BREAKING FAKE NEWS:
Prime Real Estate Package Deal Has Green Light.
New Gold Plated DAPL Tower at Standing Rock, ND will offer River Views, breathtaking barricade vistas, hot red clay mud baths with pepper spray on the side, Border Patrol helicopter rides, and 24/7 security by Morton County, ND free of charge. Please do not tip the Police as it breeds bad legal habits.
Never-ending junk food buffet offered 24/7 with Room Service menu offering only the best GMO corn feed beef steaks taxpayer money can buy.
Book your rooms today!
For an extra fee booking of just $250,000 you too can attend the ribbon cutting grand opening with Melania wielding the scissors. We’ve secured her appearance with a fee which will remain undisclosed in respect for her privacy.
Be advised: No Water Protectors, Native or Non-Native, will be allowed to rent rooms. There will be no Prayer Ceremonies except for those performed by the Deluxe Red Apple Band.
Can’t wait to see you in North Dakota after the climate changes and the palm trees have taken root and leafed out.
Myron Dewey ~ Digital Smoke Signals Drones at Work
~~~~~
All ads appear via WordPress and have NO connection to me whatsoever–damn. Thanks for visiting my blogcasa and don’t forget #WaterIsLife visit http://www.defunddapl.org to make your money talk when it walks out of big banks funding dirty fossil fuel pipelines.
Try out your chops serving up a hearty dish of political satire.
It’s been brought to my attention that comedians are called to duty at MoveOn.org to slice and dice politics as they deem fit.
There is no entry fee. Everyone is welcome to enter–newbies and hard-core satirists alike. Satire is not required but it’s appreciated. You can be just flat out funny.
But time is running out and you must submit a video by August 11, 2016. So get crackin’ all you wise-arses with bells to ring and whistles to blow!
But some people don’t want to think about that reality.
~Why not?
Because then they’d have to learn a new history.
~Ooops–but isn’t history supposed to be true and honest?
Depends on who is using which facts to support which version of what happened.
~Are you saying people manipulate facts to suit their own agendas?
Me? Why would I ever say something like that? It might be politically incorrect, and we can’t have that, can we?
~Hmm, but what’s Politically Correct for one group isn’t necessarily PC for another group. And people do have a tendency to abuse PC everywhere in order to create conflict and sometime even abuse other people who had no intentions of abusing anyone. There’s been some very rough irony involved in demands for PC over the years.
No way! Who would do something like that?
~Who doesn’t? Come on, look at the conservative media, the scared shitless media, the controlled media, the alternative media, the foreign media, the underground media, the social media–everyone spins everything to suit their vision of reality, right?
Do you think that’s what pissed off those high school kids in Colorado so much that they pretested in the streets about changes in what history would be taught?
~What do you think?
I’m not sure yet. But–I do recall what happened in Arizona with the Mexican-American Studies program being shut down because it presented a different viewpoint of history than what the TPTB wanted taught in schools.
~Hey, are you saying there’s a conspiracy to teach lies in American schools?
Look, I don’t go in for conspiracy theories. But I don’t think this is a coincidence either. Maybe it’s just like minds acting out in similar ways. Or not.
~ Like minded people, right. Ah ha.
ACT II:
Lie. Lie. Lie.
Deny lying and lie some more.
Because if the truth is known the people might rebel.
There’s a very good chance they’ll refuse to be cannon fodder.
They might even learn other languages in order to talk to the rest of the world about issues that affect everyone.
Or not.
ACT III:
*
*
Howard Zinn on Honesty In History
*
Humor ~~ Warning! Contains Sarcasm, Irony and Questioning of Authority
If you’re still in the dark about the history curriculum issue in Colorado:
Okay, hello to any interested parties. Yeah, that means you, Bearspawprint, Johnny, Charles, Dennis, LaBelleStudio, Lisa and whoever else who might have been wondering why I’ve been so MIA. I’m not sure I’ve found something positive to post about at length. But while finally attending to my email –yeah, I’ve been an equal opportunity AWOL entity on more than the blogland front– a few thoughts crossed my mental landscape — nothing earthshaking, I assure you. I hope this finds everyone enjoying some part of being alive at the moment of reading. If not, it’s my understanding that there are seven seasons of True Blood available for viewing online to help with your perspective. Or perhaps not. Do you get the idea as to why I’ve not been posting for some time? Hmm?
One:
While I’ve been absent from my blogcasa The Breakfast Special’s Sarge and Lily–and their supporting cast, have been running amok for hundreds of pages. Currently I am not sure it’s a good idea on my part to continue posting their romantic adventure online. Thoughts on the pros and cons of this issue are welcome.
Two:
Why the f*&k is Soy appearing in everything from mayo to bread to soup where it serves no purpose except as a filler? I have no affection for soy products as I am allergic to to soy–and its increasing presence in food items where it serves no value is pissing me off royally. Ooops, this isn’t quite positive, is it? But I do feel better for venting. That’s positive relief. Frack Soy.
Three:
My ever delightful friend, Berit, shared this insightful commentary about rape culture in poetic form. Nothing is perfect, but I do think it makes a point well worth sharing. And anything that slams the TSA is right up my alley along with Freedom of Speech. Hmm, the positive is in the poetry. Or so I’m thinking as I’m typing. Hence, let me present Anna Binkovitz’s poem “Asking for it”.
Anna Binkovitz of Macalester College, performing during prelims at the 2014 College Unions Poetry Slam Invitational. Macalester placed 5th overall in the tournament.
Button Poetry is committed to developing a coherent and effective system of production, distribution, promotion and fundraising for spoken word and performance poetry.
We seek to showcase the power and diversity of voices in our community. By encouraging and broadcasting the best and brightest performance poets of today, we hope to broaden poetry’s audience, to expand its reach and develop a greater level of cultural appreciation for the art form.
Four:
Lantern Journal Magazine can be found on facebook for anyone interested in a serious Art Journal. At the moment I cannot paste a link to its website. I have no clue why.
Five:
I’m ending this post now before I start backpedaling like crazy before hitting the post button. 🙂
There’s just something about black and white with a whole lot of grey, literally, that seems to suit an introduction for a city like Chicago, a city known for crime, gangsters, corrupt politicians and a great newspaper columnist by the name of Mike Royko aka “The Man Who Owns Chicago.” If you don’t know Royko’s work you’re missing out on one of life’s truly witty reading pleasures. Royko’s columns provided a massive home school educational opportunity for moi. Political viewpoints are not genetically encoded. Who knew? )
Awwww, wasn’t that a sweet beginning for a couple? Well, darker reality often follows close upon such heels in Chicago–the film.
&
Cell Block Tango from Chicago’s Cook County Jail via Chicago the film about murderesses in the city of Chicago. Murder and Chicago go together like snow and winter. The Cook County Jail is a real place with quite a reputation.
40th Anniversary Collection
Track Listing:
1. Just You ‘N’ Me 00:00
2. Saturday In the Park 03:42
3. You’re The Inspiration 07:36
4. Baby, What a Big Suprise 11:26
5. Hard to Say I’m Sorry/Get Away 14:30
6. Does Anybody Really Know What Time It Is? 19:37
7. 25 or 6 to 4 22:58
8. If You Leave Me Now 27:50
9. Hard Habit to Break 31:45
10. Old Days 36:30
11. Beginnings 40:01
12. Call On Me 46:28
13. Make Me Smile 50:30
14. Love Will Come Back (w/ Rascal Flats) 54:56
15. Feel (w/Horns) 58:44
&
Chicago Bears 1985 Super Bowl Shuffle ~ Enjoy it anyway you can ladies and gents.
Yes, it’s an ad for a newspaper hawking its prize writer and vice versa. Where else but in a tavern would you expect to find a discussion of punctuation?
Who & Why Royko ~ With background music. I wonder why it’s so hard to find a song for or about Royko? Someone needs to write one. Or two at the very least. Maybe they have. If you find one, do not hesitate to share it. Please.
In part to prove I still have a sense of humor, such as it may be, I offer some theatre and refreshments for your enjoyment. Perhaps some of you will find Amy Goodman’s interview with Peter Schumann, founder of the Bread and Puppet Theater, as delightful as I did. Or not. Schumann’s references to his own bread baking reminded me of poems I wrote for brulionmann as a result of his complaints about the state of bread–and cream– so it seemed like a great combo read meal deal.
menu:
bread poem
Band music for The Shatter
interview in three parts
short puppet clip
long variety show
cream poem
bon appetit!
)*i*(
i——i
“crisis bread”
“no money for a bread, we call that ”crisis” ~ brulionman
*
world wide tragedy
is bread
state of bread = bitch fest
gimme some goddamn real pita,
hell, some hemp too
a boatload of naan and a frying pan, please!
a plate of roti
crisp, crunchy Italian
I’ll even take a loaf of stinky sourdough
anything but this damn white mish mash hash gumshoe shit
cornbread? really? wtf are you trying to pull on me?
bring on the challah,brioche, lavash
toss some tortillas and frybread drill team style
I’ll sell my soul for a true French baguette
a full-bodied Polish rye with some style
German pumpernickel with pump not pap
throw a roll at the wall and watch the plaster fall
Heads up, potentially unpleasant, disturbing and harsh content in the following incarnations of “Ah Pook”. If you’re offended by references to the ugly American in a depth beyond the references of Green Day’s “American Idiot,” then this post may not be for you. If you’re turned off by decidedly unattractive visual representations of tiny creatures, then this post may not be for you. If you’re upset by images of the human cost of warfare, then this post may not be for you. There may be other things in this post which may not set well with your cup of coffee or tea or high energy wake up and run fast in the wheel libation. Consider yourself forewarned before viewing. It is your choice to do so — or to cyber surf elsewhere. There are lovely images and music in the Myths and Colors posts which may be more to your liking. You’re cordially invited to visit those blogcasa post rooms. I will not be offended if you exit this particular blogcasa room now or at any other point during your visit. This is a housekeeping blog post–I’m sweeping out a few of the creeping critters which consume the warm fuzzy dust bunnies under the mental bed frame.
If you’re a fan of William S. Burroughs, then Enjoy yourself.
If you are not a fan of William S. Burroughs, then Enjoy yourself elsewhere.
AH POOK IS HERE – This 1994 stop-frame interpretation of recordings by the late William S. Burroughs, was crafted around a selection of tracks from the album “Dead City Radio” produced by Hal Willner & Nelson Lyon – and featuring music by John Cale.
AH POOK received Ten international film awards, was archived in the Goethe institute, and was part of the Burroughs retrospective PORTS OF ENTRY. AH POOK was also voted ‘BEST OF THE BEST’ at the 2010 Stuttgart International Trickfilm festival.
The Guardian review:
“Phillip Hunt’s gorgeous, grisly animation mates William Burroughs’s gravelly narration of Ah Pook The Destroyer’s death-dealing parable with music by John Cale at his creepiest. Hunt’s deliberate and disgusting illustrations of Burrough’s monsters of the mind are a revelation; delicately articulated puppets riddled with revolting detail. Turn down the lights, get out the headphones, and give yourself over to The Master’s ghastly visions and sonorous warnings (“The world cannot be controlled, except by accident”) for six gut-churning minutes.”
-Kate Stables / The Guardian
Director Philip Hunt
Producer Eddel Beck
Music Hal Wilner & John Cale
Produced at the Filmakademie Baden-Wuerttemberg
Distributor BFI & The British Council
This is a tribute to both William Burroughs and Hiroshima. It’s a video I have been wanting to put together for some time now and release on the day of concern.
61 Years ago to-day Hiroshima felt the atom split in anger. Today lets remember both Hiroshima Nagasaki which followed on the 9th August 1945.
Lets hope the lion never rages again.
**
Ever notice the difference a good broom makes when sweeping under the bed ?
MESMERIZING FILM IMAGINE BY ANDRZEJ JAKIMOWSKI AT THE 25TH POLISH FILM FESTIVAL IN AMERICA TOMORROW
IMAGINE, a new film by Andrzej Jakimowski will have its only screening tomorrow, on Wednesday, November 13, 2013 at 8:00 PM. in Muvico Rosemont 18. The special presentation is sponsored by Kraff Eye Institute.
The plot is set in a well-known Lisbon clinic for visually impaired where Ian, a new instructor, begins to teach special orientation to his international group of blind patients. For him, the keys to getting around and living a fulfilling life are the mind and the imagination, and not sensory perception. However, his methods – although successful – prove to be too challenging for his patients.
Jakimowski’s masterful treatment of the material – says one film critic – takes IMAGINE up to new heights of a lyrical metaphor about trust, the sense of reality, perspectives and coping in life.
Andrzej Jakimowski (b. 1963) is one of the most outstanding Polish filmmakers. His debut film Squint Your Eyes and later internationally-acclaimed Tricks received enthusiastic welcome from audiences and film critics worldwide and were widely awarded. IMAGINE is selected for this year’s European Film Awards.
The screening’s sponsor Kraff Eye Institute is a leading pioneer in laser vision correction. The Chicago-based Kraff Eye Institute has long sought to improve the vision of its patients, always putting their safety, quality of vision and experience first. Its physicians take the time to educate their patients about the latest techniques and technology for laser correction and treatment of cataracts. The Kraff name has become synonymous with pioneering bold, new techniques and providing the highest quality, most contemporary care available in ophthalmology internationally and throughout Chicago.
Muvico Rosemont 18 is located at 9701 Bryn Mawr Ave. by River Rd. South exit from I-90. The theatre has ample parking, complimentary with parking ticket validation. The most elegant cinema centre offers fine dining in Bogart’s Bar and Grill.
Tickets can be purchased online @ www.pffamerica.comand over a phone at 773-486-9612 with any major credit card. The seats are unnumbered.
The 25th Polish Film Festival in America sponsors are: Polish Film Institute, Adam Mickiewicz Institute, Star-Tech Glass, BMO Harris Bank, State Farm Insurance, Muvico Theatres.The main media sponsor is itvn.
~~~Heads up, this post is an ongoing work in progress. I will continue adding trailers for films on this list as I view them on the tubes-of-you. ~~
The Polish Film Festival in America has announced a complete list of films which will be screened during the 25th edition of the festival, from November 8 to November 24, 2013.
FEATURE FILMS:
OPENING NIGHT FILM
WALESA. MAN OF HOPE
[WAŁĘSA. CZŁOWIEK Z NADZIEI]
dir. Andrzej Wajda
[2013, 127’]
Legendary Polish filmmaker Andrzej Wajda tackles the story of another of his country’s legends — former dockworker, Solidarity founder, and eventual Polish president Lech Walesa — in this epic, decade-spanning biopic.
~
1939. THE SECRET OF WESTERPLATTE
[1939. TAJEMNICA WESTERPLATTE]
dir. Paweł Chochlew
[2013, 120′]
Starring: Michał Żebrowski, Piotr Adamczyk, Borys Szyc, Jan Englert, Jakub Wesołowski, Robert Zołędziewski, Andrzej Grabowski, Mirosław Baka
At the Baltic banks of Westerplatte, on September 1, 1939, salvos of the largest Nazi vessel Schlezwig-Holstein “visiting” the harbor, announced the beginning of the WWII.
At the other end, about two hundred Polish soldiers heroically maintained their military foothold at the banks of Westerplatte, and within hours it became apparent that countless armored Nazi divisions were invading Poland.
Yet for seven days the Poles maintained their increasingly suicidal foothold. 1939. THE SECRET OF WESTERPLATTE is a war drama of the fight of two commanders and their men. A heroic struggle between opposing views on bravery – to fight to the last soldier or to save the men and surrender under overwhelming odds…
~
AFTERMATH
[POKŁOSIE]
dir. Władysław Pasikowski
[2012, 107’]
~
AUGUST’S SKY. 63 DAYS OF GLORY
[SIERPNIOWE NIEBO. 63 DNI CHWAŁY]
dir. Ireneusz Dobrowolski
[2013, 75′]
~
BACZYŃSKI
dir. Kordian Piwowarski
[2013, 69’]
A multi-layered biographical film about the legendary, young, Polish poet who fought in Warsaw Uprising. A poetic journey through his life and works.
featuring poetry slammers:
Weronika Lewandowska,Janusz Jamanta Kulesza,Jan Gabriel Szutkowski,Jan Paweł Kowalewicz,Grzegorz Bruszewski,Kuba Przybyłowski,Mateusz Andała,Michał Czaja,Kamila Janiak, Marta Marciniak
~
BEJBI BLUES / Baby Blues
dir. Katarzyna Rosłaniec
[2012, 105]
Two Polish students fall in love with each other during a holiday in Spain. But a horrible accident ruins their relationship and their plans. A thrilling existential drama in which fate seems to overcome the best-laid plans of men.
~
LIFE FEELS GOOD
[CHCE SIĘ ŻYĆ]
dir. Maciej Pieprzyca
[2013, 107′]
~
LOVING
[MIŁOŚĆ]
dir. Sławomir Fabicki
[2012, 105’]
HOW DEEP IS AN OCEAN?
[JAK GŁĘBOKI JEST OCEAN?]
dir. Filip Syczyński
[2013, 30’]
MAGMA
dir. Paweł Maślona
[2013, 30′]
MY NAME IS ASIA
[MAM NA IMIĘ ASIA]
dir. Balbinka Korzeniowska
[2013, 10’]
STATTERING LOVE
[JĄKAJĄCA SIĘ MIŁOŚĆ]
Dir. Jan Czarlewski
[2013, 20’]
STEEL WILL
[SIŁA WOLI]
dir. Piotr Grajnert
[2012, 14′]
THE BIG LEAP
[WIELKI SKOK]
dir. Kristoffer Rus
[2013, 15’]
THE EASTER CRUMBLE
[MAZUREK]
dir. Julia Kolberger
[2013, 30’]
DOCUMENTARY FILMS:
A DOUBLE LIFE OF PIOTR S.
[PODWÓJNE ŻYCIE PIOTRA S.]
dir. Alina Mrowińska
[2012, 52’]
A PROMISE OF CHILDHOOD
[OBIETNIA DZIECIŃSTWA]
dir. Piotr Morawski
[2013, 52′]
ALBERT CINEMA
dir. Agnieszka Zwiefka
[2012, 52′]
BAD BOY. HIGH SECURITY CELL
[BAD BOY. CELA DLA NIEBEZPIECZNYCH]
dir. Janusz Mrozowski
[2012, 77′]
BELOVED RECIDIVISTS
[KOCHANI RECYDYWIŚCI]
dir. Irena Morawska, Jerzy Morawski
[2013, 49′]
CRISIS MANAGEMENT
[SPOSÓB NA KRYZYS]
dir. IVO KARDEL
[2013, 51′]
DAD’S RETURN
[POWRÓT TATY]
dir. BARBARA MEDAJSKA
[2012, 5′]
ENTANGLED
[UWIKŁANI]
dir. Lidia Duda
[2012, 51′]
FATHER AND SON
[OJCIEC I SYN]
dir. Paweł Łoziński
[2013, 52′]
F*CK FOR FOREST
dir. Michał Marczak
[2012, 82′]
HONOR OF THE CITY. THE STORY OF THE WARSAW UPRISING
[HONOR MIASTA. HISTORIA POWSTANIA WARSZAWSKIEGO]
dir. Eugene Starky
[2013, 50’]
I LOVE YOU LIKE IRELAND
[KOCHAM CIĘ JAK IRLANDIĘ]
dir. ALEKSANDER DEMBSKI
[2013, 45′]
IN THE EYE OF WARSAW HAIRDRESSER
[OKIEM WARSZAWSKIEGO FRYZJERA]
dir. Jakub Polakowski, Magdalena Pytlakowska
[2013, 29′]
INDEPENDENT REPUBLIC SAMOSIUK
[NIEZALEŻNA REPUBLIKA SAMOSIUK]
dir. Adam Lewandowski
[2012, 28’]
LEADERS
[PRZYWÓDCY]
dir. Paweł Ferdek
[2013, 52′]
LOVE
[MIŁOŚĆ]
dir. Filip Dzierżawski
[2013, 91′]
MAESTRO RODZINSKI
dir. Bożena Garus-Hockuba
[2012, 58’]
MIŁOSZ
dir. Katarzyna Gondek
[2013, 60′]
MUNDIAL. THE HIGHEST STAKES
[MUNDIAL. GRA O WSZYSTKO]
dir. Michał Bielawski
[2013, 97’]
PALACE
[PAŁAC]
dir. TOMASZ WOLSKI
[2012, 82’]
PRE MORTEM
dir. Konrad Łęcki
[2013, 30′]
ROTEM
dir. Agnieszka Arnold
[2012, 77’]
SECRETS OF LOVE
[SEKRETY MIŁOŚCI]
dir. Krystian Matysek
[2012, 88’]
SHORT VAMPIRES’ CHRONICLES
[KRÓTKIE KRONIKI WAMPIRÓW]
dir. Beata Postnikoff
[2012, 12′]
THE FOURTH PARTITION
[CZWARTA DZIELNICA]
dir. Adrian Prawica
[2013, 75’]
THE PLEDGE
[CYROGRAF]
dir. Igor Mołedecki
[2012, 38’]
THE STRATEGIST
[STRATEG]
dir. Katarzyna Kolenda-Zaleska
[2013, 89’]
TO FREE A BUTTERFLY
[UWOLNIĆ MOTYLA]
dir. Joanna Frydrych
[2012, 45′]
TRACES
[ŚLADY]
dir. Robert Gliński
[2012, 50′]
VOICES
[GŁOSY]
dir. Konrad Szołajski
[2013, 35′]
YOU GONNA BE A LEGEND, MAN
[BĘDZIESZ LEGENDĄ CZŁOWIEKU]
dir. Marcin Koszałka
[2012, 75′]
The CZECH SHOWCASE:
BURNING BUSH – PART 1, 2, 3
[PŁONĄCY KRZEW – CZĘŚĆ 1, 2, 3]
dir. Agnieszka Holland
[2013, 82’, 72’, 78’]
IN THE SHADOW
[W CIENIU]
dir. David Ondricek
[2012, 106′]
POLISH FILM
[POLSKI FILM]
dir. Marek Najbrt
[2012, 113′]
25th PFFA venues are:
Muvico Rosemont 18 (9701 Bryn Mawr Ave., Rosemont)
Facets Cinematheque (1517 West Fullerton Ave., Chicago)
Gallery Theatre (1112 North Milwaukee Ave., Chicago)
The 25th PFFA major sponsors are: Polish Film Institute, Adam Mickiewicz Institute, Star-Tech Glass, BMO Harris Bank, State Farm Insurance, Muvico Theatres.
Main media sponsor is itvn.
For more information, please call 773-486-9612.
25th Polish Film Festival in America
1112 N. MIlwaukee Ave
Chicago, IL 60642
Phone: +17734869612
E-mail: pffamerica@pffamerica.com http://www.pffamerica.com
It’s 14, October, 2013. Some people are celebrating what might be called a myth or a lie of epic proportions about a fellow named Christopher Columbus. Shall we discuss irony? Manifest Destiny? Greed? The profit motive? Slavery? Genocide? Rape? Murder? Torture? Yeah, the man did it all according to his own words and those of his companions. So what exactly is being celebrated? I’m at a loss–unless it’s an extremely sanitized delusional story, because the truth would scare the pants off all the little children if it were told in classrooms. Oh but excuse me, schools are not supposed to be about truth or reality. Nor are books. Certainly not poetry. so what. Here’s some historical truth, some current ugly reality and some poetry that deals with both.
was told by those old ones
that every song has a special time and a place where its sang
this is our song
and this our time
they used to say the only good indian is a dead indian
i must be a no good at being indian
cuz I feel alive and kicking
we are the bastard reject children of manifest destiny
the offspring of fornicating aimsters
raised by our grandparents who told us
not to confuse being warriors with gangsters
the edward curtis groupies get jazzed by anyone fitting the bill
and America gets jazzed by every Bury My Heart at Walmart film
here i stand before you
this crowd of nations
this life of sanctions
an awkward patience
like five hundred BIA buildings vs. a fathers’ unfiltered hate
right next to the IHS building with a two and a half week wait.
a cinderblock battlefield where few are left standing
and the people its failing, its’ marginalized estate.
i am armed to the teeth with words from the ivory tower
and those good indians told me its borrowed power if…
if i talk loud enough
if i talk clear enough
that i would be heard
that for some talking is singing
that for some singing is praying
but i guess that depends on who is doing the talking
and i guess that depends on who is doing the listening
…so understand me in english,
you have been robbed of your tongues
the taproot of thought
in the middle of resisting
the language got caught
and she only shows her face during ceremony
like she’s ashamed of her scars
like what she has to say is never really heard. at all.
and the violence she knows is enough to never sing again
but i killed the cameraman and stripped him of his lense.
i photographed the body and asked him to forgive.
forgive me as i cut out your tongue
forgive me as i put you in this powdered wig
forgive me when i put your body in a museum
forgive me of all my sins
for not being a good indian
the balls of your forefathers will be traded for whiskey
to fuel the molotov cocktails to be tossed at your cities
and the breasts of your mothers severed and bloody
will be sold to the freak show for the revelers money
your children will witness their whole world collapse
as kidnapped siblings must erase names off maps
so forgive me of all my sins
for not being a good indian
i was taught better than that
i have more respect than that
there is no history book with my story
there is no newspaper to give me my glory
because no one has heard this language in years
cept kokopelli, dream catchers and a trail of beers
my voice is a small pox blanket
that spreads like fire on the prairie
infecting both fist and hatchet
in the spirit of fucking crazy
Lest you get the wrong idea with all this negative press, let’s end on a positive note from “all my relations”:
Thirteen most eminent Polish film directors made their short films in the common effort to answer one question: “What does ‘Solidarity’ mean today?” Their responses differ as much as the directors and films included in the project. However, all of them refer to the great spontaneous social outbreak of 1980. The emergence of “Solidarity” inspired the changes in Europe, the new world for future generations. We have here short features, documentary impressions as well as a musical. Aside from some pathos, there is also irony and bitter reflection over the wasted opportunities. A fascinating, surprising and uncompromising, true and honest film
Trzynastu wybitnych polskich reżyserów filmowych nakręciło trzynaście odrębnych nowel filmowych, które łączy próba odpowiedzi na pytanie: co dla mnie znaczy dzisiaj “Solidarność”. Odpowiedzi różnią się tak jak różni są twórcy tych krótkich filmów. Dla wszystkich jednak punktem odniesienia jest spontaniczny ruch społeczny 1980 roku. Powstanie “Solidarności” zainicjowało tworzenie nowego porządku w Europie, upadek systemu totalitarnego. Jest to film o wielkim heroicznym triumfie, ale też nie pozbawiony goryczy. Film wieloznaczny, niekiedy zaskakujący, fascynujący swoją szczerością i bezkompromisowością.
SUSHI 7 min. DIRECTION / REŻYSERIA: Juliusz Machulski SCRIPT / SCENARIUSZ: Juliusz Machulski, Jarosław Sokół CINEMATOGRAPHY / ZDJĘCIA: Edward Kłosiński MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Milenia Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Katarzyna Herman (Majka), Marek Kondrat (Marek), Robert Więckiewicz (Andrzej)
Marek, a film producer, gets an offer to make a short film about “Solidarity”. He hires advertising specialists to help him. They try out to find together what “Solidarity” has given them…
Producent filmowy Marek otrzymuje propozycję zrealizowania krótkiego filmu o “Solidarności”. Do pomocy angażuje przyjaciół, specjalistów działających głównie w reklamie. Wspólnie
zastanawiają się, co im dała “Solidarność”.
A SACK TORBA 9 min. DIRECTION / REŻYSERIA: Andrzej Jakimowski SCRIPT / SCENARIUSZ: Andrzej Jakimowski CINEMATOGRAPHY / ZDJĘCIA: Adam Bajerski MUSIC / MUZYKA: Tomasz Gąsiorowski EDITING / MONTAŻ: Milenia Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Krzysztof Kiersznowski (Older Żul), Rafał
Guźniczak (Younger Żul), Lesław Żurek (Student)
Two thieves steal a young man’s bag in the train. To their disappointment, there are only underground leaflets printed on the home printer. The thieves’ victim gets arrested at the next train station. One of the thieves shows unexpected nobleness.
Dwaj złodziej kradną w pociągu torbę współpasażerowi. Ku ich rozczarowaniu, w środku są “tylko” ulotki odbite na powielaczu. Pozbawiony torby młody chłopak zostaje mimo to aresztowany na kolejnej stacji przez tajniaków. W jednym ze złodziei budzi się na chwilę szlachetniejszy odruch.
BOARDS TABLICE 7 min. DIRECTION / REŻYSERIA: Jerzy Domaradzki SCRIPT / SCENARIUSZ: Jerzy Domaradzki, Zbigniew Wichłacz CINEMATOGRAPHY / ZDJĘCIA: Zbigniew Wichłacz MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Milenia Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Bartek Turzyński (Student Rybicki), Daniel Zawadzki (Student Grzywaczewski)
The story of the writing boards where the striking Gdansk Shipyard workers – with the two students’s help – wrote their demands and hung them on the main shipyard gate. On the first day of the martial law in Poland, the secret police stole the boards from the Maritime Museum. They did not know that they stole fake ones. The real ones were taken and hidden earlier by the museum’s curator.
Opowieść o historii tablic, na których – z pomocą dwóch studentów – strajkujący stoczniowcy z Gdańska spisali swoje postulaty, a następnie wywiesili je na bramie stoczni. Pierwszego dnia stanu wojennego z Muzeum Morskiego zabrali je funkcjonariusze SB. Nie wiedzieli jednak, że to kopie. Oryginały wywiózł wcześniej kustosz.
THE BIG DIPPER WIELKI WÓZ 11 min. DIRECTION / REŻYSERIA: Jan Jakub Kolski SCRIPT / SCENARIUSZ: Jan Jakub Kolski CINEMATOGRAPHY / ZDJĘCIA: Michał Pakulski MUSIC / MUZYKA: Zygmun Konieczny EDITING / MONTAŻ: Witold Chomiński PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Michał Kwieciński CAST / OBSADA: Maciej Zakościelny (Janek), Cezary Łukaszewicz (Rudy), Eryk Lubos (Staszek), Wojciech Solarz (Włodek)
In the summer 1980, the group of three polish cave explorers becomes stranded underground. While waiting for help, they learn about signing the Gdansk Agreement between the workers and the government. It starts the discussuion about economical and political situation in Poland, about their hopes and dreams. Among the cave explorers is student Janek, means Jan Jakub Kolski – the director of this film.
Latem 1980 r. we włoskich Alpach trzech młodych polskich grotołazów podczas eksplorowania jaskini zostaje uwięzionych pod ziemią. Oczekując na pomoc, dowiadują się o podpisaniu porozumień sierpniowych. Staje się to pretekstem do rozmowy o sytuacji społeczno-politycznej w Polsce, ich nadziejach i marzeniach. Jeden z nich to student Janek, czyli Jan Jakub Kolski – reżyser tego filmu.
A BALLPEN DŁUGOPIS 8 min. DIRECTION / REŻYSERIA: Piotr Trzaskalski SCRIPT / SCENARIUSZ: Wojciech Lepianka, Piotr Trzaskalski CINEMATOGRAPHY / ZDJĘCIA: Piotr Śliskowski MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Cezary Kowalczuk PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Waldemar Czyszak (Janusz), Elżbieta Okupska (Wife), Mirosław Neinert (Friend)
Janusz is trying to sell huge plastic ballpens with a picture of Pope JohnPaul II on them, but he is not very succesfull. His business improves significantly when Lech Wałęsa, a Solidarity leader, signs the Gdansk Agreement with such a ballpen.
Janusz chce się dorobić na wielkich, plastikowych długopisach z wizerunkiem papieża, nikt ich jednak nie kupuje. Przełom następuje w chwili, gdy takim długopisem Lech Wałęsa podpisuje porozumienia sierpniowe.
PETROL BENZYNA 9 min. DIRECTION / REŻYSERIA: Filip Bajon SCRIPT / SCENARIUSZ: Filip Bajon CINEMATOGRAPHY / ZDJĘCIA: Bartosz Prokopowicz MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Michał Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Marcin Dorociński (Filip), Maciej Stuhr (Tomek), Agata Kulesza (Wife)
In August 1980, Filip and Tomek meet in the train going to the Coast. They both read “The Little Apocalypse” by Tadeusz Konwicki. Filip carries a petrol can with him. Tomek suspects that Filip wants to butrn himself alive, so he tries to stop him.
W sierpniu 1980 r. w pociągu jadącym na Wybrzeże spotykają się dwaj młodzi ludzie: Tomek i Filip. Obaj czytają “Małą apokalipsę” Tadeusza Konwickiego. Filip wiezie ze sobą kanister z benzyną. W trakcie rozmowy Tomek nabiera przekonania, że współpasażer chce dokonać samospalenia. W żarliwych słowach próbuje go powstrzymać.
TANKS CZOŁGI 6 min. DIRECTION / REŻYSERIA: Krzysztof Zanussi SCRIPT / SCENARIUSZ: Krzysztof Zanussi CINEMATOGRAPHY / ZDJĘCIA: Edward Kłosiński MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Milenia Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Krzysztof Zanussi, Grzegorz Pacek (Assistant Director), Piotr Rękawik (Policeman)
In this short quasi-documentary, Krzysztof Zanussi ponders back to the winter of 1981 when he was shooting “From the Far Country”, the biography of John Paul II. In one of the scenes, when the extras were supposed to put on military German or Soviet Uniforms, everybody wanted to get the German one.
W paradokumentalnej etiudzie “Czołgi” Krzysztof Zanussi wraca wspomnieniami do czasów, gdy zimą 1981 r. realizował w Krakowie zdjęcia do biografii Jana Pawła II – “Z dalekiego kraju”. Gdy do jednej ze scen statyści mieli przywdziać mundury radzieckie i niemiec kie, wszystkie ręce wyciągnęły się po niemieckie.
LANDSCAPE KRAJOBRAZ 8 min. DIRECTION / REŻYSERIA: Robert Gliński SCRIPT / SCENARIUSZ: Robert Gliński CINEMATOGRAPHY / ZDJĘCIA: Bartosz Prokopowicz MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Michał Fiedler PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński
“Landscape” by Robert Gliński shows the Gdans Shipyard as it is seen today: engine rroms covered with rust, empty docks and garbage flying in the air. This is a sad metaphor of what happen with “Solidarity”. There are only groups of international tourists who fill the space that used to be the place of origin of “Solidarity”. Most of the old workers are unemployed now.
“Krajobraz” Roberta Glińskiego ukazuje dzisiejszy obraz Stoczni Gdańskiej będący przygnębiającą metaforą tego, co stało się z “Solidarnością”. Rdzewiejące hale, puste doki, śmieci unoszone wiatrem. Po historycznej kolebce związku kręcą się tylko zagraniczne wycieczki. Dawni pracownicy są w większości bezrobotni.
WHAT HAPPENED TO OUR SOLIDARITY? CO SIĘ STAŁO Z NASZĄ SOLIDARNOŚCIĄ 9 min. DIRECTION / REŻYSERIA: Ryszard Bugajski SCRIPT / SCENARIUSZ: Ryszard Bugajski CINEMATOGRAPHY / ZDJĘCIA: Piotr Śliskowski MUSIC / MUZYKA: Jarosław Śmietana EDITING / MONTAŻ: Marcin “Kot” Bastkowski PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Michał Kwieciński CAST / OBSADA: Grzegorz Markowski, Bzyk, Guzik
Ryszard Bugajski made a video clip where Grzegorz Markowski, a rockman from the popular Polish band “Perfect”, along with the young rappers Bzyk and Guzik from Wu-Hae, sing about Polish history in the last 40 years.
Ryszard Bugajski zaproponował teledysk “Co się stało z naszą Solidarnością?”, w którym Grzegorz Markowski, wraz z dwoma młodymi raperami, (Bzyk i Guzik z zespołu Wu-Hae), dramatycznie wyśpiewał historię Polski ostatnich 40 lat.
AND YOU KNOW WHAT? I WIE PAN, CO? 8 min. DIRECTION / REŻYSERIA: Jacek Bromski SCRIPT / SCENARIUSZ: Jacek Bromski CINEMATOGRAPHY / ZDJĘCIA: Marcin Koszałka MUSIC / MUZYKA: Henri Seroka EDITING / MONTAŻ: Agnieszka Glińska PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Michał Kwieciński CAST / OBSADA: Janusz Gajos (Bank President), Krzysztof Stroiński (Roman), Anna Romantowska (Teresa), Anna Przybylska (Secretary)
Roman, once a political prisoner and now a businessman, applies for a loan from the bank. He meets with the bank president, a former communist party official and a prosecutor who in the past issued the warrant to arrest Roman. Now again he decides about Roman’s future.
Roman, przedsiębiorca i dawny więzień polityczny, udaje się do banku z podaniem o kredyt. Przyjmuje go prezes banku, dawny dygnitarz partyjny i prokurator, który kiedys wydał nakaz aresztowania Romana. Teraz znów ma zadecydować o jego przyszłości.
A SHORT STORY OF A BOARD KRÓTKA HISTORIA JEDNEJ TABLICY 5 min. DIRECTION / REŻYSERIA: Feliks Falk SCRIPT / SCENARIUSZ: Feliks Falk CINEMATOGRAPHY / ZDJĘCIA: Edward Kłosiński MUSIC / MUZYKA: Bartłomiej Gliniak EDITING / MONTAŻ: Robert Gryka PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Michał Kwieciński CAST / OBSADA: Jacek Kałucki
This is an animated short film collage telling the story about the white board with the characteristic red sign “Solidarity” on it. After times of fight and euphoria of victory, the old symbols get forgotten. The white board with “Solidarity” sign is put for sale, but finally it lands in the prop room.
Etiuda animowana zrealizowana techniką kolażu opowiada historię białej tablicy z wypisaną charakterystycznymi, czerwonymi literami nazwą “Solidarność”. Po okresie walki i euforii zwycięstwa, mity i symbole stopniowo odchodzą w niepamięć. Wystawiona na sprzedaż tablica ląduje ostatecznie w rekwizytorni.
THE MAN OF HOPE CZŁOWIEK Z NADZIEI 10 min. DIRECTION / REŻYSERIA: Andrzej Wajda SCRIPT / SCENARIUSZ: Andrzej Wajda CINEMATOGRAPHY / ZDJĘCIA: Edward Kłosiński MUSIC / MUZYKA: Michał Lorenc EDITING / MONTAŻ: Grażyna Gradoń PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Michał Kwieciński CAST / OBSADA: Lech Wałęsa , Andrzej Wajda , Krystyna Janda , Jerzy Radziwiłowicz
This film is a video recorded meeting between the director of “The Man of Iron”, Andrzej Wajda, and actors Krystyna Janda and Jerzy Radziwiłłowicz, who played main characters in “The Man of Iron”, with Lech Wałęsa, the Solidarity leader. The meeting took place in the huge, empty screening room of the “Neptun” theatre in Gdansk. In August 1980, when Wałęsa congratulated Wajda for making a great film about the August Events, he encouraged the famous director to shoot another film titled “The Man of Hope”, but it never happened. What would it be such film today?
“Człowiek z nadziei” Andrzeja Wajdy to zapis spotkania twórcy “Człowieka z żelaza” i pary odtwórców głównych ról – Krystyny Jandy i Jerzego Radziwiłowicza – z Lechem Wałęsą w wielkiej, pustej sali gdańskiego kina Neptun. W 1980 r., gratulując Wajdzie dzieła o sierpniowym zrywie, Wałęsa zachęcał go jednocześnie do nakręcenia kolejnego – “Człowieka z nadziei”. Film jednak do tej pory nie powstał. O czym byłby dziś?
THE FATHER OJCIEC 9 min. DIRECTION / REŻYSERIA: Małgorzata Szumowska SCRIPT / SCENARIUSZ: Małgorzata Szumowska CINEMATOGRAPHY / ZDJĘCIA: Michał Englert MUSIC / MUZYKA: Paweł Mykietyn EDITING / MONTAŻ: Jacek Drosio PRODUCED BY / PRODUKCJA: TVP S.A., Apple Film Production PRODUCER / PRODUCENT: Dariusz Jabłoński CAST / OBSADA: Kazimierz Borowiec (Father), Maja Ostaszewska (Maja), Zosia Fuglewicz (Maja as a Girl), Klaudia Krupa (Maja 15 years old)
In this dramatized short documentary, the director Małgorzata Szumowska utilized the archival films shot by her father, a well-known documentary filmmaker. A 30-year-old woman tells the story how “Solidarity” influenced her family’s life, particularly her idealistic father’s one. He never benefited directly from the political changes. His only reward is that his daughter lives in a free country.
Cykl solidarnościowych etiud zamyka fabularyzowany dokument “Ojciec” Małgorzaty Szumowskiej, która wykorzystała materiały archiwalne nakręcone przez swego ojca, znanego dokumentalistę. Trzydziestoletnia kobieta opowiada o tym, jak “Solidarność” zmieniła życie jej rodziny, a zwłaszcza ojca – idealisty, któremu przemiany polityczne nie przyniosły żadnych bezpośrednich korzyści. Jedyną nagrodą jest życie jego córki w wolnym kraju.
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47whitebuffalo's Blog 
Bread and Puppet Theater + “crisis bread” & “crying cream dreams” = Nourishment
December 27, 2013 at 8:48 pm (art, books, contemplation, creative writing, culture, drama, eating, education, entertainment, environment, ethics, exploring interconnectedness, films, food, history, humor, journalism, life, literary fiction, living, music, people, photography, play, poetry, politics, quests, random, relationships, satire, street art, thinking, Uncategorized, Writing)
Tags: Amy Goodman, art, bread, bread and butter, Bread and Puppet, Bread and Puppet Theater, Bread and Puppet Theatre, commentary, cream, dance, Democracy Now, exploring interconnectedness, fun, history, humor, ideas, interview, life, links, performance art, Peter Schumann, play, poems, poetry, politics, puppets, real cream, satire, social issues, theater, theater art, thinking, Vermont, Yi-Ching
In part to prove I still have a sense of humor, such as it may be, I offer some theatre and refreshments for your enjoyment. Perhaps some of you will find Amy Goodman’s interview with Peter Schumann, founder of the Bread and Puppet Theater, as delightful as I did. Or not. Schumann’s references to his own bread baking reminded me of poems I wrote for brulionmann as a result of his complaints about the state of bread–and cream– so it seemed like a great combo read meal deal.
menu:
bread poem
Band music for The Shatter
interview in three parts
short puppet clip
long variety show
cream poem
bon appetit!
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i——i
“crisis bread”
“no money for a bread, we call that ”crisis” ~ brulionman
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world wide tragedy
is bread
state of bread = bitch fest
gimme some goddamn real pita,
hell, some hemp too
a boatload of naan and a frying pan, please!
a plate of roti
crisp, crunchy Italian
I’ll even take a loaf of stinky sourdough
anything but this damn white mish mash hash gumshoe shit
cornbread? really? wtf are you trying to pull on me?
bring on the challah,brioche, lavash
toss some tortillas and frybread drill team style
I’ll sell my soul for a true French baguette
a full-bodied Polish rye with some style
German pumpernickel with pump not pap
throw a roll at the wall and watch the plaster fall
a crust you peel
soak soup
bathe in butter love
plate scour
gimme some goddamned real bread
Another corporate crime against humanity
wonder
hostess
sara Lee
nature’s pride
pepperidge farm
sunbeam
holsom and all the rest of the plastic bag labels
guilty as charged
baking loaves with out heart
soul-less seeds
bakery murder in the first degree
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http://brulionman.wordpress.com/2013/10/06/sobotniej-cyklozy-napad-saturday-attack-of-cycling/#comments
Some bread and butter from Yi-Ching
http://yichinglin.com/2013/10/09/buttered/
http://yichinglin.com/tag/bread/
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DeeDee Halleck
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Bread and Puppet Theatre ~ Blue Sky Puppet + Mask Dance ~ July 2012
theRedCatRed
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Bread and Puppet Circus and Pageant on Sunday, July 14. 2013
videosphere
“crying cream dreams”
cream? get real, brulionman
brulionman get a cow.
tie it to your bicycle
hand school teats
seriously, get some finger action going
community uprising cream dream
cow eats sun
din din until day done
treat those teats right
milk, cream, butter, cheese
comes one happy cow
squeeze, squirt, squish
get a Guernsey with a babe
fill a bucket
set set set
cream rises, oh hell, yeah
no, no, no to piggy fat!
real cream needs none of that!
flour? does not compute
send that shit down the garbage chute
just the cream if you please
sweet talk some butter
tease the thick from the top
sip sip sip, can’t resist
drop it in a jar
get some bike dance mojo goin’
thirty tic tocs butter glowin’
pushing creamy envelopes
cheesecloth action play
guess what you got coming days
cheese, glorious cheese
get a cow, brulionman, no bull
you want real cream
fingers gonna need some teat pull school
No, I don’t know how to get a cow to ride a bike!
You’re on your own with that, brulionman!
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http://brulionman.wordpress.com/
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Thanks for visiting! Please come again. 🙂
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