Women should not be afraid of men like Weinstein. The stories that are about fear are changing into righteous rage. Women must stand up for themselves , stand united, and express 0 tolerance for this behavior. Men are actually afraid of women, which is what is really behind this kind of abuse. Men are afraid of women's intelligence, fortitude, strength, and beauty. Men have made women into monsters in mythology like Medusa with fangs and witches with long noses, and in cinema, Baby Jane, Carrie, Regan (Linda Blair), Ripley. Men in Hollywood abuse young children like Shirley Temple and countless young women as Weinstein has because they are afraid. Abuse is not about power, but fear.
In her autobiography, “Child Star,” Shirley Temple described going with her mother to see her new bosses at Metro-Goldwyn-Mayer after leaving Fox.
Louis B. Mayer spirited away Gertrude Temple. The curly-haired superstar — hailed by F.D.R. for helping America get through the Depression — was taken to the office of Arthur Freed, an associate producer on “The Wizard of Oz.”
After telling her that she would have to get rid of her baby fat, Freed abruptly stood up and pulled out his penis. The 11-year-old had never even seen one before. She gave a nervous laugh, which offended the producer.
“Get out!” he shouted.
When she rejoined her mother, an affronted Gertrude told Shirley that she had had to back out of Mayer’s office when he lunged at her.
“Not for nothing was the M.G.M. lot known as the ‘factory,’ a studio perfumed with sultry, busty creatures with long legs and tight haunches,” Temple wrote, “and more than its quota of lecherous older men.”
Nearly 80 years later, that aroma of perversion and maladroit du seigneur clings to Hollywood. Now we are inundated with grotesque tales of Harvey Weinstein pulling out his penis to show to appalled and frightened young women, enlisting the pimping help of agents and assistants to have actresses delivered to his hotel rooms, where he pestered the women to watch him shower or give him a massage or engage in intimate acts.
“The ill will towards him for getting away with it all for so long has unleashed something so primitive,” a prominent male Hollywood producer told me. “If people could rip him apart, they would. Literally everyone in Hollywood is taking marshmallows to roast at his burning corpse.”
Dana Calvo, the creator of “Good Girls Revolt,” noted: “We have been saying, just get us in the room. But we meant the pitch room or the editing room or the boardroom. Not Harvey Weinstein’s hotel room.
“I do know I will never look at bathrobes the same way. It’s the bathrobes versus the pussyhats.”
While not a victim of Weinstein’s, Calvo worked for Amazon Studios, which was headed by Roy Price until he was suspended on Thursday for sexual harassment allegations. He had already come under scrutiny for being culturally tone deaf, passing on two of the biggest hits of the year, “Big Little Lies” and “The Handmaid’s Tale,” both of which swept the Emmys for their storytelling about women. And he canceled the popular “Good Girls Revolt” after one season, admitting he had never watched it.
Weinstein, 65, was the opposite, one of the rare men in Hollywood who didn’t care about pursuing an audience of 15-year-old boys with comic book movies. He was someone with taste who was trying to make movies with great roles for women of all ages, a top Democratic fund-raiser who was pushing to make Hillary Clinton the first woman president, a man trusted by the Obamas to have their daughter intern at his company.
But he had a diabolical side. He would tantalize actresses with dreams of stardom — in that dewy, fleeting window such hothouse orchids have to take Hollywood by storm. Often the actresses scrambled, trying to figure out how to get out of the room without having their futures shredded by the vindictive satyr, who also threatened to destroy actresses who balked at wearing dresses designed by his wife Georgina Chapman’s fashion label on the red carpet.
He relished the nickname “Harvey Scissorhands,” given to him by filmmakers who did not like his domination in the editing room. But the nickname could work just as well for his octopus ways with women, which resulted in lots of hush money being paid out.
And some of his own assistants say they were assailed. One ran out of the room, crying and distraught, after Weinstein pressed her into giving him a massage.
Some who were importuned or pawed, like Angelina Jolie, stalked away and told studio executives that she would never work with the pestilent mogul. Others whom Weinstein asked to give him a massage in his hotel suite refused but continued to collaborate, like Gwyneth Paltrow, who put aside qualms to become “the first lady of Miramax.”
When David Carr wrote about “The Emperor Miramaximus” in 2001 for New York magazine — several years after the unpleasant experience Paltrow described for the first time this past week to The Times — he quoted her saying: “I think that for every bad story you hear about Harvey, there are three great ones. People are complicated, and nobody’s all good or all bad.”
Other victims, like Rose McGowan, took settlements from the mogul to stay quiet but continued to seethe, until her rage spilled over Thursday when she tweeted — after getting back on Twitter after an absurd banishment by the company — that Weinstein had raped her.
Once more we are in a searing national seminar on sexual misbehavior by men, just like the Hill-Thomas hearings, the Clinton impeachment hearings, the Bill Cosby trial, the downfalls of Roger Ailes, Bill O’Reilly and other harassing big shots at Fox News, and Donald Trump and the fallout from the “Access Hollywood” tape.
How many times do we have to go through this before things really change?
“If you look at The Hollywood Reporter’s powerful women list,” said Janice Min, the former editor of that publication, “every single one of those women still reports to a man.” (By some estimates, there are only six women who have first-look overhead producing deals at the studios.)
Min recalled attending the $400,000 speech Barack Obama made as an ex-president to an A&E Networks advertising upfront at the Pierre hotel in New York in April.
“Afterwards, amid rapturous applause, he walks right over to Harvey Weinstein and gives Harvey a hug,” Min said. “You can see the optics of it all. It makes your head explode if you think of the inability to explode the male network.”
Min said that although The Hollywood Reporter tried to get the goods on “that looming, ominous, bellicose force” named Harvey for many years — “we had white boards full of names of women” — he was a master at protecting himself, just as Hugh Hefner was, by the veneer of power he cultivated, by giving to liberal causes and cultivating friends in the media and politics.
“There probably needs to be some introspection about how certain people who engage in horrendous mistreatment of women can co-opt the media,” she mused. “The fundamental predatory nature of Hollywood is young, attractive people — largely females — putting themselves in front of men to be judged and appraised and chosen.
“It is a dark equation. From the moment the proverbial girl gets off the bus, the odds are stacked against her. In Hollywood, unlike at other Fortune 500 companies, the one-on-one meetings take place in hotel suites and bars. It’s an exploitative and oddly personal process.”
Young actresses (and surely actors, too, with other powerful predators), Min said, knew that “Hollywood is built on nothing but the pursuit of Oscar and Emmy. Harvey had proven time and again he could get you the Oscar that could make your career. It’s the difference between being in the reboot of ‘Saved by the Bell’ or getting 15 million for your next role.”
Hollywood is a culture that runs on fear. And it is not like other professions, one top entertainment executive said, because “no one comes with a résumé. It’s about what you look like and who sent you.”
There was resentment against Weinstein in Hollywood, not only for the stories bubbling around about women, but the way he humiliated men who worked with him. He even berated a 15-year-old girl at a screening because her parents supported a political candidate he opposed.
Like Trump, that other self-professed predator, there were complaints that in business deals he stiffed people on bills (advertising and public relations payments), and he had a reputation for lying, cheating, taking advantage, acting like a thug. Many in the film community felt he besmirched the Oscars by turning it into a marketing race rather than a contest of quality.
I asked Tim Robbins, who had some unpleasant business dealings with Weinstein, what the moral of this foul, revolting story should be.
“It’s not just in show business, it’s every business,” he said. “It’s about men who use power to get an advantage over women. It’s gross, it’s unacceptable, but unfortunately, it’s pretty persistent.”
Women in Hollywood say social media, plus the anger about Trump getting into the Oval Office instead of Hillary, were propelling forces in the fire raining down on Weinstein.
“I hope it’s a witch hunt,” said a top Hollywood woman. “I hope it’s a purge. There are people we have to get rid of in our business. Everyone knows them.”
So many have been looking the other way for Roman Polanski (statutory rape) , Woody Allen (child molestation - his own) and Donald Trump (sexual harassment) - that it's about time that Harvey Weinstein is being nailed -- and so should the other above named predators. It's Allen's son that did the most scorching exposé of Weinstein's sex crimes. Trump doesn't deny it. Allen and Polanski hope it just goes away.
"I have moved so far past it. I never think about it. I work. I said I was never going to comment on it again. I said everything I have to say about it.” Woody Allen
"As far as what I did: It's over. I pleaded guilt. I went to jail. I came back to the United States to do it, people forget about that, or don't even know.” Polanski
"I just start kissing them. It's like a magnet. Just kiss. I don't even wait. And when you're a star they let you do it. You can do anything. Grab them by the pussy. You can do anything." Trump.
"For more than twenty years, Weinstein has also been trailed by rumors of sexual harassment and assault. This has been an open secret to many in Hollywood and beyond, but previous attempts by many publications, including The New Yorker, to investigate and publish the story over the years fell short of the demands of journalistic evidence. Too few people were willing to speak, much less allow a reporter to use their names, and Weinstein and his associates used nondisclosure agreements, monetary payoffs, and legal threats to suppress these myriad stories".
Rowan Farrow, son of Mia Farrow and Woody Allen.
(Rowan on Allen: "He's my father married to my sister. That makes me his son and his brother-in-law. That is such a moral transgression.")
No longer whispered but out - raged.
The myth of the powerful man and the beautiful women behind him, unraveled. How many other movie moguls do the same and have done so historically in the film business?
Harvey Weinstein, movie mogul and predator, revealed.
Using the same excuses as Arnold Schwarzenegger did to rationalize his behavior that his behavior was formed in the 60s (when he was a teenager) and 70s. Bad behavior dies hard.
Ashley Judd spoke out and began the repercussions that brought down Weinstein this week.
“Women have been talking about Harvey amongst ourselves for a long time, and it’s simply beyond time to have the conversation publicly.” - Ashley Judd
I am a 28 year old woman trying to make a living and a career. Harvey Weinstein is a 64 year old, world famous man and this is his company. The balance of power is me: 0, Harvey Weinstein: 10. — From Lauren O’Connor‘s memo
Meryl Streep and Jennifer Lawrence have spoken out and dozens of women. Saturday Night Live SNL kept quiet cutting material about Weinstein in their show with Gal Gadot hosting September 30. Women stick up for each other— SNL and other male written shows (Colbert, Fallon) tried to ignore or bury it.
Ovarian Psycos, directed by Joanna Sokolowski et Kate Trumbull-LaValle (USA| 2016) at Films de Femmes in Créteil on March 18. The Youth Jury came on stage to award the prize at final ceremony. This film that was also shown to 100 high school students in the Créteil area with a lively debate afterwards. https://www.facebook.com/FestivaldeFilmsdeFemmes/ Members of the Ovarian Psycos will be in San Francisco on April 11 at City College of San Francisco for workshops and screening of the film.
"Ovarian Psycos - Documentary" is about a biking brigade composed on young women who ride to protest violence against the women in their community in East Los Angeles. The collective reveals personal testimony of growing up in East LA and the pressure put on them by families to conform. Biking is their way of showing solidarity with other women. https://www.facebook.com/TheOvarianPsycosDocumentary/
The Grand Jury Prize at Festival International de Films de Femmes in Créteil went to "Lipstick under my Burkha", directed by Alankrita Shrivastava (India| 2016). The film was censored in her country Special Mention (Mention spéciale) went to "People That Are Not Me", directed by Hadas Ben Aroya (Israel | 2016). Ben Aroya is the producer of the film and the main character named Joy, which is about and herself and her friends in Tel Aviv that don’t fit into the usual categories – which she calls “non- Unicorns” leading “unauthentic lives”.
Festival International de Films de Femmes. https://www.facebook.com/FestivaldeFilmsdeFemmes/
The Public Prize for best feature film (PRIX DU PUBLIC MEILLEUR LONG MÉTRAGE FICTION) at Créteil Films de Femmes went to "Sami Blood" (Sami Blood, Amanda Kernell , Suède, Danemark, Norvège | 2016) directed by Amanda Kernel. Kernel attended Danish Film School and is set in the 1930’s in Sweden. The Sami people, the indigenous people that live in Northern Scandinavian countries and coast of Russia, and their colonial appropriation to conform to the dominant culture. The Sami were not allowed to speak Sami in school and were often shamed. Shot in seven weeks it was usual for Kernel to have 13 takes for each of the scenes, primarily to make the film authentic for the Sami people. https://www.facebook.com/FestivaldeFilmsdeFemmes/
Dorothy Arzner’s
films were marginalized by male film historians until the advent of women’s
film festivals in the mid 1970’s. The first major and largely anecdotal accounts
of American cinema by male film historians omitted or glossed over her career:
Andrew Sarris: “The American Cinema: Directors and Directions, 1929-1968”
(1968- Arzner completely omitted); Kevin Brownlow’s “The Parades Gone By”
(1968); Lewis Jacobs, “The Rise of the American Film” (1939, reprinted 1967).
Her films have been the subject of scholarship and film retrospectives, richly
documented in essays and books by feminist film theorists and historians since
the 1970’s.
When Arzner was
rediscovered in women’s film festivals in the 70’s, in part promoted by British
feminist film theorist Claire Johnston, her historical place in film history was
well motivated by the body of work she had done between 1929-1943 above all how
her characters challenge the fixed gender roles of women in film and open these
films up to contradictions. They show women transgressing their roles and seeking
fulfillment. Feminist film theory was taught at universities and colleges since the 80's and her work is currently discussed, especially with a slew of new retrospectives.
Maureen O'Hara and Lucille Ball in 'Dance Girl Dance'
Dorothy Arzner is
relatively unknown in France and feminist film theory nearly non existent. So
it is with some alarm that she was introduced rather poorly by the Cinématèque Française for an upcoming retrospectivewith problematic - and protested -program notes on a revised ahistorical account of Arzner.
Libération journalist Philippe Garnier reviewed six
of her films in 2003 while in Los Angeles and was called on to write the
program notes for a retrospective of her films at the Cinématèque Française from March 22 to April 1, a bastion of male
film history with only six retrospectives dedicated to women since 2005 out of
around 300. Fortunately, Garnier does not speak for “Créteil Films de Femmes” whose
parallel Arzner retrospective (March 10-19) precedes the program af Cinématèque Française. A round table with
myself representing the Cinema and Women’s Studies Department at City College
of San Francisco and Cahiers du Cinema
film critic Ariel Schweitzerwas held for the audience who would later continue on at Cinématèque
Française. This discussion was crucial in bringing this work to
its proper light. Créteil has previously showcased Arzner’s work on two
occasions in the 80s since the inaugural festival of 1979 in Sceaux, which later moved
to Créteil.
Katherine Hepburn in 'Christopher Strong' 1933
Garnier’s
overview of Arzner’s work supplies superficial character analyses from her
films, which generally fragment in meaningless rhetoric. There are
problematic comments about Arzner’s appeal to “militant lesbians”, and swipes
at Arzner and Zoë Akins (Akins wrote scripts
for Arzner)for their “closeted” careers in the male
dominated studio system of the1920’s and 1930’s Hollywood. (Lesbian) feminists that emulate Arzner or “recent attempts to make her a secret
heroine of the feminist struggle” are problematic for Garnier. Arnzer is characterized as a
“butch” director who spent her time advancing
the careers of actresses. He criticizes Arzner’s male characters who are either
“pathetic or alcoholic” and elevates erotic pre-code scenes with Pansy Gray (Ruth
Chatterton) in “Anybody’s Woman” (1930) who straddles a ukulele in an erotic
pose (1930) , which he considered her best film, or Bubble’s (Lucille
Ball) in “Dance Girl Dance” (1940) who performs a hula dance for a lecherous nightclub
owner. Garnier's introduction of Dorothy Arzner for the Cinémateque Française
retrospective to spectators who do not know about her work is annoying, as are snide
attacks on lesbian feminists who identify with her public image, or the
screening of her films in academia and educational institutions and festivals.
Clara Bow in 'The Wild Party'
Why elevate an
historical figure while vulgarizing the work? Why commodify a retrospective
with revisionist history? Phillipe
Garnier claims that Arzner was successful because of two reasons: she had“f---k
you money” to play with , i.e. was so wealthy she really didn’t need to work, like
Zoe Akins and it infers they bought their way into the business. Secondly, she became a director as a result of a network of women artisans in
the film industry in the 1920’s. However, it was Arzner’s competent efforts and
the contacts she made at Paramount that made her director before the union jobs
that came with the big studios after this period. That Arzner remains after
this time and for 20 years in the emerging Hollywood studio system is extraordinarily
remarkable.
CinéFemme Films from Eressos, Greece, home of Sappho.
Since 1997 I have made films in Eressos, on the island of Lesbos. These are collaborative efforts with islanders and travelers. Two are mythological journeys contextualized with film clips from Maya Deren's At Land, Alien, Jaws and Bergman's The Seventh Seal . Both made in Eressos, Lesbos in Greece during the summers of 1997 and 1998:
At Land Too (1997) inspired by the film At Land (1945) by American avant-garde filmmaker Maya Deren. Includes the so called 'lesbian scene' which has inspired a wave of lesbian iconography 25 years after Deren's death in 1961, including the work of Barbara Hammer. At Land Too is a modern saga made with the infamous Gaul beach lesbians - "Salopes de la Mer". Featuring "Rock Time", and "The Dirty Old Man on the Beach".
Vagina Dentata(1998) is made with Teutonic and Anglosaxon beach lesbians and concerns the myth of a vagina with teeth. Modern films such as Jaws and Alien have reproduced the saga and given teeth a bad reputation. Featuring the original Vagina Dentata tribe at Eressos, starring H.R.C.,and a flock of dancing Grecian urns. 10 seconds shown on Canal Plus 1998.
Selected for Bay Area Burning Man Film Festival, and projected from a VCR on the roof of a car against a garage. Paris has 400 screenings (séances) a week. I remember a book for young Francophiles where the kids on the block projected a film against a sheet on a garage years ago.
The Lunchmaker , (1999) Featuring Antipodes lesbians. A sea nymph serves up two mermaids from the sea who each do a dance.
Shadows(2001) Two shadows, survivors of a shipwreck, saunter along Sappho's beach.
Sappho Postcards(2002) Viking lesbians recite poems by Sappho in her garden. This is a spoof on a Swedish filmmaker named Roy Andersson noted for his deadpan long takes of meaningless uncomfortable silence. Featuring virtually brain dead lesbians.
Les Lesbiennes Terribles(2004) Two mischievous lesbians meet up with a mercenary driver. When good things happen to misfits.
The True Story of Antiope (2005) Featuring Les Parents Terribles. Lykos and Dirce take away Antiope's home and children, and later suffer a horrible fate. Featuring coral reefs, goat herd(er) and a brood of hungry birds.
Million Dollar Panties (2005) Inspired by outdoor laundry lines and adopted headgear on Skala Eressos and Sigri.
WORLD PREMIERE!On the Highway with My Girlfriend(Stockholm, Sweden. 5 minutes). Director: Moira Sullivan.Selected for Denver Underground Film Festival. 2005.
Et in Arcadia Ego - Poussin and the Elegiac Tradition, 2009.
The Buddhacator, 2009 what can happen upon an awakening.
Art of Decluttering for the Summer Solstice, 2009. What we leave behind that wasn't worth saving.
The Queer Palm Death Quest, Cannes, 2012. What we leave behind that others want when we are dead.
SoKo in San Francisco accepting the Twisted Palm. SoKo was in San Francisco to pick up the award she deserves from Cannes,2012.
This year's Oscars was not as white but still very white, and still very male. Only two films directed by women were nominated for Academy Awards--Ava DuVernay ("13th") and Maren Ade ("Toni Erdmann"). One short live action film, "Sing" directed by Kristof Deák and Anna Udvardy won an Oscar. That's it. Only four women have been nominated for best director since 1929. Only Kathryn Bigelow, has won for "Hurt Locker" (2008). Lina Wertmuller was nominated in 1976 for "Seven Beauties", Jane Campion in 1993 for "The Piano" and Sofia Coppola in 2003 for "Lost in Translation". Let's talk odds here for winners: 1 in 88.
It's hard to note the invisibility of women at the Academy Awards since there are so many women working as actresses or producers in film, however they are not being nominated for directing. Andrea Arnold's Grand Prix winner at Cannes in May 2016 was snubbed - "American Honey".
2016 women wore mostly red
In the group photo for last year's Oscars, many of the women are wearing red. We have a long way to go for nominated films that salute both race and gender, for nominating filmmakers who are people of color and women. The mixup about Barry Jenkins' "Moonlight" winning Best Picture this year was deplorable, still it won that award, and Best Supporting Actor (Mahershala Ali) and Best Adapted Screenplay (Jenkins). Using innovative cinematography and editing it is about a young gay black boy growing up with his drug addicted mother and befriended by an older black male who is a "good" drug dealer. He grows into a teenager, and a man. Compare this with "La La Land", a white heterosexual musical set in LA , so unrealistic and illusional it was able to gather 13 nominations and six wins just for that. We can't escape the world we live by keeping it safe from authentic representation; only in Hollywood is that possible. Overused words by winners this year : amazing, journey, honored, stories, luck, God.
Moira Jean Sullivan
Alliance of Women Film Journalists
FIPRESCI
Swedish Film Critics Association
Professor of Cinema, City College of San Francisco
In British-Indian director Mitu Misra’s debut film Lies We Tell men and women tell lies: men tell lies to their wives, to their mistresses, to each other, and to their children. Women tell lies to themselves, and perpetuate their entrapment as young girls sold by their fathers and families through marriage. These practices continue in Britain where Muslim Pakistani subcultures are in collision with the dominant culture and characterized by street violence, family feuds, and rival gangs.
Director Mitu Misra came with his parents from India as a toddler and is first generation British. This is his story with screenplay by Ewen Glass and Andy McDermott
In addition to being ‘sold’ as a teenage bride to her cousin by her father in an arranged marriage, Amber (Sibylla Deen) later becomes the mistress of Demi, an aging wealthy man (Harvey Keitel). The parallels are ironic. When Demi suddenly dies, his chauffeur Donald (Gabriel Byrne) is sent to clear out his boss’s clandestine residence of her belongings. He arrives to find her on the premises and does a bit of spying on her before he announces his presence. She is to leave everything behind including a present given to her by Demi. Rather than relinquish it, she smashes it to pieces. An enigma of the film is how she is dressed and videotaped in the stereotypical attire of male fantasy; black thigh high nylons and see-through lingerie, not reflecting herself but male egos, something she has learned to master as a young girl.
The odyssey of the film charts the efforts of a courageous chauffeur and an emboldened woman of self-conviction. Donald eventually realizes that Amber is more than a mistress, but a woman of contradiction and decides to help her. He sees her assaulted by women and men she knows on the streets, pressured by her family, and KD, (Jan Uddin), her vengeful and bullying cousin / ex-husband. Donald repairs the figurine Amber smashed, a learned owl figure perched on monographs, representative of her path towards the acquisition of worldly and interior knowledge. They develop a friendship based on respect and are well balanced and formidable allies: Donald in his ruthless integrity and Amber’s fierce honesty, played by the brilliant Australian actress Sibylla Deen. Amber’s evolution of shedding the veneer of self-deprecation involves telling her father that it would be better for him to call himself a pimp than her guardian, an important message of the film.
Although the premise of Lies We Tell is that “The only men who get caught are those who don’t love their wives enough”, women in this film are not loved as wives or lovers. Fortunately, there is a vital friendship between an emancipated chauffeur and a “mistress” amidst cultural tension. Women’s second class status is depicted through a series of scenes with Amber’s family and British women see women as rivals after their men. Amber struggles with women of her culture to defy their traditional roles.
No single factor can explain the success of Lies We Tell, but clearly the relationship between director Mitu Misra and cinematographer Santosh Sivan is noteworthy with many well-crafted shots of the Muslim subcultures of suburban Bradford and beautiful natural landscapes beyond the citadel.
Vivid scenes are complimented with excellent film editing by Chris Gill. The film’s mise en scène is competently handled by Jane Levick as production designer and complemented by Makeup Designer Penny Smith and Costume Designer Adam Howe. The original soundtrack for Lies We Tell is written by Zbigniew Preisner (Angelica, Trois Couleurs: Blanc, Rouge, Bleu) who provides a daunting and revelatory score for this provocative narrative.
Moira Sullivan
FIPRESCI, Swedish Film Critics Association , Alliance of Women Film Journalists
Moira Sullivan is an international film critic, scholar, lecturer, promoter and experimental filmmaker based in San Francisco and Stockholm. She is a member of FIPRESCI with a PhD in cinema studies. Currently a professor of Cinema at City College of San Francisco, Sullivan is one of the world's experts on the work of the legendary filmmaker Maya Deren (1917-1961). Since 1995 Sullivan has been a staff writer for Movie Magazine International, San Francisco and writes for agnesfilms.com named for Agnès Varda. She served on the Queer Palm Jury of the Cannes Film Festival in 2012 and is an accredited film critic at film festivals in Cannes, Venice, Udine Créteil, Stockholm, and San Francisco.
Today don't read what corporate media has to say about the march. Clearly anyone at the march knows what happened. Not those who mediated it from afar and did not participate. We know what happened and the intersectionality of men and women, POC and white, immigrants and nationals, gay and straight and BTQI. Anyone on the march felt the immense interconnection and a clear understanding of a sexual predator that has bullied his way into the White House with money lining the pockets of the old school, and a dwindling support group of duped voters. A new generation of millennials are on to DT!
Trump tweets, cowardly, that "all the celebrities hurt the march". What he is saying is that he is afraid of outspoken women who are trailblazers, and the march in general. Women like Cher who marched for peace in the 60's, Madonna who has always been up front about her politics against sexual predators and as anti-war activist, Alicia Keyes, a biracial civil rights activist, Gloria Steinem, awesome founding feminist and smart truthsayer. America Ferrera and Janelle Monáe whose outstanding work in streaming and television speaks to a diversified audience. Trump is a loner, who tries to buy women or commodify them as he has done with his wife and is inappropriately doing with his daughter. The message of the march is that women bite back and bite back in a way that addresses his castration complex. Many images of fallopian tubes, and toothed vaginas were up at the march held by women. And women and men, white and POC, straight and LBGTQI, marched side by side. DTs old patriarchal values are being challenged and the old men with him with beliefs held before the Cold War. Creepy McCarthy type men scared of women and of life. Putin has DT under his thump and has something on him from his days in Russia as a businessman and his paid sexual services from women. Trump will try to extort the wealth of this country with his henchmen as Putin did. After yesterday, this is not possible. He is on alert, and scared.
As expected, Trump also tweets, that protest is an American tradition. It is what he doesn't say that will eventually be heard. He is on notice by a march that eclipsed his inauguration.
Yesterday . there was no division in a national and global effort to unite humanity . In the cities where people marched it was impossible to see corporate induced schisms. The manifestation was intersectional which is missing in media coverage. There was unconditional hope that we the people lives and is a greater force than a demagogue. There was A sense of real and righteous power. No doomsday clouds but a leadership accountability mandate. You had to be there to feel this. It wasn't possible to mediate it.
