I don’t get it. He’s on their side, one of the most pro-Pali reps in US history. And he just scored a solid PR victory against Israel with his little stunt in the West Bank. So why are they being so hostile to him?
Leftoids and their struggle sessions…
💢 Jeremy Scahill asks Rep. Ro Khanna:
“Do Palestinians have a right to kill Israeli soldiers, Congressman?”
“On October 7, did Palestinians have a right to attack Israeli military bases in the Gaza envelope? Yes or no?”
🎥 Watch Khanna’s response in the attached clip. Longer discussion in the post below ⬇️
Pro Waymo, pro data center, pro nuclear, pro solar, pro train, anti zoning, pro housing has to be one of the most correct and unelectable combinations in America
Arthur Laurents (b. 14 July 1917) was a highly influential American playwright, librettist, screenwriter, and stage director. Over a career that spanned more than six decades, he became a central figure in Broadway’s Golden Age and a prominent voice in Hollywood cinema.
He is best known as the librettist for two of the most celebrated musicals in American theater history – West Side Story (1957) and Gypsy (1959) – and as the screenwriter for Hitchcock’s gay-coded psychological thriller, Rope (1948), Sidney Pollock’s romantic drama, The Way We Were (1973), and Herbert Ross’ dance drama, The Turning Point (1977 – for which he received two Oscar nominations, as producer and screenwriter). He achieved even greater success as a Broadway director, winning Tony Awards for Best Direction of a Musical for La Cage aux Folles (1983) and the 2008 revival of Gypsy.
Among his numerous plays, he wrote The Time of the Cuckoo (1952), which starred Shirley Booth in the Broadway production, winning her a Tony award for Lead Actress in a Play. It was later adapted, first, for the screen as Summertime (1955) starring Katharine Hepburn and Rossano Brazzi, with direction by David Lean, and in 1965, as the Broadway musical Do I Hear a Waltz? with music and lyrics by Richard Rodgers and Stephen Sondheim. Additionally, in 1962, Laurents directed I Can Get It for You Wholesale, which helped turn a then-unknown Barbra Streisand into a star.
Laurents was born Arthur Levine in Brooklyn, New York, but later changed his surname to avoid widespread antisemitism while pursuing his career. He was also an openly gay man in an era when it was socially perilous to be so. Among his partners was Farley Granger, whom he met just before starting production on Rope and with whom he had a significant four-year romantic relationship. But his most long-lasting partnership was with Tom Hatcher. In 1954, Gore Vidal had suggested that Arthur seek out Hatcher, an aspiring actor from Tulsa, Oklahoma who was managing William B Riley, an upscale men's clothing store in Beverly Hills. Laurents later said it was "lust at first sight", but the attraction quickly evolved into an intense, lifelong bond that lasted 52 years until Tom’s death in 2006.
Laurents was also a writer, adapting his screenplays for The Way We Were and The Turning Point into novels and penning three memoirs, most notably Original Story By Arthur Laurents (2000).
After Tom’s passing, the Laurents/Hatcher Foundation Award was established to provide a substantial annual grant supporting unproduced, socially relevant plays by emerging playwrights. On May 5, 2011, Arthur died in Manhattan at age 93 from complications of pneumonia. The following night, in his memory, Broadway dimmed its lights for one minute. His ashes were buried alongside those of Tom on Long Island, in Quogue, where Arthur and Tom had shared a home since the mid-1950s. 🏳️🌈
[below left - Arthur; right, Tom and Arthur]
If you don’t teach the Bible at least as literature suddenly you lose the references across the classics. You don’t understand Shakespeare, so they stop teaching that too. The dominos fall and the public doesn’t understand its own culture. It’s great for year zero communists. It’s great for people who want to paint western culture as insignificant or unremarkable. It’s great for people who are concerned when they see a bookshelf at the racial makeup of the authors, those that are upset at all the old dead white men.