Anna Karina in Pierre le Fou


Three films directed by women nominated for 2017 Academy Awards

2017 Academy Award nominees 

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
Swedish Film Critics Association
Professor of Cinema, City College of San Francisco


Lies We Tell Review: "The only men who get caught are those who don’t love their wives enough"

Lies We Tell Review: "The only men who get caught are those who don’t love their wives enough"

Reprinted from

By Moira Sullivan
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 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.


Women's March takes charge of the dinosaur in the White House.

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.


Women's March in Hot Pink San Francisco

A rainy turnout for the women's march in San Francisco and the rotunda is all hot pink in commemoration. Arrived in time to hear Joan Baez - not seen but heard. Very crowded at march estimated at 35-50 thousand that moved at a snail's pace since police cars blocked the route part of the way. But it was definitely worth it! Nice crowd. Favorite chant Hey hey hey ho ho ho Donald Trump has got to go.

#Why I March

#WhyIMarch To be a part of the real world with women worldwide who support change, issues that matter. To defy hypocrisy and affirm life.

As the women's march progresses in Washington.....

Take a break from corporate media. As the women's march progresses in Washington corporate reporters do anything they can to disarm the aims of protestors. The labeling of this movement as the work of "progressives", or " the left " is intentional. To equate the thoughts of protests with block political alliances is invalidation- that is what it is meant to do. It's easier to attack a block of voters than the values that are being expressed. The ridiculous and lame 'sore loser' attack is another disarming tactic. This is not about a protest of voters whose candidate did not win. Those who refuse to hear and recognize the overwhelming protests over the values this administration raises use this argument freely. This includes DT'S constant updates to what was said, or flat denial what was said, which is the hallmark of a slippery businessman. It is designed to confuse and destabilize - to win back support because of uncensored statements what have consequences. Those who say this administration is good for business must also realize that federal defunding of Planned Parenthood, Environmental Protection and National Health Care makes it possible to pave the way for private business tax rebates, and lack of business regulation. DT is the result of this lack of regulation- a rogue businessman who has NO controls and who is moving through his office like a wind machine shouting and disrespecting anyone in his wake that questions him. This is what an unregulated businessman looks like. Such apathy to people by DT supporters has consequences. Some supporters don't even want to reveal they voted for him because they know the consequences of their vote and must admit their selfishness. What is the point of raising skepticism that this march will do nothing because when it's over everyone will just stop their activism. Or asking women about the group of feminists against abortion as a legitimate concern. The media has sickened everyone during this entire campaign and weakens people. Refrain from watching it. Choose your media carefully and request digests from those sources.


The Rise of the Woman = The Rise of the Nation

"Black women, be ready; white women, get ready; red women, stay ready,” "
Phoenix Radio's call from Honey in Lizzie Borden's "Born in Flames".

The Rise of the Woman = The Rise of the Nation

Women's March Jan 21. 2017.


Carrie Fisher: actress, writer, comedian, dog lover, Warrior Princess

Carrie Fisher on her last trip in London, Dec 20. © Carrie Fisher
December 27, 2016.
Sad news today. Carrie Fisher returns to London in Dec 2016 forty years after she started filming for her part as Princess Leia in Star Wars. On the plane back to Los Angeles Dec 23, she suffered a massive heart attack and died today.Among her merits, Carrie Fisher also was a sought after script consultant on Hook (1991), Sister Act (1992), Lethal Weapon 3 (1992) The Wedding Singer (1998) and all Star Wars prequel scripts.
"one of the most sought after doctors in town”—

Fisher wrote on November 30: "Please stop debating about whetherOR not👁aged well. unfortunately it hurts all3 of my feelings.My BODY hasn't aged as well as I have.Blow us👌🏼 © ©Carrie Fisher

Princess Leia is entitled to be a crone!" And she always wished she had a purple light saber in "Star Wars".

"Trump speaking his mind isn't refreshing, it's appalling. Coca Cola is refreshing..." Carrie Fisher

"Thank you guys for helping make my book a best seller..."
The Princess Diarist, ©Carrie Fisher
November 24

November 20 © Carrie Fisher with Gary

"History keeps repeating itself 😇😊😍" © Carrie Fisher

Courtesy of online HTML editor 


Holly Millea's "Maria Schneider: The Long Strange Trip After Last Tango"

Premiere? At last, however, an article worth perusing: Holly Millea's "Maria Schneider: The Long Strange Trip After  Last Tango," in  Premiere's "Women in Hollywood 2000" special issue. For those curious about what happened to that pouty-faced baby Bardot with the Mary Pickford curls, the story of Schneider's slide is all here: hard drugs and obsessive, round-the-globe partying; greasy men pressuring this always-a-lesbian to be their bisexual toy; press and public making jest of her forever after the infamous Land-o'-Lakes-style butt fuck of  Last Tango in Paris (which is screening this Monday, January 10, at the Coolidge Corner).(which is screening this Monday, January 10, at the Coolidge Corner).
"People thought I was the girl in the film," Schneider, now 47, tells her interviewer. "It hurts my feelings. The jokes, the giggles. On the street, in restaurants: `Do you want some butter on your potatoes?' " What she remembers about the  Last Tango shooting is that Brando was blithely unprepared (post-Method?) for his part. "Laziness," Schneider describes it. "So when the close-up was on him, I had the script written all over my body. He was reading me!"shooting is that Brando was blithely unprepared (post-Method?) for his part. "Laziness," Schneider describes it. "So when the close-up was on him, I had the script written all over my body. He was reading me!"
Schneider also gives credence to a long-circulated rumor about filmmaker Bernardo Bertolucci's sexuality. "He [Bertolucci] was in love with Marlon. The part was written for a boy! That's why the butter, the sodomization, the gag. . . . And they didn't dare do it with a boy."

From the Boston Phoenix archives: 


Maria Schneider Last Tango in Paris. Bertolucci finally gets around to listening to what she has said for years.

Is everyone FINALLY getting around to understanding what Maria Schneider has said OVER AND OVER for years. That Bertolucci and Brando were violators and predators for the sake of "art" . Art house it was not. Not for her. It was a real blow to Maria and caused her to spin out for years until she met her soulmate from Italy. Watch her in The Passenger to get a sense of the real Maria at that age, not this artifice written for a boy.

A Stone of truth and rarity,
Given freely with sincerity,
Few believe or understand,
For evidence they do demand;
So here it is, as you ask,
Truth for you I do unmask;
Nature's simple, certain way,
Gives life and Hope out of decay;
For those who hear Nature's call,
Stand up strong and stand up tall;

From "Senses of Cinema", March 2011.

For most, the focus for Maria Schneider is on a film that is forty years old, on a role that was written by Bernardo Bertolucci for a young boy but was acted by a nineteen-year-old French woman. Can you imagine that film? Maria discovered the original story in Italy. A film that in auteur conceit could have been the second leg of a trilogy on fascism: The Conformist (1970), Last Tango in Paris(1972), 1900 (1975).
In Last Tango Jeanne (Maria Schneider) confronts her sadistic attacker Paul (Marlon Brando) and shoots him. Schneider sums it up: “I must say that the murder in the end of the film did me much good”.
Few journalists having a field day with the film’s excesses knew of her work, her life, or her thoughts. David Thomson, in a recent piece in The New Republic entitled “Remembering Maria Schneider: Did film ruin the controversial actress’s life?”, (1) decided to impose his very own personal reading of a photograph of Schneider at age fifty and anticipate the reaction of male gazers (“gulping”) in pimply faced geek immaturity at their goddess. Even though in the end, Thomson tips his hat to Maria, the patronizing gesture is as fresh as fermented Roquefort.
How can Thomson read so much into a picture or a life of someone he never met, having seen a few (mostly English language) films out of the fifty Schneider made? This is par for the majority of Anglophile publications with catchy tabloid titles and short, shallow obituaries.
Maria Schneider worked almost every year of her nearly-40 year career. Thomson and many other journalists would have us believe that “film killed her”; that after her debut in Last Tango, which made her become a drug addict, she never reached the same pinnacle of acclaim. That pinnacle for Thomson’s “male gazers” is the voyeuristic love of explicit sex. The film with a graphic rape for the “gulpers”. Was it film or paparazzi that “killed” Maria, if the metaphor is to be used? According to the actress, she was terrified of the instant success the film brought her and used drugs to escape. But by the 1980’s that was over. She met and stayed with the same woman to her death.
On reflection she would say, “I felt very sad because I was treated like a sex symbol, I wanted to be recognized as an actress, and the whole scandal and aftermath of the film turned me a little crazy and I had a breakdown”.
Maria continually worked as a fine actress with a solid and productive career. Even if you don’t read French, it is not hard to appreciate Schneider’s impressive lineage of work.
I interviewed Maria Schneider two years before her fiftieth birthday in Paris. She was beautiful and radiant, and the guest of honour of the Festival International de Films de Femmes de Créteil et du Val de Marne (Créteil Film de Femmes). We saw her films, and heard her words. They drown out the cacophony of the ignorant. They need to be remembered: how film is a tracing of memory, how women must be recognized as actors and directors. How senior actors must be supported when they are unemployed and impoverished. She was vice-president of “La Roue Tourne” (2) for this purpose.
In my interview of the time, I asked her how she felt about the response of the French press to her being honoured at Créteil? She replied:
Very interesting. Because finally after I’ve been doing this now for thirty years, finally I find some cheerful articles, and you know people kind of understand me better now today than they used to. Because the media threw stones at me. (3) When you read the articles back in the 70s they were terrible back then. And now seeing the kind of choices I made, they kind of understand me better. And respect me better, maybe it’s the age, I don’t know. [laughter] (4)
In the USA there is still stone throwing. But we know better with every stone unturned. Richard Corliss wrote about Schneider in Time, comparing her life work with two other actors Tura Satana and Lena Nyman. Compressing their life work into a singular film and shallow obituary. The article is entitled “Dead Sex Kittens: Farewell to Three Icons of Movie Eroticism”. (5)
Contrast sensationalized articles with interviews of Schneider and you will discover the truth that “male gazers” and “gulpers” ignore. Directors, writers, artists and actors knew her real work, knew her capability, in France and abroad. The yellow journalism of Corliss, Thomson and several mainstream film critics speaks for itself. Some journalists were kinder but almost everyone singles out Last Tango as the tour de force of Schneider’s career, a film Maria did not enjoy making, even less with director Bernardo Bertolucci, for the unrealistic dialogue and scenes. He fired her for 1900, which in hindsight was fortuitous for Schneider who said that after Last Tango the “sweaty palmed” Italian director never made anything of substance. In a twist, his conceits in the film – costume, makeup, mis en scéne, are his failures: all unfairly accredited to Schneider. A fully clothed Brando emerges unscathed for the wear and tear.
It has been a sad time since the news of Maria Schneider’s death was announced on February 3rd. Few realized she was so ill with terminal cancer. The comments about how her looks had changed from the young woman of the film that gave her international attention were unkind. It was as if she was supposed to stay forever young in real life as in cinema. Like most young women when she matured, she was not interesting.
The pictures that contrasted the young Maria with the mature Maria in fact were taken when she was inducted into the Ordre de Arts et Lettres (Order of Arts and Letters) in July 2010, a mere six months before her death. Some of them featured Fréderic Mitterand, her co-star in Jacques Rivette’s Merry Go Round (1977), who is now the Minister of Culture in France. Maria was impeccably dressed in a smart blue coat, knee length, with blue slacks and crisp white blouse. On her jacket, the medal of knighthood was pinned.
Maria looked tired and must have mustered the strength to be present and honoured, which she did with bravery. She was hailed by Fréderic Mitterand, in a letter read at the ceremony at the Ministry of Culture in Paris. Few journalists outside France covered the story. The photographs from the event received worldwide currency only with her death.
This was the French order that Brigitte Bardot refused to be inducted into in 1985. Brigitte Bardot was Maria Schneider’s confidante and took the vagabond actress, the daughter of actor and colleague Daniel Gélin, under her wing at age fifteen. She introduced her to people in the cinema and modelling world. The young Maria was impressed that already at only age thirty-three Bardot was planning on quitting pictures, which she did six years later.
Mitterand’s letter reads:
Dear Maria Schneider
You embody, you too, a facet of the modern woman and her freedom. You’re an audacious actress, able to play all roles, even including your own: thus we believe that you uncover who you are, or rather as the film makes you become in the subtle abyss of implementation –realized by Bertrand Blier ten years ago in Les acteurs [Actors, 2000] where you hang out with many other “stars” of “the French seventh art”. However, it is primarily through international productions that you have risen in the cinematic landscape and in the heart of each. At just twenty years, Last Tango in Paris was for you your first waltz in this brilliant world, too brilliant, perhaps, because of mysteries and appearances. Alongside the great Marlon Brando, you have “dared” to violate the proprieties of the time, and you deserved an Oscar nomination, along with all the insults and all the successes still attached to the scandal and the advances that art and artists know so often which take on the public of their time …
Exponential artist, you hug the greatest legends of cinema.
Directors like Bertolucci, or in Antonioni’s Profession: reporter [The Passanger, 1975], like Bulle Ogier, Rivette, Garrel, Schroeter or Fassbinder. You share the stage with Jack Nicholson and many other giants. Altogether, no fewer than fifty films in just forty years. It is remarkable that this sustainability has earned you the honour, in 2001, of being showcased in Creteil’s Festival International du Film de Femmes. Many are your appearances, both film and television, which marked the spirits and touched a wide audience, as in Les nuits fauves[Savage Nights, Cyril Collard] in 1992. Your success has been truly extraordinary. Always free, you do not hesitate to reject proposals when they lock you into the category of “Lolita”, or when you do not feel comfortable with auteurs, as prestigious as they are, such as Luis Bunuel and Joseph Losey. Thus, you knew that it goes beyond the interests of your career to convey an authentic artistic personality. Always bold, you have roles that have marked a radiant spontaneity, an explosive vitality as in the Last Tango, or in the role of the prostitute in Daniel Duval’s La dérobade [1979].
You too have been an artist that I am pleased today to honour as singular icon of today’s woman. Your presence, your voice hoarse and sensual, which seems to express wonderful powers of revolt, you were a model of emancipation for more than a generation. That too, I think, is the meaning of film, the image of our potential set before our eyes which reaches out to help us become ourselves. And you have succeeded, more than others, and embody our freedom, with a tangible vitality and especially as of women at a time of exploration and conquest.
To this very imperfect sketch of your personality, I would add, in fact, finally, “commitment”, not only because you give yourself on the screen, the rebellious woman, as I suggested in a few instances, but also because you’re in solidarity with your profession, as evidenced by your investment in the association “La Roue Tourne”, created a little over half a century, in 1957, for older artists whom fortune has overshadowed … It is also, as you know, a cause particularly dear to me and to which I wished to give my full support by participating in the Gala d’Union of Artists recently held in Paris at the Cirque d’Hiver.
For all of your background and your fighting, for your charm and emotion that you inspire in the heart of each spectator, it gives me great pleasure, dear Maria Schneider, on behalf of the French Republic, to make you a Knight of the Order of Arts and Letters.
-Frédéric Mitterand, July 1, 2010.
At the quiet funeral held at Èglise Saint-Roch, Brigitte Bardot was present through her moving letter, the woman who called Schneider every Sunday during her life. Among Maria’s friends in attendance was the director Bertrand Blier, actress Claudia Cardinale, the writer Jean-Henri Servat, artistic director Dominique Besnehard, actress Farida Rahouadj, Deputy Mayor of Paris in charge of Culture, Christophe Girard, and actress Andrea Ferreol.
Maria’s partner (compagne) since the 1980s, Pia, spoke at the memorial. “Ciao Bella, Ciao Maria” and saluted her for her bravery in the long illness that took her life.
Maria’s ashes were to be taken from Père Lachaise to later be scattered at La Roche de Vierge in Biarritz. It may seem pointless to react to the media as if there is any conscience involved in paparazzi and yellow journalists who make a living by exploiting celebrities with a click of a camera or a quickly written paragraph dripping with sensationalism.
Maria Schneider was in the limelight from the beginning to the end. How she was remembered in France was very moving, where she received the genuine appreciation and affirmation she was seeking her entire career.
Salut Maria!


  1. David Thomson, “Remembering Maria Schneider: Did film ruin the controversial actress’s life?”, The New Republic(February 8, 2011). Available on line. 
  2. Organisation established in 1957 by French film industry colleagues to aid actors whose lives and careers had fallen on hard times. See “La Roue Tourne” 
  3. Such as a piece in Time, March 3, 1975. 
  4. For full interview see: Interview with Maria Schneider 2001 © Moira Sullivan, Movie Magazine International 
  5. Richard Corliss, “Dead Sex Kittens: Farewell to Three Icons of Movie Eroticism”, Time (February 10, 2011). 


Racial discrimination in election process rampant in 2016 election

Since Obama won in 2012 the conservative backlash against POC who are traditionally Democratic voters succeeded in changing voting rights established in 1965 in the courts. It allowed conservative states to peel back voter rights made law over 50 years ago.This is not a well known fact and maybe it doesn't matter to CNN America that racial discrimination was rampant in this election. POC voters who supported Hillary Clinton as they had Obama were blocked from voting. Polls closed - 400 in Texas- 60% of the counties in Louisiana and in Arizona all counties closed one. This was done to specifically target young people and minorities. The Voting Acts Right of 1965 prevented states and counties primarily in the south to seek approval before making changes to their polling locations. The Supreme Court eradicated the coverage formula to prevent certain jurisdictions from "egregious voting discrimination" in 2013. The George W Bush appointed Chief Justice John Roberts Jr proclaimed it was because "current conditions" did not warrant it. In North Carolina, 66,000 black voters were affected by changes in voting locations. It is clear that "conditions" still warrant the full protection of the law and will always warrant it in to prevent racist voting practices that are rampant in parts of the US.

New York Times: Voters Abandoned by the Court November 8, 2016

Mark Zuckerberg created Facebook to get even with ex girlfriend

Mark and dating women 
Mark Zuckerberg's Facebook went beyond dating services to hospital donations in San Francisco. Obama met with Zuckerberg in 2008 in a job investment plan that has brought about the tech revolution, gentrification, exodus of POC, exodus of queer women, low income , rent controlled renters. How can such a geek do so much to the world to create faux human connection?

David Finch's "The Social Network" reveals what a socially awkward and immature jerk Facebook founder Mark Zuckerberg was, how FB started out to ridicule his ex girlfriend (who fortunately ditched him for good), and then became a dating service for upper class heterosexual co-eds at Ivy League US colleges. Now FB is still pretty much used the same way to announce who is single and who is into dating women and men. Any other ambition was never the plan, but of course how well we use it to network beyond that is up to us. Consider yourself served!

Electoral college established to protect slaveholders of the US

Of course, and just to be sure, Section 5 of the Voter Rights Act of 1965 was repealed that was created to prevent discrimination against POC to insure white supremacy.
In the early morning hours after Election Day, in 2012, Donald Trump tweeted: At the time Trump falsely believed that Mitt Romney had won the popular vote and lost the…

Corporate exit polls mask Voter Rights Act of 1965 discrimination

We Still Do not Know Exactly which genders, which races, which classes voted for President. As of November 19, 2016 the same exit poll statistics are ONLY based on 25,537 voters! The data has been collected by CORPORATE MEDIA. Those taking the poll have followed the same protocol since 1984 in regard to race and gender.
According to corporate media it was WHITE WOMEN who cost Hillary the election. Let white women bare the burden of this election: not Voter Rights Act discrimination that prevented People of Color from voting in the south and jurisdictions where there has been historic discrimination at the polls. Nor corporate poll taking. Nor a 10% increase in white male Republicans who voted against Hillary. Exit polls are used for political agenda. It's better to blame white women for this election even if the same percentage of white women did not vote for Obama. Read the fine points to the current exit poll that is used to proclaim election results.
"Data for 2016 were collected by Edison Research for the National Election Pool, a consortium of ABC News, The Associated Press, CBSNews, CNN, Fox News and NBC News. The voter survey is based on questionnaires completed by 24,537 voters leaving 350 voting places throughout the United States on Election Day including 4,398 telephone interviews with early and absentee voters.
In 2012, 2008 and 2004, the exit poll was conducted by Edison/Mitofsky; in 1996 and 2000 by Voter News Services; in 1992 by Voter Research and Surveys; and in earlier years by The New York Times and CBS News.
Direct comparisons from year to year should factor in differences in how questions were asked. Race and sex were determined by interviewers in surveys before 1984. Independent or third-party candidates are not shown.
Population scaling is representative of the number of voters in each category.
*Change is shown in percentage points. When comparable data are available, this measure combines the change in Republican support and the change in Democratic support from the previous election." 


American Horror Story: Election Diary November 8, 2016

Sarah Palin and Donald Trump

Reaction to the election

November 8, 2016  The day begins great!

Donald Trump Gets Booed as He Arrives at His Polling Place

Before the polls open:
Wishful thinking --even Hillary knew the race was fragile.

Je suis confiant que Hillary Clinton va gagner l'élection aux Etats-Unis, le seul candidat possible avec 16 ans d'expérience à la Maison Blanche

We need an education in media literacy! 

Realize that only 20% of Americans targeted for 10th grade educations or less is NOT a mandate vote. When the incumbent demeans immigrants, women, religion, minorities because "the Democrats just want to give away money to people who don't work" they have not understood that corporate (white) power want Republicans in power getting corporate welfare. I have thought about this all day. To compare the incumbent to anyone other than a corporate politician on corporate welfare (no taxes) who went after a select group in the south and rust belt -- the people he claims he "got to know" during the campaign is to make him bigger than what he is . I predict those Republicans who distanced themselves from him will vote along with Democrats and defeat every bigoted idea that has come out of his demented brain. Don't give up the fight!

The incumbent received  $3 billion (or more) in free advertising. Who didn't see that. Of course we saw that. The running banner under Hillary's coverage about Trump. Every day in the news about Trump. That is how fascists are elected. He is referred to as a Nationalist.  Corporate media promoted a  leader that made money for them.

Is every person who voted for Trump is a racist, sexist, homophobe, xenophobe all rolled into one? There is no other way to look at it than asking this question. Bigotry has been masked and disguised in other elections. In this one it is clear. 20% to 30% (generous) of the voters represent white male supremacy the folks that "made America great" in events such as the trans-Atlantic slave trade, and the eradication and massacre of Native Americans. The equivalents can be found in fascism around the world in all the "Great Wars". You cannot escape the truth this time. You cannot be in so much pain that you perpetuate all the atrocities of the past. The bigot is the real monster. It is the real American Horror Story.

Trump elected by ca 20% -30% of voters. 40% voted in 2012 Everything Trump does has to have a senatorial and congressional vote. There must be resistance to his ideas, not defeatism. Otherwise those ideas ( as noted in the election) will flourish.

"Wall Street could see its biggest ever fall when trading opens on Wednesday with futures pointing to a 800-point drop – more than 5%. "
Oh crap - who cares?

It really can happen here: The novel that foreshadowed Donald Trump’s authoritarian appeal 

IT CAN?  Has one bigot that much real  power! .

"Hillary concedes to Donald". 
Four dismal words for an American electorate flying blind. Sad to see such ignorance in the US. A real sad day for the country. The dumbing down of America with the ignorant chanting "USA USA USA" . 
"Bye bye American pie drove our Chevy to the levy but the levy was dry."
The American people have HARDLY spoken and A MINORITY HAS elected a leader with such a flawed myopic vision that is so horribly unqualified to serve THE USA. Those who voted for him, you deserve him.
News of a Trump imminent victory is NOT going to make US or the World Economy great again!


Meanwhile in California we have good news.....unfortunately we aren't the entire US.
Kamala Harris breaks a color barrier with her U.S. Senate win