By Ray Pride Pride@moviecitynews.com

Writers Guild West President Howard Rodman On Trump Attack On “Working Men And Women”

 

 

December 8, 2016

Chuck Jones is President of United Steelworkers Local 1999, which represents the workers of the Carrier plants in Indiana. This week he spoke out about the much-publicized deal to keep over a thousand jobs from moving to Mexico, calling it a promise “half-way delivered.” He pointed out a truer set of numbers: that even as Carrier would receive seven million dollars in tax breaks, 550 of his members would lose their livelihoods after all.

In retaliation the President-elect of the United States, Tweeting from his gilded apartment atop the tower that bears his name, lashed out yesterday at the union. He said its dues were too high. He blamed the workers themselves for the loss of jobs. And he attacked Jones by name. As a consequence Jones and his family are now on the receiving end of a torrent of hate. He was told “I better watch out for myself, and they know what kind of car I drive, that I better watch out for my kids.”

Whether we work in Culver City or Indianapolis, in writers rooms or on factory floors, we all of us have the right to fight for a better deal. We stand in solidarity with the members of Local 1999 and with their chosen leadership. And we will not stand in silence as a President-elect, soon a President, uses his vast powers to intimidate the working men and women of our republic.

In Solidarity,

Howard A. Rodman
President, WGAW

Leave a Reply

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson