Sunday Reads: Squeal in Louisiana
Posted: April 15, 2018 Filed under: morning reads
Some things are Twitter are so funny…take this for instance:
Seriously. Of course there is more to the story, I mean it has to deal with “gaiety” or should I say “gayiety”.
There has been so many stories of late, I’m just going to review a few…
And the tRump White House continue to gets it wrong:
And the responses to this latest Sanders shit:
Earlier this morning, tRump was off his nut:
Trump assails Comey in tweetstorm, suggests ex-FBI director deserves ‘jail’ – The Washington Post
President Trump sharply attacked James B. Comey in a fusillade of tweets Sunday morning, suggesting that the former FBI director deserves to be imprisoned and serving up several of his favorite theories and unsubstantiated allegations of misdeeds.
Trump’s tweets are part of a wider effort by the White House and the Republican National Committee to discredit Comey, who has written a damaging tell-all book, titled “A Higher Loyalty,” to be released Tuesday. A Sunday night interview on ABC News will kick off his national book tour.
Comey’s book is a scathing depiction of his interactions with Trump, whom he likens to an “unethical” mob boss, and casts his inner circle in largely unflattering terms, saying it was more focused on politics than national security.
More analysis at the link.
We all know that Paul “Munster” Ryan is not seeking re-election, this tweet is so on point.
Earlier this past week, there was a bunch of incidents against black people. When they happened, so much other shit news was breaking, many missed them. Now I’ve noticed an uptick in attention on twitter.
Another bit of news from last week, RIP Milos Forman:
Milos Forman, Oscar-Winning Director of ‘One Flew Over the Cuckoo’s Nest,’ Dies at 86 – The New York Times
Milos Forman, a filmmaker who challenged Hollywood with his subversive touch, and twice directed movies that won the Oscar for best picture, died on Friday. He was 86.
His death in Connecticut was confirmed by Dennis Aspland, Mr. Forman’s agent, and by Vlastislav Malek, a representative of his hometown, Caslav, in the Czech Republic.
A native of what was then Czechoslovakia, Mr. Forman came to the United States in the late 1960s as a rebellious young filmmaker whose satirical bent was little welcomed at home in the wake of the 1968 Soviet invasion.
Just a few years later, Mr. Forman’s “One Flew Over the Cuckoo’s Nest” — a tragicomic story of revolt and repression in a mental institution — won five Oscars, including those for best director and best picture.
The film put Mr. Forman in the front rank of those who struggled to make big, commercial films with countercultural sensibilities. His sympathy for the odd man out was always apparent, even as his movies grew in scope.
“Amadeus,” a 1984 adaptation of Peter Shaffer’s stage play, presented Wolfgang Amadeus Mozart as a genius who undermined authority with his art. Again, Oscars for best director and best picture were among its many honors.
Still, Mr. Forman, by then a United States citizen, said one of his greatest pleasures from the film — which was shot in the Czech Republic — was the chance to return in triumph to his homeland.
One Flew Over the Cuckoo’s Nest director Miloš Forman dies aged 86 | Film | The Guardian
Forman was born in the Czech town of Caslav in 1932; after the Nazi occupation of Czechoslovakia, both his mother and father died in concentration camps. (Forman later discovered his biological father was actually a Jewish architect who had survived the war and escaped to South America.) After being raised by relatives, Forman joined the Prague Film Academy, and began writing scripts in the late 1950s, gradually moving up the ranks in the postwar Czechoslovak industry. His debut as director, Black Peter, about a teenager in his first job, incurred the dislike of the Communist authorities for its irreverent attitude, but after its prizewinning appearance at the Locarno film festival enabled Forman to continue directing.
The Fireman’s Ball was released in 1967 and Forman was then invited to the US by Paramount Pictures to make a film in America. After attempting to get the rights to the musical Hair, Forman began work on an original screenplay, for the film Taking Off. In August 1968 Czechslovakia was invaded by Warsaw Pact forces aiming to suppress Alexander Dubček’s liberalising reforms; Forman opted to stay in the US, where he was joined by fellow director Ivan Passer.
Taking Off was a flop on its release in 1970, and Forman suffered a breakdown, living in the rundown Chelsea Hotel in New York but determined not to return to Czechslovakia. At his lowest point he was offered the chance to direct One Flew Over the Cuckoo’s Nest, another anti-authoritarian parable adapted from Ken Kesey’s novel. Producer Michael Douglas later told the Guardian the hiring was on the strength of The Fireman’s Ball: “It took place in one enclosed situation, with a plethora of unique characters he had the ability to juggle.” With a cast led by Jack Nicholson at the height of his powers, Cuckoo’s Nest emerged as a massive success, a seminal product of the New Hollywood and winner of all top five Academy awards.
Miloš Forman: the director who brought the spirit of anti-Soviet rebellion to Hollywood | Peter Bradshaw | Film | The Guardian
The divine inspiration of madness – its ambiguity, its creativity, its higher sanity, and the cover and legitimacy it gives to protest against oppression and bullies of all stripes – these were the ideas which energised Miloš Forman in his remarkable work. He was the Czech new wave émigré who brought the spirit of anti-Soviet rebellion to Hollywood and made its sly comic strategies and humanist passion flower in dozens of different ways. He also became one of the many directors whose work was shaped by working with the great screenwriter Jean-Claude Carrière.
Forman was a sensational Oscar winner with One Flew Over the Cuckoo’s Nest (1975) starring Jack Nicholson as the hyperactive crook who fakes madness to get what he thinks is the soft option of a psychiatric facility; and Amadeus (1984), the gripping myth about F Murray Abraham’s thin-lipped Antonio Salieri planning to kill Tom Hulce’s impish Mozart – the mediocre rational careerist enviously destroying the disorderly genius. Forman became feted for conjuring drama and star performances from the bristling ensemble of smaller roles. And the madhouse scene, in all its poignant farce and Foucauldian political surveillance became a keynote of his movies…
So be sure to read up on those obituaries.
I am still dealing with wedding stuff, can’t wait until the day has come and gone…lately I’ve been working on arranging flowers:
I hope everyone is doing ok…this is an open thread.