More stuff thanks to an anon on /k/. Click on the HB numbers for a link to their text:
HB 2354 - Assault Weapons and high capacity magazine ban. This one is
the largest and most impactful to our 2A rights here in WA state. Your
classic mega AWB ban that would make us like CA and NY. The good news is
this exact same bill has been submitted the last 4 sessions and has
gone nowhere. Doesn’t keep them from continuing to try and means we need
to continue to fight it!
2374 - Statewide ammunition tax. This bill out impose a $.05 tax on
every single round of loaded ammunition sold in WA state. They claim the
money collected will be used to combat gun related violence. We all
know all money will go into the general fund and be squandered like the
rest. The Seattle gun tax was already a crock of horseshit that is currently being appealed by the SAF in the WA superior court, and hopefully that gets struck down.
2460 - Carrying firearms in public places. This one is really scary and
needs to be defeated! This bill would remove our right to open carry in
WA state. It would also ban concealed carry in a number of places. We
all know “gun free zones” are a joke and only give would be attacks easy
targets. Well this bill would create several more. The City of Seattle
has failed contumely to ban firearms in places like parks and now they
have taken their battle statewide.
HB 2372 - Destruction of firearms in police custody. This bill would
allow firearms that have been seized or fortified to police to be
destroyed. The catch is even if you are later found innocent in a court
of law, your firearms could have already been destroyed by police.
2738 - Concealed carry in another person’s home. This bill would
require anyone carrying a concealed firearm to obtain permission from
the home owner before entering their home. This is already common sense.
1747 - Responsible storage of firearms. Under the guise of child safety
they want any firearm in a home to be in a locked box at all times.
They also want every firearm retailer to have available locked boxes and
display a sign that says “you could be prosecuted if you don’t lock up
1857 - Extreme risk protective orders. Yet another gun control bill
carry over from 2015 session that did not go anywhere. Basically a
family or household member could go to the police and file a protective
order against you. The police would remove all your firearms and you
would be prevented from buying any new ones. Obvisouly this leaves the
door open for a lot of prejudice and human error.
6165 - Short barrel rifles. Finally something good to support! This
bill would amend the short barrel rifle law passed years ago to resolve
the “manufacturing” issue that is currently blocking our ability to file
ATF Form 1’s. Please support!!!
One of my friends is a patient of his and just had surgery a few days ago. He posted the article on FB and I thought I’d share for anyone interested. It’s amazing what they can do to help people feel more like their true selves and find comfort in their own skin. :) I’m a nerd, yes, I like to read about these surgeries/procedures.
Michael Bloomberg, billionaire financial services and media mogul, and former three-term New York City mayor, is apparently seriously considering a third-party run for the White House. Bloomberg would reportedly be willing to spend a shocking $1 billion of his own money on the race. This would be great news for one party in particular.
The Vermont Senator discussed the possibility of taking on the duo on ABC News’ This Week, telling co-anchor Martha Raddatz the showdown would be “interesting.” “It will tell people what I have been saying for a long time,” Sanders said, “that this country is moving away from democracy to oligarchy, that billionaires are the people who are controlling our political life.”
“That is not what, to my view, American democracy is supposed to be about, a contest between billionaires,” he added. “If that takes place, I am confident that we will win it.”
In the winter of 1994 director Kelly Reichardt almost missed the
Sundance Film Festival debut of her first film because she was stuck on
“I couldn’t afford the plane tickets,” says Reichardt,
shrugging her slight shoulders in a Manhattan cafe. “The train froze on
the tracks and took five days instead of three. We got there just in
time for our premiere. We hadn’t showered in five days. We were total
Reichardt was one of two women filmmakers at the Park City, Utah, festival that year. Her feature, River of Grass,
which she describes as “a road movie without the road, a love story
without the love, and a crime story without the crime,” got strong
reviews, though some of her peers were not so supportive.
“I remember Kevin Smith was there with Clerks,” she says, sipping a chamomile tea. “He’s in this book [Spike, Mike, Slackers & Dykes
by John Pierson] talking about my film and how it’s an example of a
film that should have never been made. They say that it looks like it
was shot on postage stamps. The guy who made Clerks …” She pauses for wry emphasis: Clerks was memorably low-fi. “That’s the kind of friendly Sundance camaraderie back in the day. But there were other, nicer folks.”
That year, the festival launched the careers of the fanboy kingpin Smith (Clerks, Chasing Amy), as well as perennial Oscar contender David O. Russell (Spanking the Monkey, Joy) and documentarian Steve James (Hoop Dreams, Life Itself),
to hard-earned, near-immediate acclaim. For Reichardt, it was the
beginning of a more circuitous journey that, like her ill-fated train
ride, took much longer than necessary. Although River of Grass
was later nominated for three Independent Spirit Awards, she was unable
to make a second film for 12 years. Reichardt returns to Sundance this
year with a restored print of her first film, as well as her sixth
feature, Certain Women, starring Laura Dern, Kristen Stewart,
Michelle Williams, and newcomer Lily Gladstone. Immediate acclaim,
however, has remained out of reach.
gender has a lot to do with this. The industry continues to wrestle
with systemic gender discrimination, as the Sony e-mail hack revealed.
Salary disparities affect even Hollywood’s most bankable woman, Jennifer
Lawrence. Exactly zero of 2015’s 10 highest-grossing films were
directed by women—as well as zero of the top 10 movies listed by the
National Board of Review and the American Film Institute. According to
the Center for the Study of Women in Television and Film, 85 percent of
films released commercially in 2014 were directed by men; 80 percent
were written by men; 92 percent were shot by male cinematographers. In
October the Equal Employment Opportunity Commission opened a formal
investigation into Hollywood’s hiring practices.
So far, the
conversation has followed the money: When will a woman direct a Marvel
movie? A sci-fi epic? Why, after the smash-hit success of the
woman-helmed Frozen and Kung Fu Panda 2, was not a single animated film directed by a woman last year? Why did Sundance darling Colin Trevorrow get to direct Jurassic World
after making only one small-budget film? “It feels like a different
conversation, because that’s not about telling the stories that matter
to me,” Reichardt says, adding that the debate often feels like women
are asking, “ ‘Can I make a movie as crappy as those movies?’
“We operate in a gray area—director-driven films in a celebrity-hungry market. This is the line we walk every day”
discrimination doesn’t just touch women who want to be the next Steven
Spielberg. Unlike Smith (who comes back to Sundance this year with his
12th film, Yoga Hosers, starring his daughter, Harley Quinn
Smith, opposite Johnny Depp’s daughter, Lily-Rose Depp), Reichardt
struggled to convert promise into a career. A project Jodie Foster was
set to produce died in development. “I had 10 years from the mid-1990s
when I couldn’t get a movie made,” she told the Guardian in
2011. “It had a lot to do with being a woman. That’s definitely a factor
in raising money.” She couch-surfed for five years, eventually taking a
job teaching at Bard College.
Reichardt brought her second film to Sundance in 2006. Old Joy,
a hushed, meditative ramble of a film set in the Pacific Northwest with
no stars and ominous Bush-era overtones of bygone youth, was made for
only $40,000. It was one of the festival’s hits, landing on scores of
critics’ yearend top-10 lists.
Reichardt’s next film, the 2008 heartbreaker Wendy and Lucy,
was her true breakout. Starring Williams as a vulnerable woman who
loses her dog and anything resembling a safety net, it evoked the
fearful tension of America as it fell into recession. The fraught,
elegant film earned a Cannes premiere and a slot on the American Film
Institute’s Top 10 Films of the Year list. New York Times critic A.O. Scott championed the movie and named Reichardt a leader of a “Neo-Neo-Realism” movement.
a business dominated by global franchises, director-driven films not
based on branded intellectual property are hard to finance. Personal
films by female filmmakers are doubly difficult, but Reichardt’s ability
to keep budgets low and attract top-name talent has been a virtue.
Wendy and Lucy
was the first of her four collaborations with the Brooklyn, N.Y.-based
studio Filmscience, which went on to produce her oblique Oregon Trail
Western Meek’s Cutoff, the tense eco-thriller Night Moves, and Certain Women.
On the strength of Reichardt’s reputation and her latest movie’s cast,
the company was able to presell global distribution rights for the film
to Sony Pictures Worldwide Acquisitions before its Sundance premiere. In
Park City it will look for a domestic-release partner.
all been incredibly fortunate in that amazing actors want to work with
Kelly and make big concessions to do so (both financially and in terms
of amenities they may be accustomed to on bigger films),” Filmscience
producers Neil Kopp and Anish Savjani wrote in an e-mail. “We operate in
a gray area—director-driven films in a celebrity-hungry market,” they
added. “This is the line we walk every day.”
Actors such as Jesse Eisenberg (who starred in Night Moves after The Social Network) and Stewart (who stars in Certain Women after having made her name in the Twilight movies) are drawn to Reichardt because she offers them roles Hollywood does not.
“I’m the one who was lucky to work with Kelly, not the other way around,” says Williams, who also starred in Meek’s Cutoff. “When I saw Old Joy,
there wasn’t a question of her gender, of the size of the film, or the
crowds it may or may not draw. I wanted to be directed by that keen and
subtle eye. I wanted to let mystery hang in the air of a film. I wanted
the dignity and space she allowed her characters.”
is one of the true pioneers in fierce, make-it-your-way, independent
filmmaking,” Dern says. “She’ll make movies however she needs in order
to allow for that kind of freedom.”
Reichardt’s good friend and
producer, the filmmaker Todd Haynes, was nominated for best director at
this year’s Golden Globe awards for his film Carol, which was
nominated for best drama. If Reichardt were a man, he says, “the
integrity of an entire and an extraordinary body of work would have been
more visible by now. It’s very hard to come up with other filmmakers in
the independent film community who’ve made such uncompromising work so
consistently, with such a clear, precise, and resonant vision.”
Reichardt’s work has quietly, steadily accrued greater resonance, much
like one of her enigmatic films. “I’m usually not moved in the moment
during her films,” says Sundance Festival Director John Cooper. “It’s
more of a collective effect. You feel like you watched something quietly
year, 22 of the 54 films in competition at Sundance, or 41 percent,
were directed by women. But critics have proclaimed it the “year of the
woman” before, and despite the isolated success of directors such as
Kathryn Bigelow, Ava DuVernay, Jennifer Lee, and Elizabeth Banks, the
overall statistics have barely budged. Reichardt, who’s been
interrogated about the role of women in Hollywood since her debut
22 years ago, says she feels a bit trapped by the unchanging discussion.
“This is a losing conversation for any woman to have—to hell with the
women-in-cinema thing,” she says, sighing more out of fatigue
Reichardt has always preferred to let her work speak
for itself, so she perks up when asked to describe what’s at stake for
the character in her new film. Set in Montana, Certain Women
features a hostage situation and feuding lawyers. But Reichardt says
it’s less about topical conflict and more about women finding ways to
live their particular lives. She could be describing her career.
about small struggles, just small, personal politics with strangers,
with neighbors, with husbands,” she says. “And I think it might be about
entitlement on some level: what some people feel they have coming to
them and the expectations other people just don’t have.”