground scene and go into the mainstream, people just hate it. And it blows my mind. If you're saying you don't like what pop culture is, then change it. And when someone does make an effort to change it, everyone rebels against it and hates it. You can't win. People just want that division to exist. They don't want that division to go away.
It's depressing to see blacks wanting to dive into the mainstream of American commercial life. They come from a magnificent African culture based on aesthetics, and they all want to become fort builders like the vicious people who originally enslaved them.
Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.
I like to tell untold true stories, or the lesser-known aspects of larger, familiar stories. I think people or topics that are slightly on the edge or outside the mainstream often reveal more than better-known stories.
In the mainstream film market, certainly in television, sex is handled fairly discreetly. I think the abuse of extraordinarily graphic violence and language presses much closer to the tolerance of public taste.
When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.
I am interested in challenging the mainstream ideas of what is beautiful and what is acceptable.
I love to read about music and about art, but I don't try and take things about mythology or guidelines as to how I'm to behave as an artist. It's the realm of intellectual debate. Actually, more and more my direction is trying to get further away from being self-conscious of what the parameters are of the mainstream, where it intersects with the underground.
I am surely a feminist filmmaker, but not because I set out to become one, or am trying to make any kind of statement. Rather, it's inherent in the act of expressing myself, as a woman who is deeply alienated from mainstream cinematic structures of seeing. I express myself and am instantly feminist.
In any event, it has never been true that we ignore mainstream science; and anyone who reads AEI publications closely can see that we are not 'skeptics' about warming. It is possible to accept the general consensus about the existence of global warming while having valid questions about the extent of warming, the consequences of warming, and the appropriate responses.
Why are the mainstream buzz things rarely contemporary? It doesn't happen very often. It's hard to feel culpable or implicated or even apathetic.
Environmental philosophy just is philosophy full stop. It only sprung up as distinct subfield because mainstream philosophy was ignoring some of the most important philosophical challenges of our time.
All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.
I have a conflicted relationship with musicals, because I think the music itself can be so horrendous. It's an industry that relies on appealing to a mainstream culture in order to survive.
Video games have become this really weird medium where it's not quite mainstream but it's not quite art either.
When drum'n'bass happened, when the two-step/garage thing happened, there was a chart smash every week; it operated on the underground and the pinnacle of pop mainstream at the same time.
I think I have broken into the mainstream, and I think that may happen in a broader way, but I want to do it on my own terms, not become a standard producer.
Socialization would be the most successful thing to bring mainstream audiences to online computers.
I have always felt validated and it shouldn't take film to do that for writer, but I'm glad it has. My plan has always been to be read more widely by doing just what I've always done. I wanted to break into the mainstream without becoming mainstream.
I think part of why schizophrenia got linked to civil rights protest in the '60s was because mainstream society was coding threats against the smooth running of the state as insanity and treating it as such, and so as that happens you see the evolution of a process in which people with schizophrenia are increasingly feared and our hospitals, particularly the kind of hospital that I look at in the book become to look more and more like prisons, to the point where many of them including the one I talk about actually become prisons.
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