The conniving bitch finally received the demotion she was to be penalized with under Fern, another stellar Judean witch, fourteen years ago. It had nothing to do with the institutional suborning of Linda's criminal malfeasance. Liberty would be the first to tell you this. Linda Dezenski might have buckled under the pressure, and the poisoned neurosis of my pain over their institutional cruelty is my problem, but to continue to expose to you why their Orwellian behavior is a poisoned pill that needs to be dismantled before it is too late-- the executive titles listed are nothing, a bogus conflation of the sort that the dystopians taught us to worry about, especially Kafka.
Tom Earle lists himself as *CEO* over semantic sensitivity/insecurity, to belie marginalization, but the lie only magnifies what this particular center evades with glaring lack of success: Liberty is a caste system for individuals who do not even merit the status of an oppressed minority. Thomas Earle is not Jamie Dimon. Thomas Earle is a legally blind disability lawyer with squirrel nuts for an excuse, and he is an executive director. Linda was assistant director just shy of 15 years, and got booted back to managing attendant care on the community integration model. Liberty also does nursing home in sourcing. Nearly the same difference, with the institutional racism even more pronounced. It makes me physically sick, literally, that I worked with these motherfuckers, that I allowed them all to denigrate me for so many years as less than human. I take my therapy about it from Mariska, and only recently remembered that if getting access to Jodie Foster as a disability journalist is nuanced with complexity, Hargitay is less so, and I connect with her as a life long victim of sexual assault. Olivia Benson got it twice, as did Sofia Vassilieva's Sarah. Me? I literally cannot give you an exact count, and my only solace is a veteran television actress in a veteran formula who hits the appropriate key notes.
Put this in the context that I cannot get away from the psychological pain of seeing all sorts in the *Liberty Resources* family daily, as a constant reminder. I can never go home again, but that home is little more than a criminally incompetent syndicate, however hollow my stark satisfaction. I know forcing Linda's termination is next to nothing, but what Liberty represents is little better than Daria Cassini's life sentence. What kind of dissidence would you attribute to her?
If I had committed to staying in the academic system, don't suppose for a moment that progressives would not have continued to impede their notions of equality with judgments against me; this too was life long in experience. I have been thinking about solutions for a long time, and in more filler moments, those wheels will grind. In the interim, Nathaniel should send me something to review We all know beauty and the beast, yes?
Showing posts with label daria cassini. Show all posts
Showing posts with label daria cassini. Show all posts
Thursday, October 17, 2013
Wednesday, October 16, 2013
Garnets in a Typhoon
All the Powers of old Europe have entered into a holy alliance to exercise this spectre: Pope and Czar, Mettermich and Guirot, French Radicals and German police-spies.--Frederick Engels, anticipating the National Security Agency, kindle location 1-2.
Conte's role as Barzini is obscure in relation to the actor's past as assimilated yet uneasy with being the good bling material boy, yet age did for Conte what playing off a theatrical force like Jose Ferrer could not. It gave him character, and this necessitates a look again at how the dynamic with Brando plays out the next time the original godfather is available to view. It is not quite falling in lust with anti-matter, as the video images we have of celebrities come and gone is still a representation, more exact than any portraiture, but this does not mean it isn't as close to an alternate universe as is possible beyond the texture of imagination.
Conte was a character matinee idol, why complicate matters? Reviewers charge him with the sin of linear woodenness, and so he was. Playing against Ferrer in Whirlpool there is yet another undercurrent in the body language, coded or not in the script. Conte looks at Jose as a foreign devil, one who has maintained an ethnic identity Conte himself had to scrub clean, and you can see the wheels turning in Conte's head at the bedside of Ferrer's theatrical dominance: "I can't hold the scene against this vaudeville bastard, so the best I can do is exude unease at his disruption of my bourgeoisie achievement."
Range can have its own layers of complexity, and whatever Conte's limits, he makes the most of them in a dialectical tension with our present, a present that is in between periods, unlike Conte's, who defined the post-war immigrant experience. Gene Tierney is also a bit of a tin ear in this wicked bit of classic noir manipulation, but the tragedy of her domestic travail leaps right into the first decade of our 21st century. Tierney tried to commit suicide in substantial fashion in 1958. Why? Guilt. American blue blood hides away the horror of deficient siring, like the Kennedy's Rose.
Daria Cassini died in 2010 at the age of 67. She might have been mute as well as deaf and blind in one eye. Did she have the cognizance to recognize that Mommy was about as A list as it gets since the modern invention of Mary Pickford? Probably not. At best she might have seen herself as least among humans, knew her father hated her, as much as Jose's Korvo hates the caste he deceptively imitates. The projection of Korvo's manical hostility is what gives Whirlpool its place in the historical lexicon, making love to the grave, obsessively.
Conte's role as Barzini is obscure in relation to the actor's past as assimilated yet uneasy with being the good bling material boy, yet age did for Conte what playing off a theatrical force like Jose Ferrer could not. It gave him character, and this necessitates a look again at how the dynamic with Brando plays out the next time the original godfather is available to view. It is not quite falling in lust with anti-matter, as the video images we have of celebrities come and gone is still a representation, more exact than any portraiture, but this does not mean it isn't as close to an alternate universe as is possible beyond the texture of imagination.
Conte was a character matinee idol, why complicate matters? Reviewers charge him with the sin of linear woodenness, and so he was. Playing against Ferrer in Whirlpool there is yet another undercurrent in the body language, coded or not in the script. Conte looks at Jose as a foreign devil, one who has maintained an ethnic identity Conte himself had to scrub clean, and you can see the wheels turning in Conte's head at the bedside of Ferrer's theatrical dominance: "I can't hold the scene against this vaudeville bastard, so the best I can do is exude unease at his disruption of my bourgeoisie achievement."
Range can have its own layers of complexity, and whatever Conte's limits, he makes the most of them in a dialectical tension with our present, a present that is in between periods, unlike Conte's, who defined the post-war immigrant experience. Gene Tierney is also a bit of a tin ear in this wicked bit of classic noir manipulation, but the tragedy of her domestic travail leaps right into the first decade of our 21st century. Tierney tried to commit suicide in substantial fashion in 1958. Why? Guilt. American blue blood hides away the horror of deficient siring, like the Kennedy's Rose.
Daria Cassini died in 2010 at the age of 67. She might have been mute as well as deaf and blind in one eye. Did she have the cognizance to recognize that Mommy was about as A list as it gets since the modern invention of Mary Pickford? Probably not. At best she might have seen herself as least among humans, knew her father hated her, as much as Jose's Korvo hates the caste he deceptively imitates. The projection of Korvo's manical hostility is what gives Whirlpool its place in the historical lexicon, making love to the grave, obsessively.
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