Eminem slams Trump in profane video, calls him racist

Eminem
Updated 12 October 2017
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Eminem slams Trump in profane video, calls him racist

NEW YORK: Eminem has unleashed a profane lyrical tirade against President Donald Trump — saying he “came to stomp” and taking aim at Trump’s Twitter habits, policy, appearance and supporters.
The rapper on Tuesday unveiled “The Storm,” a 4½-minute freestyle rap video recorded Friday in a Detroit parking garage that aired as part of BET’s Hip Hop Awards on Tuesday night.
Eminem slammed the Republican president as “a kamikaze who will probably cause a nuclear holocaust” before criticizing Trump’s ongoing campaign against NFL national anthem protests.
“But this is his form of distraction, plus he gets an enormous reaction when he attacks the NFL, so we focus on that instead of talking Puerto Rico or gun reform for Nevada. All these horrible tragedies and he is bored and would rather cause a Twitter storm with the Packers,” he rapped.
He later mentioned NFL free agent quarterback Colin Kaepernick, who is credited with launching the ongoing anthem protests. Kaepernick told the rapper on Twitter, “I appreciate you.”
Eminem also took down Trump’s recently unveiled plan for tax cuts, questioning: “Then who is going to pay for his extravagant trips back and forth with his fam to his golf resorts and his mansions?”
Eminem has unleashed a profane lyrical tirade against President Donald Trump. The rapper took aim at Trump in a freestyle rap video that aired Tuesday night as part of BET’s Hip Hop Awards. (Oct. 11)
At one point he called Trump, who is 71, a “racist 94-year-old grandpa” and compared the president’s appearance to the Marvel Comics character “The Thing.”
The 44-year-old rapper closed out his rant with a message to his fans who support Trump, saying “I am drawing in the sand a line, you are either for or against.” He added that people who do not support the president love the military and the country, but “hate Trump.”
The White House did not respond to a request for comment on the video, and Trump did not mention it while tweeting on several issues Wednesday morning.
This is Eminem’s most recent rhymed attack on Trump. It follows up last year’s nine-minute freestyle track “Campaign Speech” and a verse earlier this year on Big Sean’s “No Favors.”


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
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Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.