Moe Factz with Adam Curry for April 13th 2022, Episode number 79
Class is Back in Session
I'm Adam Curry coming to you from the heart of The Texas Hill Country and it's time once again to spin the wheel of Topics from here to Northern Virginia, please say hello to my friend on the other end: Mr. Moe Factz
"Pizza Party"
Description
Adam and Moe prove there are no coincidences in politics
Moe Factz with Adam Curry for September 19th 2020, Episode number 49
"Brothas Be Voting"
Description
Adam and Moe review the Democratic and Republican conventions, who the parties were speaking to and they deconstruct it all the way down the Chaotic Magic rabbit hole
Executive Producers:
James
Jackie Greene
Cole Calistra
Nastassja Findley
Branden Kollmar
Frankie G
Anonymous Please
Daniel Huttner
Brian Rogers
Steve Allen
Associate Executive Producers:
Theodora Dorinda Ongena
gunter weber
Elvis Rosenberg
Episode 49 Club Members
Occult Fan
Sir Spencer, Wolf of Kansas City & Dame DuhLaurien
ShowNotes
Dr.UmarJohnson.com
Sat, 19 Sep 2020 20:18
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Dr. Umar Johnson is a Doctor of Clinical Psychology and Certified School Psychologist who is considered an expert on the education and mental health of Afrikan and Afrikan-American children. Dr. Umar, as he is known to friends, is a paternal kinsman to both the Great Abolitionist Frederick Douglass (1818-1895) and the late Bishop Alexander Wayman (1821-1895), 7th Bishop of the AME Church, both from Maryland's Eastern Shore.Dr. Umar is founder and lead tour guide for the "Unapologetically Afrikan" Black College & Consciousness Tour for 11 thru 17-year-old boys & girls which exposes them to the great historical Black College tradition, within the context of visiting and learning about significant places and personalities that helped shaped the global Afrikan struggle for freedom and independence. This tour is held annually during the first two weeks of July.
The Prince of Pan-Afrikanism hosts a free regular weekly Black parent teleconference every Tuesday morning from 6-8am EST where he gives free educational and mental health consultations to community members in order to help them better advocate for Black children. Dr. Umar's name, quotes and speeches have been mentioned and shared on records and songs by various Hip-Hop artists more than any other living scholar. In addition, his image has been re-created by various Black artists more than any other scholar of the 21st century.
The most requested Black scholar in America also hosts a regular annual "Unapologetically Afrikan" Group tour to the Afrikan continent, which takes place the last week in July and first week in August. This tour, which always includes stops in two different countries, is designed to help Afrikans in the west reestablish their psycho-spiritual connection to their ancestral homeland.
A direct descendant of formerly enslaved civil war veterans who served in the United States Colored Troops of Maryland, Dr. Umar is an educational diagnostician who specializes in special education issues. He is known most for his work in identifying mis-diagnosed learning disabled and ADHD students.
Dr. Umar has been featured on News One Now, the Tom Joyner Morning Show, the Bev Smith Show, The Breakfast Club, as has appeared as a special guest life coach on Real Housewives of Atlanta(RHOA8). As a child therapist, he works with depressed and behaviorally-challenged males.
Dr. Umar is author of the book "Psycho-Academic Holocaust: The Special Education and ADHD Wars Against Black Boys," the 1st book ever written by a African-American male school psychologist to Black parents with specific strategies on how to fight back against special education and ADHD misdiagnoses. Dr.Umar also holds degrees in education and political science.Dr. Johnson is preparing to begin organizing his National Independent Black Ex-Offender Association (NIBEA), also known as "The New Underground Railroad," in order to advocate for rights on behalf of previously incarcerated Black women, men & children, and to prevent their recidivism. Dr. Umar is founder of the "Unapologetically Afrikan," "Unapologetically Black," & "Afrikan Family First" movements.
Dr. Umar is founder & president of the National Independent Black Parent Association (NIBPA) organized to fight against educational and academic racism & disproportionality in the 7 core areas of a) special education, b) school discipline, c) school finance, d) social support/services, e) school policy, f) home schooling, and g) parent advocacy.
One of the most recognized social scientists & Pan-Afrikanists of the 21st Century, his book, articles and lectures are included by college and university professors across the country within their required course materials. Dr. Umar is one of the most requested speakers in the world, and has lectured in North America, South America, The Caribbean, Europe and Afrika.
Dr. Umar is currently working on building his new school, The Frederick Douglass & Marcus Garvey RBG International Leadership Academy for Boys, America's first residential academy for Black boys founded upon the principles of Pan-Afrikanism and International Economics. In the future, Dr. Umar also would like to extend this school to include female students in their own residential school.
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Who We Are | Black Male Voter Project | We are Building a Movement
Sat, 19 Sep 2020 20:05
Black Male Voter Project was founded by W. Mondale Robinson, who currently serves as our Principal. He is the National Political Director for Democracy for America, Political Contributor for The Village Celebration where he has political and cultural columns and is a regular on their syndicated radio show. Mondale is also a Political Consultant.
Born one of 13 in rural North Carolina, W. Mondale grew up with a front-row seat to obstacles that kept and keeps Black people from voting. With this knowledge and his veteran campaign experience, he created a voter engagement program that would increase Black people's participation in the electoral process (BMEP Additory Approach(C)). The program was designed with a special focus on Black men, who are so often labeled as low information and sporadic voters. The program has been a success in the 13 states where it has been implemented (VA, NC, SC, GA, MS, FL, AL, TX, AR, OH, IN, NY, and NJ).
Mondale has been a lifelong advocate for the expansion of democracy and the protection of voting rights. He has worked on more than 125 campaigns''across all levels of government''in the United States, and leading roles internationally.
Why W. Mondale Robinson Founded the Black Male Voter Project
Sat, 19 Sep 2020 19:54
W. Mondale Robinson (center) at a 2019 'Brothas Be Voting' roundtable in Atlanta. W. Mondale Robinson
When I was a kid, I used to watch my father do amazing things for people all the time'--he'd fix roofs, lay drywall, pour cement for entire driveways. We were extremely poor, and I could never understand why. I thought: My dad is an anomaly. How can you be so great as a person and still suffer from poverty?
As I grew older, I realized my dad was not an anomaly. Most Black men his age were similarly situated but were crippled in some way: My dad, for instance, earned a felony when he was a young boy for defending his mother against white supremacy. Knowing that his struggles were all too common for Black men and watching America snuff out his greatness were my marching orders and the reason I fight for the betterment of my community.
I wound up doing campaign work for a long time, and one thing I noticed right away was that most of the people who determine what's said about politics generally, but progressive politics more specifically, are white men. The messaging they convey doesn't speak to my lived experience as a Black man. It's not motivating to me or to the brothas I know'--uncles, cousins, friends, men like my father.
It is well-known that voting is a habit that's formed when resources are spent on it, and Black men aren't a priority when it comes to spending money on elections. That was the genesis of the Black Male Voter Project. Our goal isn't just to make voters out of Black men but to foster this idea of voting on issues that are important to us. We don't outright support candidates; we support issues important to Black men. We're seeking to combat the narrative that Black men are apathetic toward politics.
Illustration of W. Mondale Robinson, founder of the Black Male Voter Project. Arrington Porter
Being a Black man in America is a political statement, and it is impossible to watch politics from my body when the result of so much of the politics of this country has been the subjugation of me and folks who look like me. You can't discount the impact that's had on the mental health of Black men, either, and yet mental health is not considered part of the fight for revolution as it pertains to white supremacy. Imagine what hundreds of years of slavery have done to the psyche and the soul and the makeup of Black bodies in this country.
There's a direct correlation between voting and people's health, especially for Black men. We know we're overrepresented in the prison population, which means we are less likely to have voting rights. A Florida prison system did a study a few years back, and they found that people with restored voting rights were less likely to go back to prison.
Every time that I'm silent about inequality, I think about my mother, who would pretend to laugh'--to lessen the impact'--when she would tell me stories about being sprayed with a fire hose when she was nine years old for no reason other than being downtown after dark. She couldn't run and hide because she also had groceries for her siblings in her arms, and so she had to pick up the groceries while being sprayed. The white man who did it was still in elected office as the fire chief when I was growing up. Whenever I'm silent, I feel as though I'm selling my mother out.
How we define success with our organization, in the end, is more complex than simply getting more Black men to vote. We're building long-term relationships. We hold focus groups called Brothas Be Voting and populate the room with brothas who don't normally participate in politics, people from the street and from underground economies, so we can hear what the barriers are. That way, we can work to remove them and help Black men start believing in the electoral process again. '--As told to Michelle Garcia
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When Republicans Were Blue and Democrats Were Red | History | Smithsonian Magazine
Sat, 19 Sep 2020 18:51
Television's first dynamic, color-coded presidential map, standing two stories high in the studio best known as the home to ''Saturday Night Live,'' was melting.
It was early October, 1976, the month before the map was to debut'--live'--on election night. At the urging of anchor John Chancellor, NBC had constructed the behemoth map to illustrate, in vivid blue and red, which states supported Republican incumbent Gerald Ford and which backed Democratic challenger Jimmy Carter.
The test run didn't go well. Although the map was buttressed by a sturdy wood frame, the front of each state was plastic.
''There were thousands of bulbs,'' recalled Roy Wetzel, then the newly minted general manager of NBC's election unit. ''The thing started to melt when we turned all the lights on. We then had to bring in gigantic interior air conditioning and fans to put behind the thing to cool it.''
That solved the problem. And when election results flowed in Tuesday night, Nov. 2, Studio 8-H at 30 Rockefeller Center lit up. Light bulbs on each state changed from undecided white to Republican blue and Democratic red. NBC declared Carter the winner at 3:30 a.m. EST, when Mississippi turned red.
That's right: In the beginning, blue was red and red was blue and they changed back and forth from election to election and network to network in what appears, in hindsight, to be a flight of whimsy. The notion that there were ''red states'' and ''blue states'''--and that the former were Republican and the latter Democratic'--wasn't cemented on the national psyche until the year 2000.
Chalk up another one to Bush v. Gore. Not only did it give us ''hanging chads'' and a crash course in the Electoral College, not only did it lead to a controversial Supreme Court ruling and a heightened level of polarization that has intensified ever since, the Election That Wouldn't End gave us a new political shorthand.
Twelve years later, in the final days of a presidential race deemed too close to call, we know this much about election night Nov. 6: The West Coast, the Northeast and much of the upper Midwest will be bathed in blue. With some notable exceptions, the geographic center of the country will be awash in red. So will the South. And ultimately, it is a handful of states'--which will start the evening in shades of neutral and shift, one by one, to red or blue'--that will determine who wins.
If enough of those swing states turn blue, President Barack Obama remains in the White House four more years. If enough become red, Gov. Mitt Romney moves in January 20, 2013. For now, they are considered ''purple.''
Here's something else we know: All the maps'--on TV stations and Web sites election night and in newspapers the next morning'--will look alike. We won't have to switch our thinking as we switch channels, wondering which candidate is blue and which is red. Before the epic election of 2000, there was no uniformity in the maps that television stations, newspapers or magazines used to illustrate presidential elections. Pretty much everyone embraced red and blue, but which color represented which party varied, sometimes by organization, sometimes by election cycle.
There are theories, some likely, some just plain weird, to explain the shifting palette.
''For years, both parties would do red and blue maps, but they always made the other guys red,'' said Chuck Todd, political director and chief White House correspondent for NBC News. ''During the Cold War, who wanted to be red?''
Indeed, prior to the breakup of the Soviet Union little more than two decades ago, ''red was a term of derision,'' noted Mitchell Stephens, a New York University professor of journalism and author of A History of News.
''There's a movie named Reds, '' he said. ''You'd see red in tabloid headlines, particularly in right wing tabloids like the Daily Mirror in New York and the New York Daily News.''
In 1972, CBS News split the country into regions and used a color-coded map, with blue for Republicans and red for Democrats. (YouTube) In 1976, ABC News used this color-scheme for the presidential election. (YouTube) This 1980 map from NBC News shows states for Ronald Reagan in blue, Jimmy Carter in red, and uncalled in yellow. (YouTube) For years, NBC News used blue to indicate Republican states and red to indicate Democratic states. Shown here is a screen grab from the 1984 election (YouTube) A still from CBS News' coverage of the 1988 presidential election. White indicated states where ballots had closed, but had not been declared for one candidate or another. (YouTube) By 2000, NBC News had joined their colleagues in using the current red/blue scheme. At this point in the evening, Vice President Gore had been declared the winner in Florida. This, of course, would not be the case by the following morning. (YouTube)Perhaps the stigma of red in those days explains why some networks changed colors'-- in what appeared to be random fashion'--over the years. Kevin Drum of the Washington Monthly wrote in 2004 that the networks alternated colors based on the party of the White House incumbent, but YouTube reveals that to be a myth.
Still, there were reversals and deviations. In 1976, when NBC debuted its mammoth electronic map, ABC News employed a small, rudimentary version that used yellow for Ford, blue for Carter and red for states in which votes had yet to be tallied. In 1980, NBC once again used red for Carter and blue for the Republican challenger, Ronald Reagan, and CBS followed suit. But ABC flipped the colors and promised to use orange for states won by John Anderson, the third-party candidate who received 6.6% of the popular vote. (Anderson carried no states, and orange seems to have gone by the wayside.) Four years later, ABC and CBS used red for Republicans and blue for Democrats, but the combination wouldn't stick for another 16 years. During the four presidential elections Wetzel oversaw for NBC, from 1976 through 1988, the network never switched colors. Republicans were cool blue, Democrats hot red.
The reasoning was simple, he said: Great Britain.
''Without giving it a second thought, we said blue for conservatives, because that's what the parliamentary system in London is, red for the more liberal party. And that settled it. We just did it,'' said Wetzel, now retired.
Forget all that communist red stuff, he said. ''It didn't occur to us. When I first heard it, I thought, 'Oh, that's really silly.' ''
When ABC produced its first large electronic map in 1980, it used red for Republicans and blue for Democrats, while CBS did the reverse, according to Wetzel. NBC stuck with its original color scheme, prompting anchor David Brinkley to say that Reagan's victory looked like ''a suburban swimming pool.''
Newspapers, in those days, were largely black and white. But two days after voters went to the polls in 2000, both the New York Times and USA Today published their first color-coded, county-by-county maps detailing the showdown between Al Gore and George W. Bush. Both papers used red for the Republican Bush, blue for the Democrat Gore.
Why?
''I just decided red begins with 'r,' Republican begins with 'r.' It was a more natural association,'' said Archie Tse, senior graphics editor for the Times. ''There wasn't much discussion about it.''
Paul Overberg, a database editor who designed the map for USA Today, said he was following a trend: ''The reason I did it was because everybody was already doing it that way at that point.''
And everybody had to continue doing it for a long time. The 2000 election dragged on until mid-December, until the Supreme Court declared Bush the victor. For weeks, the maps were ubiquitous.
Perhaps that's why the 2000 colors stuck. Along with images of Florida elections officials eyeballing tiny ballot chads, the maps were there constantly, reminding us of the vast, nearly even divide between, well, red and blue voters.
From an aesthetic standpoint, Overberg said, the current color scheme fits with the political landscape. Republicans typically dominate in larger, less populated states in the Plains and Mountain West, meaning the center of the United States is very red. ''If it had been flipped, the map would have been too dark,'' he said. ''The blue would have been swamping the red. Red is a lighter color.''
But not everyone liked the shift. Republican operative Clark Bensen wrote an analysis in 2004 titled ''RED STATE BLUES: Did I Miss That Memo?''
''There are two general reasons why blue for Republican and Red for Democrat make the most sense: connotation and practice,'' Bensen wrote. ''First, there has been a generally understood meaning to the two colors inasmuch as they relate to politics. That is, the cooler color blue more closely represented the rational thinker and cold-hearted and the hotter red more closely represented the passionate and hot-blooded. This would translate into blue for Republicans and red for Democrats. Put another way, red was also the color most associated with socialism and the party of the Democrats was clearly the more socialistic of the two major parties.
''The second reason why blue for Republicans makes sense is that traditional political mapmakers have used blue for the modern-day Republicans, and the Federalists before that, throughout the 20th century. Perhaps this was a holdover from the days of the Civil War when the predominantly Republican North was 'Blue'.''
At this point'--three presidential elections after Bush v. Gore'--the color arrangement seems unlikely to reverse any time soon. Not only have ''red states'' and ''blue states'' entered the lexicon, partisans on both sides have taken ownership of them. For instance, RedState is a conservative blog; Blue State Digital, which grew out of Democrat Howard Dean's 2004 presidential campaign, helps candidates and organizations use technology to raise money, advocate their positions and connect with constituents. In 2008, a Republican and a Democrat even joined forces to create Purple Strategies, a bipartisan public affairs firm.
Sara Quinn, a visual journalist now at the Poynter Institute in Florida, said she sees no particular advantage to either color.
''Red is usually very warm and it comes forward to the eye. Blue tends to be a recessive color, but a calming color,'' she said.
Not that anyone thought of those things when assigning colors in 2000. Not that they think about it at all today.
''After that election the colors became part of the national discourse,'' said Tse. ''You couldn't do it any other way.''
The Rosy or Rose Cross - Occult Symbols
Sat, 19 Sep 2020 18:45
The Rose Cross is associated with a number of different schools of thought, including that of the Golden Dawn, Thelema, the OTO, and the Rosicrucians (also known as the Order of the Rose Cross). Each group offers somewhat different interpretations of the symbol. This should not be surprising as magical, occult and esoteric symbols are frequently used to communicate ideas more complex than is possible to express in speech.
Christian Elements Users of the Rose Cross today tend to downplay the Christian elements to it, even though the magical systems used by such people are generally Judeo-Christian in origin. The cross, therefore, has other meanings here besides being the instrument of Christ's execution. Despite this, the presence of the letters INRI, which is an abbreviation of the Latin phrase Iesvs Nazarens Rex Ivdaeorym, meaning "Jesus of Nazareth, King of the Jews," cannot escape Christian interpretation. According to the Christian Bible, this phrase was inscribed on the cross where Jesus was executed.
In addition, the cross is often viewed by occultists as a symbol of immortality, sacrifice, and death. Through Jesus's sacrifice and death on the cross, humanity has a chance at eternal life with God.
The Cross Cross-shaped objects are commonly used in occultism too represent the four physical elements. Here each arm is colored to represent one element: yellow, blue, black and red to represent air, water, earth, and fire. These colors are also repeated on the bottom portion of the cross. The white on the upper portion of the bottom arm represents the spirit, the fifth element.
The cross can also represent dualism, two forces going in conflicting directions yet uniting at a central point. The union of rose and cross is also a generative symbol, the union of a male and female.
Finally, the cross's proportions are made up of six squares: one for each arm, an extra one for the lower arm, and the center. A cross of six squares can be folded into a cube.
The Rose The rose has three tiers of petals. The first tier, of three petals, represents the three basic alchemical elements: salt, mercury, and sulfur. The tier of seven petals represents the seven Classical planets (The Sun and Moon are considered planets here, with the term ''planets'' indicating the seven bodies that appear to circle the earth independently of the star field, which moves as a single unit). The tier of twelve represents the astrological zodiac. Each of the twenty-two petals bears one of the twenty-two letters in the Hebrew alphabet and also represents the twenty-two paths on the Tree of Life.
The rose itself has a myriad assortment of additional meanings associated with it:
It is at once a symbol of purity and a symbol of passion, heavenly perfection and earthly passion; virginity and fertility; death and life. The rose is the flower of the goddess Venus but also the blood of Adonis and of Christ. It is a symbol of transmutation - that of taking food from the earth and transmuting it into the beautiful fragrant rose. The rose garden is a symbol of Paradise. It is the place of the mystic marriage. In ancient Rome, roses were grown in the funerary gardens to symbolize resurrection. The thorns have represented suffering and sacrifice as well as the sins of the Fall from Paradise. ("A Brief Study of The Rose Cross Symbol," no longer online)Inside the large rose is a smaller cross bearing another rose. This second rose is depicted with five petals. Five is the number of the physical senses: sight, hearing, touch, taste, and smell, and it is also the number of man's extremities: two arms, two legs, and the head. Thus, the rose represents humanity and physical existence.
The Pentagrams A pentagram is displayed at the end of each arm of the cross. Each of these pentagrams bears symbols of the five elements: a wheel for spirit, a bird's head for air, the zodiac sign for Leo, which is a fire sign, the zodiac symbol for Taurus, which is an earth sign, and the zodiac symbol for Aquarius, which is a water sign. They are arranged so that when tracing the pentagram you can progress from the most physical to the most spiritual: earth, water, air, fire, spirit.
The Three Symbols at the End of Each Arm The three symbols repeated at the end of all four arms stand for salt, mercury, and sulfur, which are the three basic alchemical elements from which all other substances derive.
The three symbols are repeated on each of the four arms of the cross, numbering a total of twelve. Twelve is the number of the zodiac, comprised of twelve symbols that circle the heavens throughout the year.
The Hexagram Hexagrams commonly represent the union of opposites. It is composed of two identical triangles, one pointing up and one pointing down. The point-up triangle can represent ascending toward the spiritual, while the point-down triangle can stand for the divine spirit descending to the physical realm.
The Symbols Around and in The Hexagram The symbols in and around the hexagram represent the seven Classical planets. The symbol for the Sun is in the center. The sun is generally the most important planet in Western occultism. Without the Sun, our planet would be lifeless. It is also commonly connected with the light of divine wisdom and the purification properties of fire, and was sometimes considered the visual manifestation of God's will in the universe.
On the outside of the hexagrams are the symbols for Saturn, Jupiter, Venus, the Moon, Mercury, and Mars (clockwise from top). Western occult thought generally considers the planets in the farthest orbits from the Earth in an earth-centric model) to be the most spiritual, because they are the furthest from the physicality of the Earth. Thus, the top three planets are Saturn, Jupiter and Mars, while the bottom three are Mercury, Venus and the Moon.
Music in this Episode
Intro: Mobb Deep - G.O.D. Part III Instrumental 9 seconds
Outro: Whole Truth - Can you loose by following god 15 seconds
Moe Factz with Adam Curry for September 5th 2020, Episode number 48
"Shootist"
Description
Adam and Moe go deep on the third rail of topics
Executive Producers:
Sir Dwayne Melancon
Sir Cole Calistra
Noah from Phoenix
David Keyes
Kris Malmi
Anonymous
Sir Jesse Cruz
Adam Choi
Martin Ohlsen
Louise Wakefield
Associate Executive Producers:
Thomas Kelly-Tait
KR
Joseph DiVerniero
David Roll
Kurtis Collins
Drake Biscardi
Sarah Gardner
Timothy Pierce
Anonymous
Andrew J Giannettino
Erik Höchel
Harvey Smith
Cassidy Eastwood
Garlene Copeland
Kenneth Barnhouse
lindsey heitman
Colin Howard
TinyEmpire.com
david drake
Lauren's Witty Knitts
Eric Tolbert
William Taylor
Kathleen Backous
Mireya
Susan
John Taylor
Ed Siemens
Episode 48 Club Members
Rudolph Duff
Ellen King
Dorothy Schrodt
ShowNotes
The Zen TV Experiment '' Ted's Tidbits
Sun, 06 Sep 2020 00:00
If you watch television, you should take a look at this post. It's a repost of an article that first appeared in Adbusters Magazine on the effects of television on individuals and society. It proposes four experiments to attempt at home. I did this, and I recommend you do it to.
1) Watch TV for 10 minutes and count the technical events.What is a technical event? We've all seen TV cameras in banks and jewelry stores. A stationary video camera simply recording what's in front of it is what I will call ''pure TV.'' Anything other than pure TV is a technical event: the camera zooms up, that's a technical event; you are watching someone's profile talking and suddenly you are switched to another person responding, that's a technical event; a car is driving down the road and you also hear music playing, that's a technical event. Simply count the number of times there is a cut, zoom, superimposition, voice-over, appearance of words on the screen, fade in/out, etc.
For this test, I watched the first 10 minutes of this episode of my namesake show. In that 10 minutes I counted 223 technical events, and then I realized I didn't count any audio effects!
2) Watch any TV show for 15 minutes without turning on the sound.For this, I simply muted the volume on the same show and watched the remainder.
3) Watch any news program for 15 minutes without turning on the sound.It took a while for me to find a recording of an actual news program online (I needed 15 contiguous minutes, and the news sites only offer clips) but I finally found this on Hulu.
4) Watch television for one half hour without turning it on.I must admit that I haven't done this yet. I want to do the experiment, but I just haven't been able to bring myself to waste a half hour sitting in front of a turned off television.
Well, the point is that television is messing with your mind. All the technical events that occur in a normal TV show make for a very disjointed set of scenes that we have trained our brains to assemble into a narrative.
Television inhibits your ability to think, but it does not lead to freedom of mind, relaxation or renewal. It leads to a more exhausted mind. You may have time out from prior obsessive thought patterns, but that's as far as television goes. The mind is never empty, the mind is filled. What's worse, it is filled with someone else's obsessive thoughts and images.
Watching the TV without the sound makes it more difficult to connect with the story and therefore easier to observe all the technical events occurring. Switching to a news program you realize that there are fewer technical events.
With fewer technical events the news show appears realistic relative to other shows in the TV environment. Further, it appears super-realistic relative to the commercial shows in this environment. As earlier, we witnessed the joining of technical events in a coherent narrative. Here, we witness the reduction of worldly events into a narrative.
I admit I haven't yet stared at a blank TV for a half hour, but I imagine two things would occur to me. First, I would realize just exactly how long a half hour feels, and I would be bothered by the things I could be doing with that time. Second, I would see the TV for what it is, an object, instead of what it is not, a companion.
If one is alone in one's room and turns on the TV, one actually doesn't feel alone anymore. It's as if companionship is experienced, as if communication is two-way.
This does make for an interesting, if not disturbing, academic discussion, but it is not fruitful unless a behavioral change occurs. I encourage you to make your own resolutions. As for me, I am making a deliberate effort to watch less TV. This is actually something I started doing a while back when we canceled our cable. There are still some shows I enjoy watching, and I will continue to watch them. I don't think I'm going to start watching any new shows, and I'm definitely going to stop watching shows I find myself complaining about. To do otherwise would just be stupid. Tonight, for example, I elected to write this blog post instead of watching The Office or some other show.
Maybe one day I'll stop watching TV altogether (although I have no plans to cease watching the Dallas Cowboys, no matter how frustrating of an experience that may be). I don't want to bind myself to a statement I won't be able to live up to. At least for now, I feel encouraged to read more.
(22) Larry Gaiters (@BishopLGaiters) / Twitter
Sat, 05 Sep 2020 23:59
Something went wrong, but don't fret '-- let's give it another shot.
(1227) NLE Choppa - Walk Em Down feat. Roddy Ricch (Official Music Video) - YouTube
Sat, 05 Sep 2020 22:41
Urban Dictionary: White Mike
Sat, 05 Sep 2020 22:39
a white male typically raised in black/urban environment, adores
black women, despises and rejects anything caucasian including
white women. Adored by black women. The only white guy at the party that everybody loves. Possibly a rapper or dj.
Blacker than some of his black friends proving the "white" in White Mike is actually quite ironic. Fly ass dude.
Get the White Mike neck gaiter and mug.
Any of your typical run of the mill white guys in their early/mid 20's who acts as ghetto as possible. Can typically bee seen sporting the white
wife-beater and
backwards ball cap. White Mikes love
freeloading and will doing ANYTHING for certain goods and services. White Mikes can be seen around public parks and pools trying to pick up girls that he can "t-t-t-turn it over and hit it."
"Hey isn't that White Mike trying to get
free water from that
pizza place?"
"Man, I wish someone would put White Mike out of his missery."
"Hey guys, White Mike is trying to pawn 'House Party 4'
any takers?"
Get a White Mike mug for your barber Bob.
White Mike | Wayans Bros. Wiki | Fandom
Sat, 05 Sep 2020 22:38
White Mike, played by comic/actor Mitch Mullaney, appeared in six episodes of the series.Gender
Male
Occupation
Heir from wealthy Long Island family
Relations on TWB
friend of Shawn and Marlon Williams
Episodes/Apperances
6 episodes in seasons 1 and 2, 1995-1996
Relative
brother Pookie, who appears in the episode It's Shawn! It's Marlon! It's Superboys! in Season 1
Character played by
Mitch Mullany
White Mike is a hip-talking, black girl-dating white friend of Shawn and Marlon Willams who appears in seasons 1 and 2 of The Wayans Bros. Played by late comic/actor Mitch Mullany, he appeared in a total of six episodes, beginning with the episode The Sting, which Thelonious "T.C." Capricornio, another hip huckster type, whom he also eventually becomes friends with, appears with during the first season.
Character description Edit Always trying hard to keep up on the urban fashion and "hip" street ebonics slang talk, Mike is from the suburbs, from an affluent family in Long Island who befriends Marlon, even for allowing Marlon to move in with him in his "crib" after a brief fallout with Shawn, whom T.C. moved in with in Marlon's old apartment. Mike kicks Marlon out, saying that he is too boring for him, he being a hard-partying type. He also becomes cool with Shawn and Pops, even running Pop's Diner with Marlon. while Pops was laid up at home sick from the flu, turning an unseen before big profit while turning the place into a health food restaurant, where they served tofu, and all types organic foods, with the exception of the cheesecake, which Marlon deceives some lovely young females who work at the nearby aerobics center into thinking they're low cal!!
The White Mike character served as a vehicle for Mitch Mullany to earn a title role as Nick Freno on the WB series titled Nick Freno:Lisenced Teacher the next season, where he appeared in 43 episodes before its cancellation.
Burrell Communications '-- Our Agency
Sat, 05 Sep 2020 22:31
Our agency
Our Capabilities
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WE DO TRANSCULTURAL. And we do it well. Our 40+ years of experience has given us the expertise, finesse, and empathy to connect with and engage Millennials, Boomers, and Gen Xers, remember them? From the financially underserved to the socially responsible to gearheads and sneakerheads. We'll do it for the Gram and clap back on SnapChat if necessary. We create work that gets clicked, liked, and shared. Work that rings both the phones and the register. We'll make you think'...laugh'...and we're especially good at the work that gets you right here <3. No matter what we do, we move brands.
We're a diverse collective of passionate and involved cultural mavens. Our talented family includes authors and musicians, artists and activists, sneakerheads and fashionistas.
As an agency and as individuals, we're always striving to improve ourselves and our communities. We've donated our time and voice to increase awareness and make changes for the better in our communities.
Fay Ferguson, McGhee Osse, co-chief executive officers Lewis Williams, chief creative officer Website www.burrell.com Burrell Communications Group L.L.C. is an American advertising agency. Founded by chairman emeritus Thomas (Tom) J. Burrell, and headquartered in Chicago, IL, Burrell Communications is one of the largest multi-cultural marketing firms in the world. Some of the company's work is part of a collection in the Library of Congress.[1] Burrell Communications is now under the leadership of co-chief executive officers, Fay Ferguson and McGhee Osse and chief creative officer, Lewis Williams.[2]
History [ edit ] Burrell Communications was founded in 1971, by Tom Burrell and then partner, Emmett McBain, and was originally named Burrell McBain.[3] The company was established with the intention of forging an authentic and respectful relationship with the African-American consumer, and to tap into how the black aesthetic could also appeal to the general market consumer. It was at this time that Burrell coined the phrase, "Black people are not dark-skinned white people." Recognizing that there existed inherent cultural differences, and the fact that these differences drove patterns of consumption, became a driving force and inspiration for future ad campaigns at Burrell.
1971-73'--Burrell McBain quickly establishes itself as a leading shop for niche African American -focused communications. Beginning with the creation of the Black Marlboro Man for Philip Morris, accounts quickly expanded to include marquis brands McDonald's and Coca-Cola.[3]
1974'--Emmett McBain leaves the agency, and it is renamed Burrell Advertising[3]
1975-80'--Burrell's business grows steadily, garnering acclaim in particular for their work on The Coca-Cola Company and McDonald's campaigns. The Coca-Cola commercial entitled "Street Song" wins Burrell its first Clio Award.[4] By 1979, Burrell tops $10 million in billing per annum, making it one of the most successful multi-cultural advertising shops in the United States.[3]
1981-83'--Burrell Advertising picks up Martell Cognac and Stroh's accounts. The McDonald's "Double Dutch" Commercial in particular gains national attention and gains a Gold Award at the U.S. Television Commercials Festival.[5] Agency billing climbs to $20 million annually.[6] In order to accommodate increased needs for their Coca-Cola account, Burrell opens an office in Atlanta, GA.[6]
1984- 86'--Burrell Advertising gains the Procter and Gamble account. Their work for Crest Toothpaste becomes the first major packaged goods account to target an African American consumer audience. Burrell agency billing surpasses $50 million.[3]
1987-90-- Burrell gets the Polaroid account, and gains new campaigns on Procter and Gamble's Tide, and Kraft Foods Stovetop Dressing.[3]
1991-96-- The agency is renamed Burrell Communications. Alma Hopkins is named CCO, while Sarah Burroughs is named President. Burrell Communications is awarded the Grand Effie by the American Marketing Association for its work on "Who Wants," a spot created for the Partnership for a Drug Free America.[7] Burrell garners new clients including Nynex, Mobil, Nabisco's A1 Steak Sauce, Maxwell House Coffee and Sears. Agency billing tops a record-breaking $128 million.[3] Burrell acquires DFA Communications, a general market advertising and direct marketing agency based in New York, adding direct marketing expertise as well as a New York presence.[8]
2000-01'--Burrell sells a 49% minority stake to French media giant Publicis Groupe in order to fund its expansion.[9] Burrell Communications gains Toyota, Hewlett-Packard and General Mills as its clients.[10][11]
2002'--Burrell Communications is named Black Enterprise's Advertising Agency of the Year [12]
2004'--Tom Burrell announces his retirement. Fay Ferguson and McGhee Osse purchase the 51% majority stake, becoming Co-CEOs of Burrell Communications.[13]
2005 '' Burrell is named African-American agency of record for Allstate.[14]
2006'--Lewis Williams is welcomed as CCO at Burrell.[15] Co-CEO Fay Ferguson is named Chicago Advertising Woman of the Year.[16]
2007'--Burrell launches Toyota Camry's highly successful "If Looks Could Kill," the first digital campaign of its kind to target African American women.[17]
2009'--Burrell garners the American Airlines account and launches American Airlines "Black Atlas." Toyota launches Burrell's Toyota Venza "Faces" as its featured Super Bowl spot.[18]
2010--Burrell launches Threshold Nation, a subsidiary dedicated to marketing toward the multi-ethnic urban male.[19]
2011'--Burrell Communications is named Black Enterprise's Advertising Agency of the Year [17] and adds Comcast to its list of clients[20]
2013'--Burrell launches Rising Tide, a Tide-sponsored aspirational social network for millennials looking for professional access. The program features hip-hop media mogul, Russell Simmons, sharing his wisdom with the young, professional audience.
2014'--Burrell scores a major win the 2013 Toyota Avalon "Only The Name Remains" campaign, starring Academy-Award nominee Idris Elba. The campaign won a Gold National ADDY Award, an Official Webby Award Honoree, and was listed as the FWA Site of the Day.
Clients [ edit ] McDonald's, Comcast, Procter and Gamble, General Mills, SuperValu, American Airlines, Toyota, Lilly and Disney's Dreamers Academy
References [ edit ] ^ "Coca-Cola Company donates its collection of Black advertising by Burrell Communications Group to Library of Congress". Jet Magazine. October 20, 2003 . Retrieved March 31, 2012 . ^ "Our Leaders". Burrell Communications Group. Archived from the original on September 19, 2012 . Retrieved March 31, 2012 . ^ a b c d e f g Fawcett, Adrienne W. (June 3, 1996). "Burrell at 25, A Commemorative". Advertising Age. ^ Chambers, Jason (2009). Madison Avenue and the Color Line: African Americans in the Advertising Industry. University of Pennsylvania Press. p. 24. ^ "Double Honors". Jet. December 27, 1982 . Retrieved March 31, 2012 . ^ a b Fawcett, Adrienne W. (June 3, 1996). "BURRELL AT 25:A COMMEMORATIVE". Advertising Age. ^ Stuart, Elliot (June 8, 1994). "THE MEDIA BUSINESS: Advertising; An anti-drug public service campaign wins a prestigious prize for advertising effectiveness". New York Times . Retrieved March 31, 2012 . ^ "Burrell Communications Group". Advertising Age. September 2003 . Retrieved June 12, 2012 . ^ Valcourt, Josee (October 1, 1999). "Burrell Communications sells 49% of firm to Publicis Will black ad agencies have to merge to stay alive?". Black Enterprise. Archived from the original on April 6, 2012 . Retrieved March 27, 2012 . ^ "Toyota Announces Partnership With African American Advertising Agency". PRNewswire . Retrieved May 24, 2012 . ^ Brown, Monique R. (June 2002). "Born to transform: the Burrell Communications Group bursts out of the ad agency box to become bigger, better, and bolder - B.E. Advertising Agency Of The Year - Company Profile". Black Enterprise . Retrieved June 3, 2012 . ^ Finkelman, Paul (2009). Encyclopedia of African American history, 1896 to the present: from the age of segregation to the twenty-first century, Volume 1. Oxford University Press. p. 317. ^ Hughs, Zondra (July 27, 2011). "Burrell Communications Celebrates 40 Years". Rolling Out . Retrieved April 2, 2012 . ^ "Burrell Communications Wins Allstate African-American Account". Business Wire. August 3, 2005 . Retrieved June 13, 2012 . ^ "Burrell names Lewis Williams new Chief Creative Officer, replacing Steve Conner". Target Market News. April 10, 2006. ^ "Burrell Communications' Fay Ferguson named Advertising Woman of the Year". Target Market News. May 24, 2006 . Retrieved June 3, 2012 . ^ a b Alleyne, Sonia (June 2011). "Growth By Reinvention". Black Enterprise . Retrieved April 2, 2012 . ^ Tedesco, Richard. "Toyota Ties Events to Venza Spots in Big Game". Promo. Archived from the original on February 22, 2014 . Retrieved June 3, 2012 . ^ "Burrell Communications(TM) Launches Threshold Nation(TM)". PR Newswire . Retrieved June 3, 2012 . ^ "Comcast names Burrell Communications African-American agency of record". Target Market News. March 8, 2011 . Retrieved June 14, 2012 .
A First Rate Madness | Psychology Today
Sat, 05 Sep 2020 22:18
Many great leaders have been mentally ill, mainly with severe depression and sometimes with mania. This is not an entirely controversial statement. It is generally accepted by historians that Abraham Lincoln had severe depression, and so did Winston Churchill. Both were suicidal at times. Some other figures are less well-known but the documentary evidence is relatively strong: General William Sherman was removed from command because of concerns that he was insane. He appeared, in retrospect, to have experienced a manic episode with paranoid delusions; he also had,throughout his life, episodes of severe depression, along with occasional suicidal thoughts. Mahatma Gandhi and Martin Luther King both made suicide attempts in adolescence, and each had at least two severe depressive episodes in their lifetimes.
Other examples are not as extreme. The concepts of dysthymia (mild depression) and hyperthymia (chronic hypomanic symptoms) are reasonably well-validated scientifically as abnormal temperaments, genetically and biologically related to depression and mania, respectively. Using the definitions of those conditions, some leaders appear to have had hyperthymic temperaments (such as Theodore and Franklin Roosevelt, and John Kennedy).
This is not to say that all leaders had mental illness. Most leaders did not; most leaders were mentally healthy. And that may be the problem. Mental health may not be as good for leadership as people often assume.
This would be the case if mental illness confers certain psychological advantages that may be useful for leadership. Mania, for instance, is well associated with creativity. Depression, in many psychological studies, is associated with enhance realism. Both may increase resilience. I have reviewed the scientific evidence for the occurrence of these positive aspects of mental illness elsewhere. If this evidence is correct, it may explain why mental illness might enhance, and mental health hinder, crisis leadership.
These are the themes of A First Rate Madness, just published. I plan to provide more detail on various aspects in future posts, including some reaction to comments that I receive from readers.
In response to initial reactions to my recent article in the Wall Street Journal, and other interactions, I'll begin by emphasizing four points:
1. My examples are not chosen superficially. There is good documentary evidence for the symptoms that I describe. Diagnosing leaders from the past is more valid than in the present because the documentary evidence often increases with time, and our feelings about distant leaders are usually more objective than is the case with living leaders.
2. I am not diagnosing everyone. In fact I am diagnosing most leaders as healthy. Only a minority are ill, but they happen to be the best crisis leaders.
3. I am distinguishing between crisis and non-crisis leadership. Those who are mentally healthy are fine leaders in non-crisis situations, but they fail during crises. Vice versa for great mentally ill leaders.
4. The intuition against my thesis has its roots in stigma, I believe. This prejudice underlies the notion that a leader we dislike must be mentally ill, or that mental health inherently is better than mental illness for leadership. These ideas are based on a stigmatizing attitude towards mental illness, the view that it is inherently and completely harmful. Mental illness certainly can be harmful in many ways, but not inherently and completely.
DAYZOFNOAH - YouTube
Sat, 05 Sep 2020 22:09
Boss Tweed - Money Scam, Life & Tammany Hall - Biography
Sat, 05 Sep 2020 21:26
Boss Tweed is chiefly remembered for the cronyism of his Tammany Hall political machine, through which he bilked the city of New York of massive sums of money.
SynopsisBorn in New York City in 1823, Boss Tweed was a city alderman by the time he was 28 years old. Elected to other offices, he cemented his position of power in the city's Democratic Party and thereafter filled important positions with people friendly to his concerns. Once he and his cronies had control of the city government, corruption became shockingly widespread until his eventual arrest in 1873.
Early LifeBoss Tweed was born William Magear Tweed on April 3, 1823, on the Lower East Side of Manhattan. Tweed married Mary Jane Skaden in 1844, and in 1848 he organized a volunteer fire company. When he was 26 years old, in 1850, he ran for city alderman but lost. On his second try, a year later, he ran again and won, and in 1852 he was elected to one term in Congress (which was unremarkable). His influence in New York politics was growing, and in 1856 he was elected to a new city board of supervisors, the first position he would use for corrupt purposes.
"I don't care who does the electing, so long as I get to do the nominating." -- Boss Tweed
He worked on strengthening his position of power in Tammany Hall (the seat of New York City's Democratic Party), and by 1860 he controlled all Democratic Party nominations to city positions. Soon, Boss Tweed dominated the city and state Democratic Party to such an extent that his candidates were elected mayor of New York City, governor of New York and speaker of the state assembly.
The Years of Corruption: The Tweed RingAll the while, he had his associates appointed to key city and county posts, thus establishing a network of corruption that became known as the "Tweed ring." In 1860, Tweed opened a law office, despite not being a lawyer, and began receiving large payments from corporations for his "legal services" (which were in fact extortions hidden under the guise of the law). He was reaping vast sums of illegal cash by this time, and he bought up acres of Manhattan real estate. He began wearing a large diamond attached to the front of his shirt, an object that received endless lampooning from his detractors (whose numbers were growing quickly).
"I don't care a straw for your newspaper articles, my constituents don't know how to read, but they can't help seeing them damned pictures." -- Boss Tweed
In 1868, Tweed became grand sachem (leader) of Tammany Hall and was also elected to the New York State Senate, and in 1870 he and his cronies took control of the city treasury when they passed a new city charter that named them as the board of audit. In full force now, the Tweed ring began to financially drain the city of New York through faked leases, false vouchers, extravagantly padded bills and various other schemes set up and controlled by the ring.
DownfallWith the Tweed ring's activities reaching a fever pitch, and with the losses for the city piling up (to an estimated $30 to $200 million in present-day dollars), the public finally began to support the ongoing efforts of The New York Times and Thomas Nast (a political satirist for Harper's Weekly) to oust Tweed, and he was at last tried and convicted on charges of forgery and larceny in 1873. He was released in 1875, but soon after his release, New York State filed a civil suit against him in an attempt to recover some of the millions he had embezzled, and Tweed was arrested again.
Before long, he escaped from custody and fled, first to Cuba and then to Spain. In November 1876, he was captured and extradited to the United States, where he was confined to a New York City jail. A year and a half later, Boss Tweed died there from severe pneumonia.
circa 1865: American politician William Marcy ''Boss'' Tweed (1823 - 1878), notorious ''Boss'' of Tammany society who headed New York City''s ''Tweed Ring'' until his financial frauds were exposed in 1871. (Photo by C. T. Brady Jr/Museum of the City of New York/Getty Images)
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Gangs of New York - Wikipedia
Sat, 05 Sep 2020 21:12
2002 film directed by Martin Scorsese
Gangs of New York is a 2002 American epic crime drama film[3] that was directed by Martin Scorsese, set in the New York City slums, and inspired by Herbert Asbury's 1927 nonfiction book The Gangs of New York. The screenplay was written by Jay Cocks, Steven Zaillian, and Kenneth Lonergan. The film stars Leonardo DiCaprio, Daniel Day-Lewis, and Cameron Diaz.
In 1863, a long-running Catholic''Protestant feud erupts into violence, just as an Irish immigrant group is protesting the low wages caused by an influx of freed slaves as well as the threat of conscription. Scorsese spent 20 years developing the project until in 1999 Harvey Weinstein and his production company Miramax Films acquired it.
Made in Cinecitt , Rome, and in New York, the film was completed by 2001, but its release was delayed by the September 11 attacks. Released on December 20, 2002, the film grossed $193 million worldwide against its $100 million budget and received positive reviews from critics for Day-Lewis' performance, Scorsese's directing, the production design and costume design; but criticized for its story. It was nominated for ten Oscars at the 75th Academy Awards.
Plot [ edit ] In the slum neighborhood of Five Points, Manhattan, in 1846, two gangs have engaged in a final battle (or "challenge") in Paradise Square over "who holds sway over the Five Points"; these two factions participating in this event are the Nativist Protestants led by William "Bill the Butcher" Cutting, and a group of Irish Catholic immigrants, the "Dead Rabbits", led by "Priest" Vallon. At the end of this battle, Bill kills Vallon and declares the Dead Rabbits outlawed. Having witnessed this, Vallon's young son hides the knife that killed his father and is taken to an orphanage on Blackwell's Island.
Sixteen years later, in 1862, Vallon's son, using the alias of Amsterdam, returns to the Five Points seeking revenge and retrieves the knife. An old acquaintance, Johnny Sirocco, familiarizes him with the local clans of gangs and thieves, all of whom pay tribute to Bill, who controls the neighborhood. Amsterdam is finally introduced to Bill, but keeps his past a secret, seeking to be recruited. He learns that many of his father's former loyalists are now in Bill's employ. Each year, Bill celebrates the anniversary of his victory over the Dead Rabbits; Amsterdam plans to murder him secretly during this celebration.
Amsterdam becomes attracted to pickpocket and grifter Jenny Everdeane, with whom Johnny is infatuated. Amsterdam gains Bill's confidence and Bill becomes his mentor, involving him in the dealings of corrupt Tammany Hall politician William M. Tweed. Amsterdam saves Bill from an assassination attempt, and is tormented by the thought that he may have done so out of honest devotion.
On the evening of the anniversary, Johnny, in a fit of jealousy over Jenny's affections for Amsterdam, reveals Amsterdam's true identity and intentions to Bill. Bill baits Amsterdam with a knife throwing act involving Jenny. As Bill toasts Priest Vallon, Amsterdam throws his knife, but Bill deflects it and wounds Amsterdam with a counter throw. Bill then beats him and burns his cheek with a hot blade. Going into hiding, Jenny nurses Amsterdam back to health and implores him to escape with her to San Francisco.
Amsterdam, however, returns to the Five Points seeking vengeance, and announces his return by hanging a dead rabbit in Paradise Square. Bill sends corrupt policeman Mulraney to investigate, but Amsterdam kills him and hangs his body in the square. In retaliation, Bill has Johnny beaten and run through with a pike, leaving it to Amsterdam to end his suffering. The incident garners newspaper coverage, and Amsterdam presents Tweed with a plan to defeat Bill's influence: Tweed will back the candidacy of Monk McGinn for sheriff and Amsterdam will secure the Irish vote for Tammany. Monk wins in a landslide (the election had been rigged by the Dead Rabbits), and a humiliated Bill murders him. McGinn's death prompts an angry Amsterdam to challenge Bill to a gang battle in Paradise Square for order, which Bill accepts.
Citywide draft riots break out just as the gangs are preparing to fight, and Union Army soldiers are deployed to control the rioters. As the rival gangs face off, cannon fire from naval ships is fired directly into Paradise Square, interrupting their battle shortly before it begins. Between the cannons, soldiers, and rioters, many of the gang members are killed. Bill and Amsterdam face off against one another until Bill gets wounded by a piece of shrapnel. Amsterdam then uses his father's knife to stab Bill, killing him and ending his reign at last. Afterward, Amsterdam and Jenny leave New York together to start a new life in San Francisco. Before they leave, Amsterdam buries Bill in a cemetery in Brooklyn next to his father. As Amsterdam and Jenny leave the cemetery, the final scene of the film shows the skyline changing in a time-lapse over the next hundred and forty years as modern Manhattan is built, from the Brooklyn Bridge to the World Trade Center, and the cemetery becomes overgrown and forgotten.
Cast [ edit ] Production [ edit ] The country was up for grabs, and New York was a powder keg. This was the America not the West with its wide open spaces, but of claustrophobia, where everyone was crushed together. On one hand, you had the first great wave of immigration, the Irish, who were Catholic, spoke Gaelic, and owed allegiance to the Vatican. On the other hand, there were the Nativists, who felt that they were the ones who had fought and bled, and died for the nation. They looked at the Irish coming off the boats and said, "What are you doing here?" It was chaos, tribal chaos. Gradually, there was a street by street, block by block, working out of democracy as people learned somehow to live together. If democracy didn't happen in New York, it wasn't going to happen anywhere.'-- Martin Scorsese on how he saw the history of New York City as the battleground of the modern American democracy[4]Filmmaker Martin Scorsese had grown up in Little Italy in the borough of Manhattan in New York City during the 1950s. At the time, he had noticed there were parts of his neighborhood that were much older than the rest, including tombstones from the 1810s in Old St. Patrick's Cathedral, cobblestone streets and small basements located under more recent large buildings; this sparked Scorsese's curiosity about the history of the area: "I gradually realized that the Italian-Americans weren't the first ones there, that other people had been there before us. As I began to understand this, it fascinated me. I kept wondering, how did New York look? What were the people like? How did they walk, eat, work, dress?"[4]
Writing [ edit ] In 1970, Scorsese came across Herbert Asbury's The Gangs of New York: An Informal History of the Underworld (1927) about the city's nineteenth-century criminal underworld and found it to be a revelation. In the portraits of the city's criminals, Scorsese saw the potential for an American epic about the battle for the modern American democracy.[4] At the time, Scorsese was a young director without money or fame; by the end of the decade, with the success of crime films such as Mean Streets (1973), about his old neighborhood, and Taxi Driver (1976), he was a rising star. In 1979, he acquired screen rights to Asbury's book; however, it took twenty years to get the production moving forward. Difficulties arose with reproducing the monumental city scape of nineteenth century New York with the style and detail Scorsese wanted; almost nothing in New York City looked as it did in that time, and filming elsewhere was not an option. Eventually, in 1999, Scorsese was able to find a partnership with Harvey Weinstein, noted producer and co-chairman of Miramax Films.[4] Jay Cocks was retained by Scorsese for the film script adaptation which was reported in The New Yorker in March 2000 as having gone through nine revised drafts of development with Scorsese.[5]
Set design [ edit ] In order to create the sets that Scorsese envisioned, the production was filmed at the large Cinecitt Studio in Rome, Italy. Production designer Dante Ferretti recreated over a mile of mid-nineteenth century New York buildings, consisting of a five-block area of Lower Manhattan, including the Five Points slum, a section of the East River waterfront including two full-sized sailing ships, a thirty-building stretch of lower Broadway, a patrician mansion, and replicas of Tammany Hall, a church, a saloon, a Chinese theater, and a gambling casino.[4] For the Five Points, Ferretti recreated George Catlin's painting of the area.[4]
Rehearsals and character development [ edit ] Particular attention was also paid to the speech of characters, as loyalties were often revealed by their accents. The film's voice coach, Tim Monich, resisted using a generic Irish brogue and instead focused on distinctive dialects of Ireland and Great Britain. As DiCaprio's character was born in Ireland but raised in the United States, his accent was designed to be a blend of accents typical of the half-Americanized. To develop the unique, lost accents of the Yankee "Nativists" such as Daniel Day-Lewis's character, Monich studied old poems, ballads, newspaper articles (which sometimes imitated spoken dialect as a form of humor) and the Rogue's Lexicon, a book of underworld idioms compiled by New York's police commissioner, so that his men would be able to tell what criminals were talking about. An important piece was an 1892 wax cylinder recording of Walt Whitman reciting four lines of a poem in which he pronounced the word "Earth" as "Uth", and the "a" of "an" nasal and flat, like "ayan". Monich concluded that native nineteenth-century New Yorkers probably sounded something like the proverbial Brooklyn cabbie of the mid-20th century.[4]
Filming [ edit ] Principal photography began in New York and Rome on December 18, 2000, and ended on March 30, 2001.[6] Due to the strong personalities and clashing visions of director and producer,[clarification needed ] the three year production became a story in and of itself.[4][7][8][9] Scorsese strongly defended his artistic vision on issues of taste and length while Weinstein fought for a streamlined, more commercial version. During the delays, noted actors such as Robert De Niro and Willem Dafoe had to leave the production due to conflicts with their other productions. Costs overshot the original budget by 25 percent, bringing the total cost over $100 million.[7] The increased budget made the film vital to Miramax Films' short term success.[8][10]
Post-production and distribution [ edit ] After post-production was nearly completed in 2001, the film was delayed for over a year. The official justification was after the September 11, 2001 attacks, certain elements of the picture may have made audiences uncomfortable; the film's closing shot is a view of modern-day New York City, complete with the World Trade Center's towers, despite their having been destroyed by the attacks over a year before the film's release.[11] However, this explanation was refuted in Scorsese's own contemporary statements, where he noted that the production was still filming pick-ups even into October 2002.[8][12] The filmmakers had also considered having the towers removed out of the shot to acknowledge their disappearance, or remove the entire sequence altogether. It was ultimately decided to keep the towers unaltered.[13]
Weinstein kept demanding cuts to the film's length, and some of those cuts were eventually made. In December 2001, Jeffrey Wells[who? ] reviewed a purported workprint of the film as it existed in the fall of 2001. Wells reported the work print lacked narration, was about 20 minutes longer, and although it was "different than the [theatrical] version ... scene after scene after scene play[s] exactly the same in both." Despite the similarities, Wells found the work print to be richer and more satisfying than the theatrical version. While Scorsese has stated the theatrical version is his final cut, he reportedly "passed along [the] three-hour-plus [work print] version of Gangs on tape [to friends] and confided, 'Putting aside my contractual obligation to deliver a shorter, two-hour-and-forty-minute version to Miramax, this is the version I'm happiest with,' or words to that effect."[11]
In an interview with Roger Ebert, Scorsese clarified the real issues in the cutting of the film. Ebert notes,
His discussions with Weinstein, he said, were always about finding the length where the picture worked. When that got to the press, it was translated into fights. The movie is currently 168 minutes long, he said, and that is the right length, and that's why there won't be any director's cut '-- because this is the director's cut.[14]
Soundtrack [ edit ] Robbie Robertson supervised the soundtrack's collection of eclectic pop, folk, and neo-classical tracks.
Historicity [ edit ] Scorsese received both praise and criticism for historical depictions in the film. In a PBS interview for the History News Network, George Washington University professor Tyler Anbinder said that the visuals and discrimination of immigrants in the film were historically accurate, but both the amount of violence depicted and the number of Chinese, particularly female, immigrants were much more common in the film than in reality.[15][16]
Asbury's book described the Bowery Boys, Plug Uglies, True Blue Americans, Shirt Tails, and Dead Rabbits, who were named after their battle standard, a dead rabbit on a pike.[4] The book also described William Poole, the inspiration for William "Bill the Butcher" Cutting, a member of the Bowery Boys, a bare-knuckle boxer, and a leader of the Know Nothing political movement. Poole did not come from the Five Points and was assassinated nearly a decade before the Draft Riots. Both the fictional Bill and the real one had butcher shops, but Poole is not known to have killed anyone.[17][18] The book also described other famous gangsters from the era such as Red Rocks Farrell, Slobbery Jim and Hell-Cat Maggie, who filed her front teeth to points and wore artificial brass fingernails.[4]
Anbinder said that Scorsese's recreation of the visual environment of mid-19th century New York City and the Five Points "couldn't have been much better".[15] All sets were built completely on the exterior stages of Cinecitt Studios in Rome.[19] By 1860, New York City had 200,000 mostly Catholic Irish immigrants[20] in a population of 800,000.[21]
According to Paul S. Boyer, "The period from the 1830s to the 1850s was a time of almost continuous disorder and turbulence among the urban poor. The decade from 1834''1844 saw more than 200 major gang wars in New York City alone, and in other cities the pattern was similar."[22]
As early as 1839, Mayor Philip Hone said: "This city is infested by gangs of hardened wretches" who "patrol the streets making night hideous and insulting all who are not strong enough to defend themselves."[23] The large gang fight depicted in the film as occurring in 1846 is fictional, though there was one between the Bowery Boys and Dead Rabbits in the Five Points on July 4, 1857, which is not mentioned in the film.[24] Reviewer Vincent DiGirolamo concludes that "Gangs of New York becomes a historical epic with no change over time. The effect is to freeze ethno-cultural rivalries over the course of three decades and portray them as irrational ancestral hatreds unaltered by demographic shifts, economic cycles and political realignments."[25]
In the film, the Draft Riots are depicted mostly as acts of destruction but there was considerable violence during that week in July 1863, which resulted in more than one hundred deaths, mostly freed African-Americans. They were especially targeted by the Irish, in part because of fears of job competition that more freed slaves would cause in the city.[26] The bombardment of the city by Navy ships offshore to quell the riots is wholly fictitious. The film references the infamous Tweed Courthouse, as "Boss" Tweed refers to plans for the structure as being "modest" and "economical".[citation needed ]
In the film, Chinese Americans were common enough in the city to have their own community and public venues. Although Chinese people migrated to America as early as the 1840s, significant Chinese migration to New York City did not begin until 1869, the time when the transcontinental railroad was completed. The Chinese theater on Pell St. was not finished until the 1890s.[27] The Old Brewery, the overcrowded tenement shown in the movie in both 1846 and 1862''63, was actually demolished in 1852.[28]
Release [ edit ] The original target release date was December 21, 2001, in time for the 2001 Academy Awards but the production overshot that goal as Scorsese was still filming.[8][12] A twenty-minute clip, billed as an "extended preview", debuted at the 2002 Cannes Film Festival and was shown at a star-studded event at the Palais des Festivals et des Congr¨s with Scorsese, DiCaprio, Diaz and Weinstein in attendance.[12]
Harvey Weinstein then wanted the film to open on December 25, 2002, but a potential conflict with another film starring Leonardo DiCaprio, Catch Me If You Can produced by DreamWorks, caused him to move the opening day to an earlier position. After negotiations between several parties, including the interests of DiCaprio, Weinstein and DreamWorks' Jeffrey Katzenberg, the decision was made on economic grounds: DiCaprio did not want to face a conflict of promoting two movies opening against each other; Katzenberg was able to convince Weinstein that the violence and adult material in Gangs of New York would not necessarily attract families on Christmas Day. Of main concern to all involved was attempting to maximize the film's opening day, an important part of film industry economics.[8]
After three years in production, the film was released on December 20, 2002, a year after its original planned release date.[12] While the film has been released on DVD and Blu-ray, there are no plans to revisit the theatrical cut or prepare a "director's cut" for home video release. "Marty doesn't believe in that," editor Thelma Schoonmaker stated. "He believes in showing only the finished film."[11]
Reception [ edit ] Box office [ edit ] The film made $77,812,000 in Canada and the United States. It also took $23,763,699 in Japan and $16,358,580 in the United Kingdom. Worldwide the film grossed a total of $193,772,504.[29]
Critical reception [ edit ] On review aggregator Rotten Tomatoes, the film has an approval rating of 73% based on 210 reviews, with an average rating of 7.11/10. The website's critical consensus reads, "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance."[30] Another review aggregator, Metacritic, gave the film a score of 72 out of 100, based on 39 critics, indicating "generally favorable reviews".[31]
Roger Ebert praised the film but believed it fell short of Scorsese's best work, while his At the Movies co-star Richard Roeper called it a "masterpiece" and declared it a leading contender for Best Picture.[32] Paul Clinton of CNN called the film "a grand American epic".[33] In Variety, Todd McCarthy wrote that the film "falls somewhat short of great film status, but is still a richly impressive and densely realized work that bracingly opens the eye and mind to untaught aspects of American history." McCarthy singled out the meticulous attention to historical detail and production design for particular praise.[34]
Some critics were disappointed with the film, with one review on CinemaBlend feeling it was overly violent with few characters worth caring about.[35][36] Norman Berdichevsky of the New English Review wrote in a negative critique that some locals in Spain who had watched Gangs of New York had several anti-American beliefs "confirmed" afterwards, which he felt was due to the film's gratuitous violence, historical inaccuracies, and general depiction of American society "in the worst possible light".[37] Others felt it tried to tackle too many themes without saying anything unique about them, and that the overall story was weak.[38]
Top ten lists [ edit ] Gangs of New York was listed on many critics' top ten lists.[39]
1st '' Peter Travers, Rolling Stone1st '' Richard Roeper, Ebert & Roeper[40]2nd '' Richard Corliss, Time Magazine2nd '' Ann Hornaday, Washington Post3rd '' F. X. Feeney, L.A. Weekly3rd '' Scott Tobias, The A.V. Club[41]5th '' Jami Bernard, New York Daily News5th '' Claudia Puig, USA Today6th '' Mike Clark, USA Today6th '' Nathan Rabin, The A.V. Club[41]6th '' Chris Kaltenbach, Baltimore Sun8th '' A.O. Scott, The New York Times9th '' Stephen Holden, The New York TimesTop 10 (listed alphabetically) '' Mark Olsen, L.A. WeeklyTop 10 (listed alphabetically) '' Carrie Rickey, Philadelphia InquirerAwards [ edit ] See also [ edit ] Irish Americans in New York CityIrish Brigade (US)List of identities in The Gangs of New York (book)References [ edit ] ^ "Gangs of New York (18)". British Board of Film Classification. December 10, 2002 . Retrieved October 5, 2016 . ^ a b "Gangs of New York (2002)". Box Office Mojo . Retrieved February 27, 2017 . ^ "Gangs of New York (2002) - Martin Scorsese | Synopsis, Characteristics, Moods, Themes and Related". AllMovie . Retrieved February 21, 2020 . ^ a b c d e f g h i j Fergus M. Bordewich (December 2002). "Manhattan Mayhem". Smithsonian Magazine . Retrieved July 15, 2010 . ^ Singer, Mark (2000). "The Man Who Forgets Nothing". The New Yorker. March 19, 2000. [1] ^ "Gangs of New York (2002) - Original Print Information". Turner Classic Movies . Retrieved August 19, 2020 . ^ a b Laura M. Holson (April 7, 2002). "2 Hollywood Titans Brawl Over a Gang Epic". The New York Times . Retrieved July 15, 2010 . ^ a b c d e Laura M. Holson, Miramax Blinks, and a Double DiCaprio Vanishes, The New York Times, October 11, 2002; accessed July 15, 2010. ^ Rick Lyman (February 12, 2003). "It's Harvey Weinstein's Turn to Gloat". The New York Times . Retrieved July 15, 2010 . ^ Dana Harris, Cathy Dunkley (May 15, 2001). "Miramax, Scorsese gang up". Variety . Retrieved July 15, 2010 . ^ a b c Jeffrey Wells. "Hollywood Elsewhere: Gangs vs. Gangs". Archived from the original on October 26, 2007 . Retrieved December 20, 2010 . ^ a b c d Cathy Dunkley (May 20, 2002). "Gangs of the Palais". Variety . Retrieved July 15, 2010 . ^ Bosley, Rachel K. "Mean Streets". American Cinematographer. American Society of Cinematographers . Retrieved July 26, 2015 . ^ "Gangs all here for Scorsese". Chicago Sun-Times. December 15, 2002 . Retrieved September 6, 2010 . ^ a b History News Network Archived December 9, 2003, at the Wayback Machine ^ DiGirolamo's, Vincent (2004). "Such, Such Were the B'hoys". Radical History Review. 90: 123''41. ^ "Gangs of New York", HerbertAsbury.com; accessed October 5, 2016. ^ "Bill the Butcher" Archived August 25, 2007, at the Wayback Machine, HerbertAsbury.com; accessed October 5, 2016. ^ Mixing Art and a Brutal History Archived August 17, 2007, at the Wayback Machine ^ The New York Irish, Ronald H. Bayor and Timothy Meagher, eds. (Johns Hopkins University Press, 1996) ^ Ruskin Teeter, "19th century AD", Adolescence (1995) via findarticles.com; accessed June 29, 2017. ^ Paul S. Boyer (1992). Urban Masses and Moral Order in America, 1820-1920, Harvard University Press; ISBN 0674931106 ^ Gangs, Crime, Smut, Violence. The New York Times. September 20, 1990. ^ Riots, virtualny.cuny.edu; accessed October 5, 2016. ^ (RE)VIEWS: Vincent DiGirolamo "Such, Such Were the B'hoys..." '' Radical History Review, Fall 2004 (90): 123''41; doi:10.1215/01636545-2004-90-123 Gangs of New York, directed by Martin Scorsese. Miramax Films, 2002, rhr.dukejournals.org; accessed November 10, 2014. ^ Johnson, Michael."The New York Draft Riots". Reading the American Past, 2009 p. 295. ^ Hamill, Pete. "Trampling city's history." New York Daily News; retrieved October 4, 2009. ^ R.K. Chin,"A Journey Through Chinatown", nychinatown.org; accessed May 11, 2017. ^ "Gangs of New York" . Retrieved September 6, 2010 . ^ "Gangs of New York (2002)". Rotten Tomatoes. Fandango Media . Retrieved October 19, 2019 . ^ "Gangs of New York Reviews". Metacritic. CBS Interactive. February 7, 2003 . Retrieved July 10, 2011 . ^ Roger Ebert and Richard Roeper. "At the Movies: Gangs of New York" . Retrieved December 20, 2002 . [dead link ] ^ Paul Clinton (December 19, 2002). "Review: Epic 'Gangs' Oscar-worthy effort". CNN. Archived from the original on May 3, 2007 . Retrieved December 19, 2002 . ^ Todd McCarthy (December 5, 2002). "Review: Gangs of New York Review". Variety . Retrieved December 5, 2002 . ^ "Gangs of New York". CINEMABLEND. May 27, 2016 . Retrieved February 21, 2020 . ^ "Joshua Tyler Movie Reviews & Previews". Rotten Tomatoes . Retrieved February 21, 2020 . ^ "Scorsese's Gangs of New York: How the Left Misuses American History". www.newenglishreview.org . Retrieved February 21, 2020 . ^ "Gangs of New York negative reviews". ^ https://web.archive.org/web/20090122093012/http://www.metacritic.com/film/awards/2002/toptens.shtml ^ https://www.innermind.com/misc/e_r_top.htm ^ a b https://www.avclub.com/the-year-in-film-2002-1798208253 ^ Bafta.org ^ Chicagofilmcritics.org Archived May 15, 2012, at the Wayback Machine ^ BFCA.org Archived June 4, 2012, at Archive.today ^ Ropeofscilicon.com Archived December 8, 2009, at the Wayback Machine ^ Las Vegas Film Critics Society Awards, LVFCS.org; accessed May 11, 2017. ^ NYFCC.com Archived December 19, 2008, at the Wayback Machine ^ Rottentomatoes.com Archived February 6, 2003, at the Wayback Machine ^ Ropeofsilicon.com Archived January 22, 2009, at the Wayback Machine ^ Sefca.com Archived December 17, 2010, at the Wayback Machine Further reading [ edit ] Baker, Aaron, ed. A companion to Martin Scorsese (2015)Lohr, Matt R. "Irish-American Identity in the Films of Martin Scorsese." A companion to Martin Scorsese (2015): 195-213.Gilfoyle, Timothy J. "Scorsese's Gangs of New York: Why Myth Matters." Journal of Urban History 29.5 (2003): 620-630.O'Brien, Martin, et al. " 'The spectacle of fearsome acts': Crime in the melting p(l)ot in Gangs of New York." Critical Criminology 13.1 (2005): 17-35. onlinePalmer, Bryan D. "The Hands That Built America: A Class-Politics Appreciation of Martin Scorsese's The Gangs of New York." Historical Materialism 11.4 (2003): 317-345. OnlineScorsese, Martin, et al. Gangs of New York: making the movie (Miramax Books, 2002).External links [ edit ] Gangs of New York on IMDbGangs of New York at the TCM Movie DatabaseGangs of New York at AllMovieGangs of New York at Rotten TomatoesGangs of New York at Box Office Mojo
The Shootist - Wikipedia
Sat, 05 Sep 2020 21:11
1976 American Western film by Don Siegel
The Shootist is a 1976 American Western film directed by Don Siegel and based on Glendon Swarthout's 1975 novel of the same name.[2] It is notable as John Wayne's final film role. The screenplay was written by Miles Hood Swarthout (the son of the author) and Scott Hale. The supporting cast includes Lauren Bacall, Ron Howard, James Stewart, Richard Boone, Hugh O'Brian, Harry Morgan, John Carradine, Sheree North, Scatman Crothers, and Rick Lenz.
In 1977, The Shootist received an Oscar nomination for Best Art Direction (Robert F. Boyle, Arthur Jeph Parker), a BAFTA Film Award nomination for Best Actress (Lauren Bacall), and a Golden Globe Award nomination for Best Supporting Actor (Ron Howard), as well as the National Board of Review Award as one of the Top Ten Films of 1976. The film received widespread critical acclaim, garnering a 90% positive rating on Rotten Tomatoes.
Plot [ edit ] The film begins with clips of John Wayne's past films.
Aging gunfighter John Bernard "J.B." Books arrives in Carson City, Nevada on the same date as Queen Victoria's death: January 22, 1901. Books' life is also ending soon as he is diagnosed with terminal cancer by "Doc" Hostetler. Doc directs Books to a boarding house owned by Bond Rogers, a widow who lives with her teenaged son, Gillom. Books' attempt to remain anonymous fails and Bond, unreceptive to Books, summons Marshal Thibido. Thibido orders Books to leave town until Books says he will die soon. Thibido allows him to stay, but wishes him a quick death. Word spreads that Books is in town, causing all manner of trouble from those seeking to profit off his name to those seeking to kill him. Doc prescribes laudanum to ease Books' pain, and advises him to choose how he dies, as opposed to allowing the cancer to do it. Books orders a headstone, but rejects the undertaker's offer of a free funeral, suspecting he would charge the public admission to view his remains. Two strangers seeking notoriety try to ambush Books as he sleeps, but he kills them. Gillom is impressed, but his mother is losing boarders and she is angry. She is also concerned the fatherless Gillom will be influenced by violence and alcohol. Books and Gillom have a dispute over Gillom procuring a buyer for Books' horse without his permission, but resolve their differences and their relationship improves after a shooting lesson. Books asks Gillom to tell three men - Mike Sweeney, Jack Pulford and Jay Cobb - that he will be at the Metropole Saloon at 11 am on January 29, Books' birthday. Sweeney seeks revenge for Books' killing of his brother, Pulford owns the saloon and gambles professionally, and Cobb is Gillom's employer.
On January 29, the headstone arrives which includes Books' death year as "1901" but no day carved. Books gives Gillom his horse, bids farewell to Bond, who has grown to like him, then boards a trolley for the Metropole Saloon. The room is deserted except for the four men and the bartender. Books orders a drink and raises a toast to his birthday and his three "guests". First Cobb, then Sweeney, and finally Pulford all attempt to shoot Books, who successfully shoots and kills all three, but is wounded in the gunfight. Gillom enters the bar in time to see the bartender fire a shotgun into Books' back as Books turns to leave. Gillom kills the bartender with Books' gun, then throws the pistol across the saloon. Books smiles, nods approval at Gillom's decision, and dies. Gillom covers Books' face and leaves the bar in silence as Doc arrives. Gillom sees his mother outside and they walk home together.
Cast [ edit ] Production [ edit ] After producer Mike Frankovich announced that he had purchased the movie rights to Glendon Swarthout's novel The Shootist, Wayne expressed a strong desire to play the title role, reportedly because of similarities to the character Jimmy Ringo in The Gunfighter, a role he had turned down 25 years previously.[3][4] He was not initially considered due to the health and stamina issues he had experienced during filming of his penultimate film, Rooster Cogburn.[5] Paul Newman passed on the role, as did George C. Scott, Charles Bronson, Gene Hackman, and Clint Eastwood, before it was finally offered to Wayne. Although his compromised lung capacity made breathing and mobility difficult at Carson City's 4,600 ft (1,400 m) altitude, and production had to be shut down for a week while he recovered from influenza, Wayne completed the filming without further significant medical issues.[6]
The Shootist was Wayne's final cinematic role, concluding a 50-year career that began during the silent film era in 1926. Wayne was not, as sometimes reported, terminally ill when the film was made in 1976. A heavy cigarette smoker for most of his life, he had been diagnosed with lung cancer in 1964, and underwent surgical removal of his left lung and several ribs. He remained clinically cancer-free until early 1979, when metastases were discovered in his stomach, intestines, and spine; he died in June of that year.[7] Nonetheless, following the release of The Shootist, Wayne appeared in a television public service announcement for the American Cancer Society that began with the scene in which Wayne's character is informed of his cancer. Wayne then added that he had enacted the same scene in real life 12 years earlier.[8]
The film's expansive outdoor scenes were filmed on location in Carson City. Bond Rogers' boarding house is the 1914 Krebs-Peterson House, located in Carson City's historic residential district. The buggy ride was shot at Washoe Lake State Park, in the Washoe Valley, between Reno and Carson City. Though it was a Paramount production, the street scenes and most interior shots were filmed at the Warner Bros. backlot and sound stages in Burbank, California.[9] The horse-drawn trolley was an authentic one, once used as a shuttle between El Paso and Juarez, Mexico.[10]
Wayne's contract gave him script approval, and he made a number of major and minor changes, including the location (from El Paso to Carson City),[11] and the ending. In the book and original screenplay, Jack Pulford was shot in the back by Books, and a fatally wounded Books, in turn, was put out of his misery by Gillom; Wayne maintained that over his entire film career, he had never shot an adversary in the back and would not do so now. He also objected to his character being killed by Gillom and suggested that the bartender do it, because "no one could ever take John Wayne in a fair fight".[12]
Wayne was also responsible for many casting decisions. Several friends and past co-stars, including Bacall, Stewart, Boone, and Carradine, were cast at his request. James Stewart had not worked in films for a number of years, due in part to a severe hearing impairment, but he accepted the role as a favor to Wayne. Stewart and Wayne had worked together in just two previous films, also Westerns, The Man Who Shot Liberty Valance and How the West Was Won, both released in 1962.
While filming the scene in the doctor's office, both Stewart and Wayne repeatedly muffed their lines over a long series of takes, until director Don Siegel finally pleaded with them to try harder. "If you want the scene done better," joked Wayne, "you'd better get yourself a couple of better actors." Later, Wayne commented in private that Stewart knew his lines, but apparently could not hear his cues.[13]
Another casting stipulation was the horse owned and given away by Wayne's character, a favorite sorrel gelding named Dollor that Wayne had ridden in Big Jake, The Cowboys, True Grit, Rooster Cogburn, Chisum, and The Train Robbers. Wayne had negotiated exclusive movie rights to Dollor with the horse's owner, Dick Webb Movie Productions, and requested script changes enabling him to mention Dollor's name several times.[14]
By one account, Wayne's numerous directorial suggestions and script alterations caused considerable friction between director and star,[11] but Siegel said that Wayne and he got along well. "He had plenty of his own ideas ... some I liked, which gave me inspirations, and some I didn't like. But we didn't fight over any of it. We liked each other and respected each other."[15]
Reception [ edit ] Box office [ edit ] Upon its theatrical release, The Shootist was a minor success, grossing $13,406,138 domestically,[1] About $6 million were earned as US theatrical rentals.[16]
Critical [ edit ] It was named one of the Ten Best Films of 1976 by the National Board of Review, along with Rocky, All the President's Men, and Network. Film critic Roger Ebert of the Chicago Sun-Times ranked The Shootist number 10 on his list of the 10 best films of 1976.[17] The film was nominated for an Oscar, a Golden Globe, a BAFTA film award, and a Writers Guild of America award. The film currently has a 86% "Fresh" rating on the review aggregator website Rotten Tomatoes, based on 22 reviews.[18] The film was nominated by the American Film Institute as one of the best Western films in 2008.[19]
Quentin Tarantino later wrote, "There's nothing in The Shootist you haven't seen done many times before and done better...but what you haven't seen before is a dying John Wayne give his last performance. And its Wayne's performance, and the performances of some of the surrounding characters (Howard, Richard Boone, Harry Morgan, and Sheree North) that make The Shootist, not the classic it wants to be, but memorable nonetheless."[20]
Awards nominations [ edit ] NovelWestern Writers of America, Spur Award winner - "Best Western Novel" - 1975 (as: "one of the best western novels ever written." and as: "one of the 10 greatest Western novels written in the 20th century.")Also in 2008, the American Film Institute nominated this film for its Top 10 Western Films list.[22]
See also [ edit ] John Wayne filmographyReferences [ edit ] ^ a b Box Office Information for The Shootist. Worldwide Box Office. Retrieved September 18, 2013. ^ Swarthout, Glendon (1975). The Shootist, New York, New York: Doubleday. ISBN 0-385-06099-8 ^ Roberts, R. and Olson, S. John Wayne: American. New York: Free Press (1995), pp. 121-2. ISBN 978-0-02-923837-0. ^ Hyams, J. The Life and Times of the Western Movie. Gallery Books (1984), pp. 109-12. ISBN 0831755458 ^ Shepherd, Slatzer, & Grayson (2002), p. 306. ^ Shepherd D, Slatzer R, Grayson D. Duke: The Life and Times of John Wayne. Citadel (2002), pp. 293-5. ISBN 0806523409 ^ Bacon, J. "John Wayne: The Last Cowboy". Us Magazine, June 27, 1978, retrieved August 19, 2016. ^ YouTube: "John Wayne & Jimmy Stewart: American Cancer Society - Classic PSA (1970s)". Uploaded Sept. 13, 2012; retrieved June 3, 2019. Note: uploader misidentifies the film as The Man Who Shot Liberty Valance. ^ The Shootist locations. movie-locations.com, retrieved August 30, 2016. ^ Shepherd, Slatzer, & Grayson (2002), pp. 300-1 ^ a b Shepherd, Slatzer, & Grayson (2002), p. 298 ^ Hyams, J. The Life and Times of the Western Movie. Gallery Books (1984), pp. 214-5. ISBN 0831755458 ^ Shepherd, Slatzer, & Grayson (2002), p. 301. ^ Texas Couple Tend John Wayne's Horse To See That Fans Get Dollor's Worth. Texas Morning News (January 13, 1985), retrieved August 19, 2016. ^ Munn, M. John Wayne: The Man Behind the Myth. NAL (2005), p. 333 ^ Box Office Information for The Shootist. The Numbers. Retrieved September 18, 2013. ^ Roger Ebert's 10 Best Lists: 1967 to present. Archived January 13, 2014, at the Wayback Machine Roger Ebert's Journal. Retrieved September 18, 2013. ^ Movie Reviews for The Shootist. Rotten Tomatoes. Retrieved September 18, 2013. ^ "AFI's 10 Top 10 Nominees" (PDF) . Archived from the original on July 16, 2011 . Retrieved August 19, 2016 . CS1 maint: BOT: original-url status unknown (link) ^ Tarantino, Quentin (December 24, 2019). "The Shootist". New Beverly Cinema. ^ "NY Times: The Shootist". NY Times . Retrieved December 30, 2008 . ^ "AFI's 10 Top 10 Nominees" (PDF) . Archived from the original on July 16, 2011 . Retrieved August 20, 2016 . CS1 maint: BOT: original-url status unknown (link) External links [ edit ] The Shootist on IMDbThe Shootist at the TCM Movie DatabaseThe Shootist at AllMovieThe Shootist at Rotten TomatoesGlendon Swarthout website
Bass Reeves - Wikipedia
Sat, 05 Sep 2020 21:02
American lawman
Bass Reeves (July 1838 '' January 12, 1910) was an American law enforcement officer. He was the first black deputy U.S. marshal west of the Mississippi River. He worked mostly in Arkansas and the Oklahoma Territory.[a] During his long career, he was credited with arresting more than 3,000 felons. He shot and killed 14 people in self-defense.
Early life [ edit ] Reeves was born into slavery in Crawford County, Arkansas, in 1838.[1][2] He was named after his grandfather, Bass Washington. Reeves and his family were enslaved by Arkansas state legislator William Steele Reeves.[1] When Bass was eight (about 1846), William Reeves moved to Grayson County, Texas, near Sherman in the Peters Colony.[1] Bass Reeves may have been kept in bondage by William Steele Reeves's son, Colonel George R. Reeves, who was a sheriff and legislator in Texas, and a one-time Speaker of the Texas House of Representatives until his death from rabies in 1882.[3]
When the American Civil War began, George Reeves, Bass' enslaver, joined the Confederate Army, taking Bass with him. It is unclear how, and exactly when, Bass Reeves left his enslaver, but at some point during the Civil War, he gained his freedom. One account recalls how Bass Reeves and George Reeves had an altercation over a card game. Bass severely beat his enslaver, and fled to the Indian Territory where he lived among the Cherokee, Creeks and Seminoles.[2][3][4] Bass stayed in the Indian Territories and learned their languages until he was freed by the Thirteenth Amendment, which abolished slavery, in 1865.[3]
As a freedman, Reeves moved to Arkansas and farmed near Van Buren. He married Nellie Jennie from Texas, with whom he had 11 children.[5][6][7][8]
Career [ edit ] Reeves and his family farmed until 1875, when Isaac Parker was appointed federal judge for the Indian Territory. Parker appointed James F. Fagan as U.S. marshal, directing him to hire 200 deputy U.S. marshals. Fagan had heard about Reeves, who knew the Indian Territory and could speak several Indian languages.[5] He recruited him as a deputy; Reeves was the first black deputy to serve west of the Mississippi River.[2][5] Reeves was assigned as a deputy U.S. marshal for the Western District of Arkansas, which had responsibility also for the Indian Territory.[9] He served there until 1893. That year he transferred to the Eastern District of Texas in Paris, Texas, for a short while. In 1897, he was transferred again, serving at the Muskogee Federal Court in the Indian Territory.[9]
Reeves worked for 32 years as a federal peace officer in the Indian Territory, and became one of Judge Parker's most valued deputies. Reeves brought in some of the most dangerous criminals of the time, but was never wounded, despite having his hat and belt shot off on separate occasions.[2]
In addition to being a marksman with a rifle and revolver, Reeves developed superior detective skills during his long career. When he retired in 1907, Reeves claimed to have arrested over 3,000 felons.[2][5] He is said to have shot and killed 14 outlaws to defend his life.[5]
Once, he had to arrest his own son for murder.[2] One of his sons, Bennie Reeves, was charged with the murder of his wife. Deputy Marshal Reeves was disturbed and shaken by the incident, but allegedly demanded the responsibility of bringing Bennie to justice. Bennie was eventually tracked and captured, tried, and convicted. He served his time in Fort Leavenworth in Kansas before being released, and reportedly lived the rest of his life as a responsible and model citizen.[2]
When Oklahoma became a state in 1907, Bass Reeves, then 68, became an officer of the Muskogee Police Department.[2] He served for two years before he became ill and retired.[5]
Later years and death [ edit ] Reeves was himself once charged with murdering a posse cook. At his trial before Judge Parker, Reeves was represented by former United States Attorney W. H. H. Clayton, who was a colleague and friend. Reeves was acquitted.[10]
Reeves' health began to fail further after retiring. He died of Bright's disease (nephritis) on January 12, 1910.[5]
He was a great-uncle of Paul L. Brady, who became the first black man appointed as a federal administrative law judge in 1972.[11] His great-great-great-grandson is National Hockey League player Ryan Reaves.[12]
Legacy [ edit ] Historian Art Burton postulated the theory that Bass Reeves may have served as inspiration for the character of the Lone Ranger. Burton makes this argument based on the sheer number of people Reeves arrested without taking any serious injury, coupled with many of these arrested were incarcerated in the Detroit House of Correction, the same city where the Lone Ranger radio plays were broadcast on WXYZ.[13] This theory is disputed.[14][15]In 2011, the US-62 Bridge, which spans the Arkansas River between Muskogee and Fort Gibson, Oklahoma, was renamed the Bass Reeves Memorial Bridge.[16]In May 2012, a bronze statue of Reeves by Oklahoma sculptor Harold Holden was erected in Pendergraft Park in Fort Smith, Arkansas.[17]In 2013, he was inducted into the Texas Trail of Fame.[18]Television [ edit ] Reeves is the subject of the Season two Episode four of Gunslingers, "The real lone ranger".Reeves figures prominently in an episode of How It's Made, in which a Bass Reeves limited-edition collectors' figurine is shown in various stages of the production process.[19]In "The Murder of Jesse James", an episode of the television series Timeless (season one, episode 12), Bass Reeves is portrayed by Colman Domingo.[20]Reeves was a featured subject of the Drunk History episode "Oklahoma" in which he was portrayed by Jaleel White.In "Everybody Knows", a season two episode of the television series Wynonna Earp, Reeves is portrayed by Adrian Holmes.Bass Reeves is mentioned in the plot of "The Royal Family", a season two episode of the television series Greenleaf. Reeves' name is used as an alias by pastor Basie Skanks to support his church with gambling earnings.Bass Reeves' status as one of the first black sheriffs plays a significant role as a childhood role model for the character of Will Reeves in the Watchmen television series.Bass Reeves is mentioned in Season 3 Episode 2 of the television series Justified as two US Marshals are discussing their all-time favorite historical US Marshals.Film [ edit ] Bass Reeves, a 2010 fictionalized account of Reeves's life and career, stars James A. House in the titular role.[21]In They Die by Dawn (2013), Bass Reeves is portrayed by Harry Lennix.Hell On The Border is a 2019 action film based on the early law enforcement career of Bass Reeves, starring David Gyasi. It was written and directed by Wes Miller and features Ron Perlman in a supporting role.[22]A miniseries based on Burton's 2006 biography (and co-produced by Morgan Freeman) is reportedly under development by HBO.[23]As of April 2018, Amazon Studios is developing a biopic of Reeves with the script and direction helmed by Chlo(C) Zhao.[24]Theatre [ edit ] A stage play about Reeves entitled Cowboy written and directed by Layon Gray was presented at the 2019 National Black Theatre Festival.Games [ edit ] Bass Reeves is a character in the miniature wargame Wild West Exodus.Bass Reeves is a playable character in the board game Western Legends.Bass Reeves served as the inspiration for Sheriff Freeman in Red Dead Redemption 2.[citation needed ]Bass Reeves served as the inspiration for Cornelius Basse in the miniature wargame Malifaux.Hall of fame [ edit ] In 1992, he was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum.[25]
Literature [ edit ] Reeves is featured in the semi-biographical 2019 novel, Miss Chisum, by Russ Brown. Where as a boy in Paris, Texas in the 1850s he is portrayed as being befriended by a young adult John Chisum. They meet again later in life where it is revealed that Chisum had been a role model for the young Reeves.Reeves is also featured in the historical fiction novel, Follow the Angels, Follow the Doves: The Bass Reeves Trilogy, Book One, by Sidney Thompson, which follows Bass Reeves' origin as a slave in the 19th century south, before he could stake his claim as one of the most successful American lawman in history--capturing over 3,000 outlaws during his thirty-two-year career as a deputy U.S. marshal, deep in the most dangerous regions of the Old Wild West.[26]Bass Reeves is the subject of a 2020 comic book titled "Bass Reeves", produced by Allegiance Arts & Entertainment, and written by Kevin Grevioux with art by David Williams.Bass Reeves will appear in Un cow-boy dans le coton, an upcoming album in the Lucky Luke Belgian comic book series by Jul and Achd(C).Bass Reeves is the subject of the book, The Legend of Bass Reeves, by Gary Paulsen, which features both true and fictional accounts of Reeves.[27]Notes [ edit ] ^ Indian Territory comprised most of what became Eastern Oklahoma on November 16, 1907, when Oklahoma became a state. Reeves's former position as a U.S. Marshal was abolished at that time, so he became an officer with the Muskogee Police Department, where he served for two years until he was forced to resign because of his declining health. References [ edit ] ^ a b c Burton, Art T. (2008). Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves. Lincoln, Nebraska: U of Nebraska Press. pp. 19''20. ISBN 9780803205413. ^ a b c d e f g h Burton, Art T. (May''June 1999). "The Legacy of Bass Reeves: Deputy United States Marshal". The Crisis. 106 (3): 38''42. ISSN 0011-1422. ^ a b c Burton, Art T. (2008). Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves. Lincoln, Nebraska: U of Nebraska Press. pp. 21''23. ISBN 9780803205413. ^ "Bass Reeves - Black Hero Marshal". Legendsofamerica.com . Retrieved June 9, 2016 . ^ a b c d e f g "Bass Reeves, the Most Feared U.S. Deputy Marshal". The Norman Transcript. May 3, 2007. Archived from the original on September 7, 2012 . Retrieved August 31, 2016 . ^ "United States Census, 1870". FamilySearch.org. p. 10, family 75, NARA microfilm publication M593 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 545,550 . Retrieved April 1, 2016 . Bass Reeves, Arkansas, United States ^ "United States Census, 1880". FamilySearch.org. enumeration district ED 50, sheet 582A, NARA microfilm publication T9 (Washington D.C.: National Archives and Records Administration, n.d.), roll 0042; FHL microfilm 1,254,042 . Retrieved April 1, 2016 . Bass Reeves, Van Buren, Crawford, Arkansas, United States ^ "United States Census, 1900". FamilySearch.org. citing sheet 20B, family 468, NARA microfilm publication T623 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,241,853 . Retrieved April 1, 2016 . Bass Reeves, Muscogee (part of M K & T Railway) Muscogee, Creek Nation, Indian Territory, United States ^ a b "Deputy U.S. Marshal Bass Reeves". U.S. Marshals Museum. U.S. Marshals Museum, Inc. Archived from the original on March 2, 2014 . Retrieved August 27, 2013 . ^ Burton, Arthur; Art T. Burton (2006). Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves. Lincoln: University of Nebraska Press. pp. 139''148. ISBN 978-0-8032-1338-8. ^ "Judge Paul L. Brady Retires from Job Safety Commission" Archived February 15, 2013, at the Wayback Machine. press release: United States Occupational Safety and Health Review Committee. April 15, 1997. Retrieved August 13, 2007. ^ Gold-Smith, Josh. "Reaves putting Kane feud aside, joining him for 'much bigger cause ' ". theScore.com. ^ Morgan, Thad (August 31, 2018). "Was the Real Lone Ranger a Black Man?". History . Retrieved November 27, 2019 . ^ LaCapria, Kim (February 13, 2019). "Was the Original 'Lone Ranger' a Black Man?". TruthOrFiction.com . Retrieved May 27, 2020 . ^ Grams Jr., Martin. "Bass Reeves and The Lone Ranger: Debunking the Myth, Part 1" . Retrieved May 27, 2020 . ^ Goforth, Dylan (November 11, 1977). "Bridge to be renamed in tribute to famed lawman". Muskogee Phoenix . Retrieved August 6, 2013 . ^ "Statue of U.S. marshal to travel from Oklahoma to Arkansas Wednesday", Associated Press in The Oklahoman, May 16, 2012 (pay site). ^ "Bass Reeves". Western Heritage from the Texas Trail of Fame. www.texastrailoffame.org. December 26, 2013 . Retrieved April 14, 2018 . ^ "How It's Made: Resin Figurines". science.discovery.com. Science Channel. Archived from the original on September 22, 2013 . Retrieved June 19, 2014 . ^ The Murder of Jesse James at IMDb.com ^ Bass Reeves at Amazon.com ^ Hell On The Border at imdb.com ^ "Mini About Hero Lawman Bass Reeves In Works At HBO With Morgan Freeman, Lori McCreary & James Pickens Producing". Deadline.com. May 18, 2015 . Retrieved January 25, 2017 . ^ N'Duka, Amanda (April 20, 2018). "Amazon Studios Lands Biopic on Bass Reeves, First Black U.S. Deputy Marshal, From 'The Rider' Helmer Chlo(C) Zhao". Deadline.com . Retrieved May 12, 2018 . ^ "Hall of Great Westerners". National Cowboy & Western Heritage Museum . Retrieved November 22, 2019 . ^ "Book Page : Nebraska Press". www.nebraskapress.unl.edu. ^ "The Legend of Bass Reeves". Kirkus Reviews. 2006. Further reading [ edit ] Paulsen, Gary (2006). The legend of Bass Reeves: being the true and fictional account of the most valiant marshal in the West. New York: Wendy Lamb Books. ISBN 978-0-385-74661-8. Thompson, Sidney (2020). Follow the angels, follow the doves: The Bass Reeves trilogy, book one. Lincoln, NE: University of Nebraska Press. ISBN 978-1-496-21875-9.External links [ edit ] Bass Reeves at Encyclopedia of Arkansas History & CultureBass Reeves at Oklahoma Historical Society Encyclopedia of Oklahoma Culture and HistoryBass Reeves at Handbook of Texas OnlineBass Reeves at Find a Grave10 Facts about Bass Reeves at BlackArtBlog.BlackArtDepot.comBass Reeves [permanent dead link ] at Angelfire.comThe Bass Reeves Legacy Monument at BlackArtBlog.BlackArtDepot.comBass Reeves (2010) - A film about his life
Juice (film) - Wikipedia
Sat, 05 Sep 2020 20:36
1992 American crime drama film directed by Ernest Dickerson
Juice is a 1992 American crime thriller film directed by Ernest R. Dickerson, and written by Dickerson and Gerard Brown. It stars Omar Epps, Tupac Shakur, Jermaine Hopkins and Khalil Kain. The film touches on the lives of four black youths growing up in Harlem, following their day-to-day activities, their struggles with police harassment, rival neighborhood gangs and their families.[3] The film is the writing and directing debut of Dickerson and features Shakur in his acting debut. The film was shot in New York City, mainly in the Harlem area, in 1991.[4]
Plot [ edit ] Bishop (Tupac Shakur), Q (Omar Epps), Raheem (Khalil Kain), and Steel (Jermaine 'Huggy' Hopkins) are four teenage African-American friends growing up together in Harlem. They regularly skip school, instead spending their days hanging out at Steel's apartment, at a neighborhood arcade, and also a record store where they steal LPs for Q's DJ interests. Generally, they are harassed daily by the police or a Puerto Rican gang led by Radames (Vincent Laresca).
Fed up with all of the torment he and his friends have endured, Bishop decides that the group must go on to do bigger things in order to win respect. However, Q is unsure if he wants to become involved in a life of crime. One Saturday night, under Bishop's persistence, the friends decide to rob a local convenience store to teach the owner, Fernando Quiles, a lesson. At first Q hesitates to go through with the robbery, unsure whether it will be successful.
He also fears it will affect his chances of participating in a DJ competition in which he has yearned to compete for years. After being pressured by his fellow crew members, he decides to join in. Q manages to sneak out of the nightclub where he is competing in a DJ contest and joins his friends. During the heist, Bishop shoots the owner in the head, killing him.
After fleeing the scene, the four young men gather in an abandoned building where they argue over the evening's events. Q, Raheem and Steel become angry at Bishop for killing Mr. Quiles, and Raheem demands that Bishop give the gun to him; Bishop resists. A struggle ensues between the two, and Bishop shoots Raheem dead. Panicking, Bishop, Q and Steel flee to another abandoned building, where Bishop threatens to kill Q and Steel if they reveal to anybody that he murdered Raheem.
Q and Steel realize that Bishop is beginning to break down and is becoming addicted to the thrill of killing. They agree to give Bishop as wide a berth as possible. However, while attending Raheem's funeral, they are surprised to see Bishop there. Bishop goes as far as to hug Raheem's mother (Lauren Jones) and promise to find his killer. Q and Steel are mostly generally able to avoid Bishop, but he finds them and confronts them one at a time, questioning their loyalty.
After a scuffle, Bishop kills Radames. In order to cover his tracks, he begins planning to frame Q for the murders of Quiles, Raheem and Radames. Fearful of Bishop, Q resorts to buying a gun for his own protection. Meanwhile, Bishop confronts Steel in an alley, accusing him of disloyalty, and shoots him. However, Steel survives the attack and is rushed to the hospital, where he informs Q's girlfriend Yolanda (Cindy Herron) that he has been shot by Bishop and he plans on framing Q. Frustrated with both the tension and troubles brought upon him, Q throws his gun into the river and decides to confront Bishop unarmed. Q and Bishop meet up, where a scuffle and chase ensues.
Q is shot once in the arm during the chase, and he is subsequently chased into a building where a party is being held. Bishop begins firing into a group of partygoers in an attempt to hit Q, but Q escapes unharmed. Q disarms Bishop while he's distracted, and Bishop leaves the scene with Q following him. Q eventually finds Bishop on the roof of a high-rise building, and the two become engaged in a physical confrontation. Bishop eventually falls off the ledge, but is caught by Q. Bishop begs Q not to let go, but Q eventually loses his grip, and Bishop falls to his death.
As Q is leaving the rooftop, a crowd from the party gathers to see what happened. One of the people in the crowd turns to Q and says, "Yo, you got the juice now, man." Q turns to look at him, shakes his head in disgust, and walks away. The film ends with a flashback clip of the four friends together in happier times as Bishop yells, "Wrecking Crew!"
Cast [ edit ] Omar Epps as Quincy "Q" PowellTupac Shakur as Roland BishopKhalil Kain as Raheem PorterJermaine Hopkins as Eric "Steel" ThurmanCindy Herron as YolandaVincent Laresca as RadamesSamuel L. Jackson as TripGeorge O. Gore II as Q's little brother BrianGrace Garland as Q's motherQueen Latifah as Ruffhouse MCOran "Juice" Jones as Snappy Nappy DugoutFlex Alexander as Contest AuditioneerDoctor Dr(C) & Ed Lover as Contest JudgesFab 5 Freddy as himselfDonald Faison as StudentMerit House party crowdEPMD as Bar PatronsProduction [ edit ] The movie was filmed between February and April 1991. Daryl Mitchell, Treach, Money-B, and Donald Faison had auditioned for the role of Roland Bishop, but none were considered right for the role. Tupac Shakur accompanied Money-B to the audition and asked producer Neal H. Moritz to read. He was given 15 minutes to rehearse before his audition, and ultimately secured the role of Roland Bishop.[5] Treach and Faison landed cameo roles as a rival gang member and a high school student, respectively.
Reception [ edit ] The film received generally favorable reviews.[6] Roger Ebert gave the film three out of four stars, praising the film as "one of those stories with the quality of a nightmare, in which foolish young men try to out-macho one another until they get trapped in a violent situation which will forever alter their lives.".[7] Entertainment Weekly gave the film a "B+" grading, based on how it depicts four young characters who try to gain complete self-control over their surroundings.[8]
The film is an inflammatory morality play shot through with rage and despair. Like Boyz n the Hood and Straight Out of Brooklyn, it asks: When every aspect of your environment is defined by violence, is it possible to avoid getting sucked into the maelstrom?[8]
Dickerson also received praise for his directorial skills:
Coming out from behind Spike Lee's camera, Ernest Dickerson has instantly arrived at the forefront of the new wave of black directors. His film aims for the gut, and hits it.[8]
Juice holds a rating of 79% on Rotten Tomatoes based on 24 reviews.[9]
Soundtrack [ edit ] YearAlbumPeak chart positionsCertificationsU.S.U.S. R&B1991JuiceReleased: December 31, 1991Label: MCA173US: GoldSee also [ edit ] List of hood filmsBoyz n the HoodMenace II SocietyNew Jack CityReferences [ edit ] External links [ edit ] Juice at AllMovieJuice on IMDbJuice at Rotten TomatoesJuice at Box Office Mojo
Bring in the U.N. to solve Chicago 'genocide,' Boykin says - Chicago Tribune
Sat, 05 Sep 2020 20:18
Chicago Tribune |
Dec 14, 2017 at 4:30 PM
Cook County Commissioner Richard Boykin traveled to New York to discuss Chicago's violence probelm with the United Nations assistant secretary-general for peacebuilding support, Oscar Fernandez-Taranco. (Phil Velasquez / Chicago Tribune)
President Donald Trump's implicit threat to put the National Guard on the streets of Chicago to tackle the city's violence problem attracted widespread ridicule earlier this year.
But if the soldiers were instead wearing the sky blue helmets of United Nations peacekeepers there might not be such a problem, according to Cook County Commissioner Richard Boykin, who flew to New York on Thursday to discuss what he described as a ''quiet genocide'' in Chicago's black community with the U.N.'s assistant secretary-general for peacebuilding support, Oscar Fernandez-Taranco.
''The United Nations has a track record of protecting minority populations,'' Boykin told Inc. before his meeting. ''There was tribal warfare between the Tutsis and the Hutus in Africa, and they deployed peacekeeping troops there to help save those populations and reduce the bloodshed. We have to do something '-- black people in Chicago make up 30 percent of the population but 80 percent of those who are killed by gun violence.''
Asked how that might differ from sending in the National Guard, Boykin said, ''The difference is, I'm not so sure that the National Guard is so used to peacekeeping and a peacekeeping role: The U.N. is trained in this.''
You'd welcome foreign troops on the streets of Austin, North Lawndale, Englewood and Roseland, commissioner?
''I'm talking about whoever the U.N. would decide to send in,'' Boykin responded, adding, ''I think that the assistant secretary-general may have some ideas outside of sending in troops. He may have some ideas about how we get to peace in these communities.
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''We can't wait for the mayor to put another 1,000 police officers on the streets, and I'm not so sure that's going to be the panacea, anyhow,'' said Boykin, who added that he wanted local officials to sit down together to come up with a solution.
''It's been a total devastation of the African-American community,'' he said.
Asked Wednesday about Boykin's plan to involve the U.N., Mayor Rahm Emanuel did not respond directly but noted improvements in crime statistics and said he was working to ensure that ''people feel a sense of security'' in every neighborhood.
kjanssen@chicagotribune.com
United Nations Richard Boykin Recommended on Chicago Tribune
Moe Factz with Adam Curry for March 21st 2020, Episode number 30
School of Thought
Executive Producers:
Joel Tucker
Rebekah Webb
Associate Executive Producers
Peter J Boyle
James Lohmann
Description
Adam and Moe review the path the show has taken over the past 6 months and unfold what will happen with the #ADOS vote in 2020. Some interesting racial comparisons are made along the way.
Music in this episode
Intro: Jadakiss - We gonna make it
Outro: McFadden & Whitehead - Ain't no stoppin' us now
Moe Factz with Adam Curry for January 28th 2020, Episode number 23
Blacktivate
Description
Adam and Moe look at the origins of the phrase 'Women of Color" and subsequently "POC". This folds into a review of the Vice interviews with the democratic candidates and how all of this ties into illegal immigration
Moe Factz with Adam Curry for December 2nd 2019, Episode number 17
Shaft Stache
Shownotes
Robert Townsend (actor) - Wikipedia
Mon, 02 Dec 2019 13:13
American actor
Robert Townsend (born February 6, 1957) is an American actor, director, comedian, and writer.[1][2] Townsend is best known for directing the films Hollywood Shuffle (1987), Eddie Murphy Raw (1987), The Meteor Man (1993), The Five Heartbeats (1991) and various other films and stand-up specials. He is especially known for his eponymous self-titled character, Robert Peterson as the starring role as on The WB sitcom The Parent 'Hood (1995''1999), a series which he created and of which directed select episodes. Townsend is also known for his role as Donald "Duck" Matthews in his 1991 film The Five Heartbeats.[3] He later wrote, directed and produced Making The Five Heartbeats (2018), a documentary film about the production process and behind the scenes insight into creating the film. Townsend is also known for his production company Townsend Entertainment [4] which has produced films Playin' for Love,[5] In the Hive and more. During the 1980s and early''1990s, Townsend gained national exposure through his stand-up comedy routines and appearances on The Tonight Show Starring Johnny Carson. Townsend has worked with talent including Halle Berry, Morgan Freeman, Chris Tucker, Beyonc(C), Denzel Washington and many more.[6][7][8]
Early life and career [ edit ] Townsend was born in Chicago, Illinois, the second of four children[9] to Shirley (n(C)e Jenkins) and Ed Townsend. His mother ended up raising him and his three siblings as a single parent. Growing up on the city's west side, Townsend attended Austin High School; graduating in 1975.[10] He became interested in acting as a teenager. During a reading of Sophocles' Oedipus Rex in high school, Townsend captured the attention of Chicago's X Bag Theatre, The Experimental Black Actors Guild. Townsend later auditioned for parts at Chicago's Experimental Black Actors' Guild and performed in local plays studying at the famed Second City comedy workshop for improvisation in 1974. Townsend had a brief uncredited role in the 1975 movie Cooley High.
After high school, Townsend enrolled at Illinois State University, studied a year and later moved to New York to study at the Negro Ensemble Company. Townsend's mother believed that he should complete his college education, but he felt that college took time away from his passion for acting, and he soon dropped out of school to pursue his acting career full-time.
Career [ edit ] Townsend auditioned to be part of Saturday Night Live's 1980''1981 cast, but was rejected in favor of Eddie Murphy. In 1982, Townsend appeared as one of the main characters in the PBS series Another Page, a program produced by Kentucky Educational Television that taught literacy to adults through serialized stories. Townsend later appeared in small parts in films like A Soldier's Story (1984), directed by Norman Jewison, and after its success garnered much more substantial parts in films like The Mighty Quinn (1989) with Denzel Washington.[11][12][13]
In 1987, Townsend wrote, directed and produced Hollywood Shuffle, a satire based on the hardships and obstacles that black actors undergo in the film industry. The success of his first project helped him establish himself in the industry.[6][14] Another of his films was The Five Heartbeats based on 1960s R&B male groups and the tribulations of the music industry. Townsend created and produced two television variety shows'--the CableACE award''winning Robert Townsend and His Partners in Crime for HBO, and the Fox Television variety show Townsend Television (1993). He also created and starred in the WB Network's sitcom The Parent 'Hood which originally ran from January 1995 to July 1999. In 2018, Townsend also directed 2 episodes for the B.E.T. Series American Soul which began airing in 2019. The show is about Don Cornelius and Soul Train. Townsend was programming director at the Black Family Channel, but the network folded in 2007. Townsend created The Robert Townsend Foundation, a nonprofit organization whose mission is to introduce and help new unsigned filmmakers.
Awards and other credits [ edit ] Townsend directed the 2001 TV movie, Livin' for Love: The Natalie Cole Story for which Cole won the NAACP Image Award as Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Townsend also directed two television movies in 2001 and 2002 respectively, Carmen: A Hip Hopera and 10,000 Black Men Named George. In 2013 Townsend was nominated for an Ovation Award in the category of "Lead Actor in a Musical" for his role as Dan in the La Mirada Theatre for the Performing Arts production of Next to Normal.[15]
Personal life [ edit ] Townsend was married to Cheri Jones[16] from September 15, 1990, to August 9, 2001.[17] Together they have two daughters, Sierra and Skylar (Skye Townsend), both entertainers, and a son, Isiah.[6]
Filmography [ edit ] Further reading [ edit ] Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. Harlem Moon. 2003.Collier, Aldore. "Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences". Ebony Magazine. 1 June 1991.Rogers, Brent. Robert Townsend Article in Perspectives. Sustaining Digital History, 12 November 2007.References [ edit ] ^ "Robert Townsend". The New York Times. ^ "As Robert Townsend Sees It : He's Fighting Stereotypes With 'Meteor Man' and New TV Show". Los Angeles Times . Retrieved 2010-10-10 . ^ The Five Heartbeats , retrieved 2019-09-16 ^ "Townsend Entertainment - IMDbPro". pro.imdb.com . Retrieved 2018-03-06 . ^ "Playin' For Love". Black Cinema Connection. 2014-11-05 . Retrieved 2018-03-06 . ^ a b c "About". Robert Townsend. Archived from the original on 2011-07-14. ^ "Carmen: A Hip Hopera", Wikipedia, 2019-08-09 , retrieved 2019-09-17 ^ B*A*P*S , retrieved 2019-09-17 ^ "Townsend, Robert (1957-)". BlackPast.Org. 2008 . Retrieved September 18, 2017 . ^ "1975 Austin High School Yearbook (Chicago, Illinois)". Classmates.com. 1975 . Retrieved September 18, 2017 . ^ Vincent Canby, "Review/Film; Tropical Murder", The New York Times, February 17, 1989. ^ The Mighty Quinn , retrieved 2019-09-17 ^ A Soldier's Story , retrieved 2019-09-17 ^ Hollywood Shuffle , retrieved 2019-09-17 ^ "2013 Ovation Awards Nominees '-- South by Southeast". thisstage.la. LA STAGE Alliance. September 16, 2013 . Retrieved 2017-04-21 . ^ "The Week's Best Photo". Google Books. JET Magazine. March 25, 1991 . Retrieved September 18, 2017 . ^ Gimenes, Erika (2001). "Robert Townsend to divorce". Hollywood.com . Retrieved September 18, 2017 . ^ "Jackie's Back! (1999)" at IMDb. External links [ edit ] Robert Townsend on IMDbRobert Townsend (Official Website)
(9) Charles Woods (The Professor) - Hollywood's Tricknology: Mandingo To Malcolm X - YouTube
Mon, 02 Dec 2019 12:59
Tyler Perry
Mon, 02 Dec 2019 12:57
Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist.
Tyler Perry's Story Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist.
Read His Story Outreach Since 2006, The Perry Foundation's aim has been to transform tragedy into triumph by empowering the economically disadvantaged to achieve a better quality of life. We focus on health and clean water, education and technology, arts and culture, and globally-sustainable economic development. Get Involved
Visit Website You are viewing Tyler Perry Entertainment. If you'd like to view the Tyler Perry Studios, click here.
Black writers courageously staring down the white gaze '' this is why we all must read them | Stan Grant | Opinion | The Guardian
Mon, 02 Dec 2019 12:46
The white gaze '' it is a phrase that resonates in black American literature. Writers from WEB Du Bois to Ralph Ellison to James Baldwin and Toni Morrison have struggled with it and railed against it.
As Morrison '' a Nobel Laureate '' once said:
Our lives have no meaning, no depth without the white gaze. And I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books.
The white gaze: it traps black people in white imaginations. It is the eyes of a white schoolteacher who sees a black student and lowers expectations. It is the eyes of a white cop who sees a black person and looks twice '' or worse, feels for a gun.
Du Bois explored this more than a century ago in his book The Souls of Black Folk, reflecting on his conversations with white people and the ensuing delicate dance around the ''Negro problem''.
Between me and the other world there is an ever unasked question'.... All, nevertheless, flutter around it ... Instead of saying directly, how does it feel to be a problem? They say, I know an excellent coloured man in my town ... To the real question '... I answer seldom a word.
Baldwin was as ever more direct and piercing, writing in his book Nobody Knows My Name.
I have spent most of my life ... watching white people and outwitting them so that I might survive.
The flame has passed to a new generation.
In 2015 three more black writers have stared down the white gaze. In their own ways Ta-Nehisi Coates, Claudia Rankine and George Yancy have held up a mirror to white America.
These are uncompromising and fearless voices.
Coates' searing essay Between The World And Me critiques America against a backdrop of black deaths at the hands of police. He says the country's history is rooted in slavery and the assault against the black body.
In the form of a letter to his son, Coates writes:
Here is what I would like for you to know: In America it is traditional to destroy the black body '' it is heritage.
In Citizen '' An American Lyric, poet Rankine reflects on the black experience from the victims of Hurricane Katrina, or Trayvon Martin, a 17 year-old black youth shot dead by a neighbourhood watch volunteer who was acquitted, or black tennis star Serena Williams. In each case Rankine sees lives framed by whiteness.
She writes:
Because white men can't police their imagination, black men are dying.
Philosophy Professor George Yancy just last week penned a letter in the New York Times addressed to ''Dear White America''. He asks his countrymen to listen with love, and to look at those things that might cause pain and terror.
All white people, he says, benefit from racism and this means each, in their own way, are racist.
'...don't run to seek shelter from your own racism'...practice being vulnerable. Being neither a ''good'' white person, nor a liberal white person will get you off the proverbial hook.
Their unflinching work is not tempered by the fact a black man is in the White House '' that only makes their voices more urgent.
Coates, Rankine, Yancy '' each has been variously praised and awarded, yet each has been pilloried as well. This is inevitable when some people don't like what the mirror reflects.
It takes courage for a black person to speak to a white world, a world that can render invisible people of colour, unless they begin to more closely resemble white people themselves '' an education, a house in the suburbs, a good job, lighter skin.
In Australia, too, black voices are defying the white gaze. We may not have the popular cut through of a Morrison or a Baldwin or a Coates, but we have a proud tradition '' Oodgeroo Noonuccal, Kevin Gilbert, Ruby Langford or more recently Kim Scott, Alexis Wright, Anita Heiss.
I have spent some time recently reading some of the most powerful works of Indigenous writers. Their styles and genres are many and varied but there is a common and powerful theme of defiance and survival.
This is a world so instantly recognisable to us '' Indigenous people '' but still so foreign to white Australia.
Natalie Harkin's book of poetry, Dirty Words, is a subversive dictionary that turns English words back on their users: A is apology, B is for Boat People '... G is for Genocide ... S for Survival.
''How do you dream,'' she writes, ''When your lucky country does not sleep''.
Bruce Pascoe's Dark Emu challenges the white stereotype of the ''primitive hunter gatherer''. He says the economy and culture of Indigenous people has been grossly undervalued.
He cites journals and diaries of explorers and colonists to reveal the industry and ingenuity of pre-colonial Aboriginal society. He says it is a window into a world of people building dams and wells and houses, irrigating and harvesting seed and creating elaborate cemeteries.
Pascoe's work demands to be taught in our schools.
Tony Birch is an acclaimed novelist and his latest Ghost River is remarkable. It is the story of two friends navigating the journey into adulthood guided by the men of the river '' men others may see as homeless and hopeless. It is a work infused with a sense of place and belonging.
Ellen Van Neerven's Heat and Light is a genre-busting mystical journey into identity: sexual, racial and national. It is provocative and challenging and mind bending, and altogether stunning.
You won't find many of these titles in the annual best book lists. Occasionally they pop up, but not as often as they deserve. You probably won't hear much of Samuel Wagan Watson's Love Poems and Death Threats, or Ken Canning's Yimbama, or Lionel Fogarty's Eelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future).
That these works are not more widely read is a national shame. In our busy lives, try to find time for some of these books in 2016 '' read with the courage of these writers.
George Yancy asks white Americans to become ''un-sutured'', to open themselves up and let go of their white innocence.
Why is this important? Well, for white people it may simply be a matter of choice '' the fate of black people may not affect them. For us it is survival '' the white gaze means we die young, are locked up and locked out of work and education.
We hear a lot about recognition '' acknowledging Indigenous people in the Australian constitution. But there is another recognition '' recognising the pervasive and too often destructive role of race in our lives, and the need to lift our gaze above it.
Queen | Definition of Queen by Merriam-Webster
Mon, 02 Dec 2019 12:40
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\ ËkwÄ'n \ 1 a : the wife or widow of a king
b : the wife or widow of a tribal chief
2 a : a female monarch
b : a female chieftain
3 a : a woman eminent in rank, power, or attractions a movie queen
b : a goddess or a thing personified as female and having supremacy in a specified realm
c : an attractive girl or woman especially : a beauty contest winner
4 : the most privileged piece of each color in a set of chessmen having the power to move in any direction across any number of unoccupied squares
5 : a playing card marked with a stylized figure of a queen
6 : the fertile fully developed female of social bees, ants, and termites whose function is to lay eggs
7 : a mature female cat kept especially for breeding
8 slang , often disparaging : a male homosexual especially : an effeminate one
queened ; queening ; queens
intransitive verb
1 : to act like a queen especially : to put on airs '-- usually used with it queens it over her friends
2 : to become a queen in chess the pawn queens
Pan-Africanism - Wikipedia
Mon, 02 Dec 2019 12:37
Worldwide movement that aims to encourage and strengthen bonds of solidarity between all people of African descent
Pan-Africanism is a worldwide movement that aims to encourage and strengthen bonds of solidarity between all indigenous and diasporan ethnic groups of African descent. Based on a common goal dating back to the Atlantic slave trade, the movement extends beyond continental Africans with a substantial support base among the African diaspora in the Caribbean, Latin America, the United States and Canada and Europe.[1][2] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[3] The ideology asserts that the fate of all African people and countries[clarification needed ] are intertwined. At its core Pan-Africanism is a belief that ''African people, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[4] Pan-Africanist intellectual, cultural, and political movements tend to view all Africans and descendants of Africans as belonging to a single "race" and sharing cultural unity. Pan-Africanism posits a sense of a shared historical fate for Africans in the Americas, West Indies, and, on the continent itself, has centered on the Atlantic trade in slaves, African slavery, and European imperialism.[5]
The Organization of African Unity (now the African Union) was established in 1963 to safeguard the sovereignty and territorial integrity of its Member States and to promote global relations within the framework of the United Nations.[6] The African Union Commission has its seat in Addis Ababa and the Pan-African Parliament has its seat in Johannesburg and Midrand.
Overview [ edit ] Pan-Africanism stresses the need for "collective self-reliance".[7] Pan-Africanism exists as a governmental and grassroots objective. Pan-African advocates include leaders such as Haile Selassie, Julius Nyerere, Ahmed S(C)kou Tour(C), Kwame Nkrumah, King Sobhuza II, Thomas Sankara and Muammar Gaddafi, grassroots organizers such as Marcus Garvey and Malcolm X, academics such as W. E. B. Du Bois, and others in the diaspora.[8][9][10] Pan-Africanists believe that solidarity will enable the continent to fulfill its potential to independently provide for all its people. Crucially, an all-African alliance would empower African people globally.
The realization of the Pan-African objective would lead to "power consolidation in Africa", which "would compel a reallocation of global resources, as well as unleashing a fiercer psychological energy and political assertion...that would unsettle social and political (power) structures...in the Americas".[11]
Advocates of Pan-Africanism'--i.e. "Pan-Africans" or "Pan-Africanists"'--often champion socialist principles and tend to be opposed to external political and economic involvement on the continent. Critics accuse the ideology of homogenizing the experience of people of African descent. They also point to the difficulties of reconciling current divisions within countries on the continent and within communities in the diaspora.[11]
History [ edit ] As a philosophy, Pan-Africanism represents the aggregation of the historical, cultural, spiritual, artistic, scientific, and philosophical legacies of Africans from past times to the present. Pan-Africanism as an ethical system traces its origins from ancient times, and promotes values that are the product of the African civilisations and the struggles against slavery, racism, colonialism, and neo-colonialism.[8]
Alongside a large number of slaves insurrections, by the end of the 19th century a political movement developed across the Americas, Europe and Africa that sought to weld disparate movements into a network of solidarity, putting an end to oppression. Another important political form of a religious Pan-Africanist worldview appeared in the form of Ethiopianism.[12] In London, the Sons of Africa was a political group addressed by Quobna Ottobah Cugoano in the 1791 edition of his book Thoughts and Sentiments on the Evil of Slavery. The group addressed meetings and organised letter-writing campaigns, published campaigning material and visited parliament. They wrote to figures such as Granville Sharp, William Pitt and other members of the white abolition movement, as well as King George III and the Prince of Wales, the future George IV.
Modern Pan-Africanism began around the start of the 20th century. The African Association, later renamed the Pan-African Association, was established around 1897 by Henry Sylvester-Williams, who organized the First Pan-African Conference in London in 1900.[13][14][15]
With the independence of Ghana in March 1957, Kwame Nkrumah was elected as the first Prime Minister and President of the State.[16] Nkrumah emerged as a major advocate for the unity of Independent Africa. The Ghanaian President embodied a political activist approach to pan-Africanism as he championed the "quest for regional integration of the whole of the African continent".[17] This period represented a "Golden Age of high pan-African ambitions"; the Continent had experienced revolution and decolonization from Western powers and the narrative of rebirth and solidarity had gained momentum within the pan-African movement.[17] Nkrumah's pan-African principles intended for a union between the Independent African states upon a recognition of their commonality (i.e. suppression under imperialism). Pan-Africanism under Nkrumah evolved past the assumptions of a racially exclusive movement associated with black Africa, and adopted a political discourse of regional unity [18]
In April 1958, Nkrumah hosted the first All-African Peoples' Conference (AAPC) in Accra, Ghana. This Conference invited delegates of political movements and major political leaders. With the exception of South Africa, all Independent States of the Continent attended: Egypt, Ethiopia, Ghana, Liberia, Libya, Morocco, Tunisia and Sudan.[18] This Conference signified a monumental event in the pan-African movement, as it revealed a political and social union between those considered Arabic states and the black African regions. Further, the Conference espoused a common African Nationalist identity, among the States, of unity and anti-Imperialism. Frantz Fanon, journalist, freedom fighter and a member of the Algerian FLN party attended the conference as a delegate for Algeria.[19] Considering the armed struggle of the FLN against French colonial rule, the attendees of the Conference agreed to support the struggle of those States under colonial oppression. This encouraged the commitment of direct involvement in the "emancipation of the Continent; thus, a fight against colonial pressures on South Africa was declared and the full support of the FLN struggle in Algeria, against French colonial rule"".[20] In the years following 1958, Accra Conference also marked the establishment of a new foreign policy of non-alignment as between the US and USSR, and the will to establish an "African Identity" in global affairs by advocating a unity between the African States on international relations. "This would be based on the Bandung Declaration, the Charter of the UN and on loyalty to UN decisions."[20]
In 1959, Nkrumah, President S(C)kou Tour(C) of Guinea and President William Tubman of Liberia met at Sanniquellie and signed the Sanniquellie Declaration outlining the principles for the achievement of the unity of Independent African States whilst maintaining a national identity and autonomous constitutional structure.[21][22] The Declaration called for a revised understanding of pan-Africanism and the uniting of the Independent States.
In 1960, the second All-African Peoples' Conference was held in Addis Ababa, Ethiopia.[23] The membership of the All-African Peoples' Organisation (AAPO) had increased with the inclusion of the "Algerian Provisional Government (as they had not yet won independence), Cameroun, Guinea, Nigeria, Somalia and the United Arab Republic".[24] The Conference highlighted diverging ideologies within the movement, as Nkrumah's call for a political and economic union between the Independent African States gained little agreement. The disagreements following 1960 gave rise to two rival factions within the pan-African movement: the Casablanca Bloc and the Brazzaville Bloc.[25]
In 1962, Algeria gained independence from French colonial rule and Ahmed Ben Bella assumed Presidency. Ben Bella was a strong advocate for pan-Africanism and an African Unity. Following the FLN's armed struggle for liberation, Ben Bella spoke at the UN and espoused for Independent Africa's role in providing military and financial support to the African liberation movements opposing apartheid and fighting Portuguese colonialism.[26] In search of a united voice, in 1963 at an African Summit conference in Addis Ababa, Ethiopia, 32 African states met and established the Organization of African Unity (OAU). The creation of the OAU Charter took place at this Summit and defines a coordinated "effort to raise the standard of living of member States and defend their sovereignty" by supporting freedom fighters and decolonisation.[27] Thus, was the formation of the African Liberation Committee (ALC), during the 1963 Summit. Championing the support of liberation movements, was Algeria's President Ben Bella, immediately "donated 100 million francs to its finances and was one of the first countries, of the Organisation to boycott Portuguese and South African goods".[26]
In 1969, Algiers hosted the Pan-African Cultural Festival, on July 21 and it continued for eight days.[28] At this moment in history, Algeria stood as a ''beacon of African and Third-World militancy,''[28] and would come to inspire fights against colonialism around the world. The festival attracted thousands from African states and the African Diaspora, including the Black Panthers. It represented the application of the tenets of the Algerian revolution to the rest of Africa, and symbolized the re-shaping of the definition of pan-African identity under the common experience of colonialism.[28] The Festival further strengthened Algeria's President, Boumediene's standing in Africa and the Third World.[28]
After the death of Kwame Nkrumah in 1972, Muammar Qaddafi assumed the mantle of leader of the Pan-Africanist movement and became the most outspoken advocate of African Unity, like Nkrumah before him '' for the advent of a "United States of Africa".[29]
In the United States, the term is closely associated with Afrocentrism, an ideology of African-American identity politics that emerged during the civil rights movement of the 1960s to 1970s.[30]
Concept [ edit ] As originally conceived by Henry Sylvester-Williams (although some historians[who? ] credit the idea to Edward Wilmot Blyden), Pan-Africanism referred to the unity of all continental Africa.[31]
During apartheid South Africa there was a Pan Africanist Congress that dealt with the oppression of Africans in South Africa under Apartheid rule. Other pan-Africanist organisations include: Garvey's Universal Negro Improvement Association-African Communities League, TransAfrica and the International People's Democratic Uhuru Movement.
Additionally, Pan-Africanism is seen as an endeavor to return to what are deemed by its proponents as singular, traditional African concepts about culture, society, and values. Examples of this include L(C)opold S(C)dar Senghor's N(C)gritude movement, and Mobutu Sese Seko's view of Authenticit(C).
An important theme running through much pan-Africanist literature concerns the historical links between different countries on the continent, and the benefits of cooperation as a way of resisting imperialism and colonialism.
In the 21st century, some Pan-Africanists aim to address globalisation and the problems of environmental justice. For instance, at the conference "Pan-Africanism for a New Generation"[32] held at the University of Oxford, June 2011, Ledum Mittee, the current president of the Movement for the Survival of the Ogoni People (MOSOP), argued that environmental justice movements across the African continent should create horizontal linkages in order to better protect the interests of threatened peoples and the ecological systems in which they are embedded, and upon which their survival depends.
Some universities went as far as creating "Departments of Pan-African Studies" in the late 1960s. This includes the California State University, where that department was founded in 1969 as a direct reaction to the civil rights movement, and is today dedicated to "teaching students about the African World Experience", to "demonstrate to the campus and the community the richness, vibrance, diversity, and vitality of African, African American, and Caribbean cultures" and to "presenting students and the community with an Afrocentric analysis" of anti-black racism.[33]Syracuse University also offers a master's degree in "Pan African Studies".[34]
Pan-African colors [ edit ] The flags of numerous states in Africa and of Pan-African groups use green, yellow and red. This colour combination was originally adopted from the 1897 flag of Ethiopia, and was inspired by the fact that Ethiopia is the continent's oldest independent nation,[35] thus making the Ethiopian green, yellow and red the closest visual representation of Pan-Africanism. This is in comparison to the Black Nationalist flag, representing political theory centred around the eugenicist caste-stratified colonial Americas.[36]
The UNIA (Universal Negro Improvement Association) flag, is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The UNIA formally adopted it on August 13, 1920,[37] during its month-long convention at Madison Square Garden in New York.[38][39]
Variations of the flag have been used in various countries and territories in Africa and the Americas to represent Black Nationalist ideologies. Among these are the flags of Malawi, Kenya and Saint Kitts and Nevis. Several Pan-African organizations and movements have also often employed the emblematic red, black and green tri-color scheme in variety of contexts.
Maafa studies [ edit ] Maafa is an aspect of Pan-African studies. The term collectively refers to 500 years of suffering (including the present) of people of African heritage through slavery, imperialism, colonialism, and other forms of oppression.[40][41] In this area of study, both the actual history and the legacy of that history are studied as a single discourse. The emphasis in the historical narrative is on African agents, as opposed to non-African agents.[42]
Political parties and organizations [ edit ] In Africa [ edit ] Organisation of African Unity, succeeded by the African UnionAfrican Unification FrontRassemblement D(C)mocratique AfricainAll-African People's Revolutionary PartyConvention People's Party (Ghana)Pan-African Renaissance[43]Economic Freedom Fighters (South Africa)Pan Africanist Congress of Azania (South Africa)In the Caribbean [ edit ] The Pan-African Affairs Commission for Pan-African Affairs, a unit within the Office of the Prime Minister of Barbados.[44]African Society for Cultural Relations with Independent Africa (Guyana)Antigua Caribbean Liberation Movement (Antigua and Barbuda)Clement Payne Movement (Barbados)Marcus Garvey People's Political Party (Jamaica)Universal Negro Improvement Association and African Communities League (Jamaica)In the United Kingdom [ edit ] Pan-African FederationIn the United States [ edit ] The Council on African Affairs (CAA): founded in 1937 by Max Yergan and Paul Robeson, the CAA was the first major U.S. organization whose focus was on providing pertinent and up-to-date information about Pan-Africanism across the United States, particularly to African Americans. Probably the most successful campaign of the Council was for South African famine relief in 1946. The CAA was hopeful that, following World War II, there would be a move towards Third World independence under the trusteeship of the United Nations.[45] To the CAA's dismay, the proposals introduced by the U.S. government to the conference in April/May 1945 set no clear limits on the duration of colonialism and no motions towards allowing territorial possessions to move towards self-government.[45] Liberal supporters abandoned the CAA, and the federal government cracked down on its operations. In 1953 the CAA was charged with subversion under the McCarran Internal Security Act. Its principal leaders, including Robeson, W. E. B. Du Bois, and Alphaeus Hunton (1903''70), were subjected to harassment, indictments, and in the case of Hunton, imprisonment. Under the weight of internal disputes, government repression, and financial hardships, the Council on African Affairs disbanded in 1955.[46]The US Organization was founded in 1965 by Maulana Karenga, following the Watts riots. It is based on the synthetic African philosophy of kawaida, and is perhaps best known for creating Kwanzaa and the Nguzo Saba ("seven principles"). In the words of its founder and chair, Karenga, "the essential task of our organization Us has been and remains to provide a philosophy, a set of principles and a program which inspires a personal and social practice that not only satisfies human need but transforms people in the process, making them self-conscious agents of their own life and liberation".[47]Pan-African concepts and philosophies [ edit ] Afrocentric Pan-Africanism [ edit ] Afrocentric Pan-Africanism is espoused by Kwabena Faheem Ashanti in his book The Psychotechnology of Brainwashing: Crucifying Willie Lynch. Another newer movement that has evolved from the early Afrocentric school is the Afrisecal movement or Afrisecaism of Francis Ohanyido, a Nigerian philosopher-poet.[48] Black Nationalism is sometimes associated with this form of pan-Africanism.
Kawaida [ edit ] Hip hop [ edit ] Since the late 1970s, hip hop has emerged as a powerful force that has partly shaped black identity worldwide. In his 2005 article "Hip-hop Turns 30: Whatcha Celebratin' For?", Greg Tate describes hip-hop culture as the product of a Pan-African state of mind. It is an "ethnic enclave/empowerment zone that has served as a foothold for the poorest among us to get a grip on the land of the prosperous".[49] Hip-hop unifies those of African descent globally in its movement towards greater economic, social and political power. Andreana Clay in her article "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" states that hip-hop provides the world with "vivid illustrations of Black lived experience", creating bonds of black identity across the globe.[50] From a Pan-African perspective, Hip-Hop Culture can be a conduit to authenticate a black identity, and in doing so, creates a unifying and uplifting force among Africans that Pan-Africanism sets out to achieve.
Pan-African art [ edit ] Further information on pan-African film festivals see:
FESPACO and
PAFFSee also [ edit ] Literature [ edit ] Hakim Adi & Marika Sherwood, Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledgem 2003.Imanuel Geiss, Panafrikanismus. Zur Geschichte der Dekolonisation. Habilitation, EVA, Frankfurt am Main, 1968, English as: The Pan-African Movement, London: Methuen, 1974, ISBN 0-416-16710-1, and as: The Pan-African Movement. A history of Pan-Africanism in America, Europe and Africa, New York: Africana Publ., 1974, ISBN 0-8419-0161-9.Colin Legum, Pan-Africanism: A Short Political Guide, revised edition, New York: Frederick A. Praeger, 1965.Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond, Dover: The Majority Press, 1985.References [ edit ] ^ Austin, David (Fall 2007). "All Roads Led to Montreal: Black Power, the Caribbean and the Black Radical Tradition in Canada". Journal of African American History. 92 (4): 516''539 . Retrieved March 30, 2019 . ^ Oloruntoba-Oju, Omotayo (December 2012). "Pan Africanism, Myth and History in African and Caribbean Drama". Journal of Pan African Studies. 5 (8): 190 ff. ^ Frick, Janari, et al. (2006), History: Learner's Book, p. 235, South Africa: New Africa Books. ^ Makalani, Minkah (2011), "Pan-Africanism". Africana Age. ^ New Dictionary of the History of Ideas. The Gale Group, Inc. 2005. ^ About the African Union Archived January 29, 2011, at the Wayback Machine. ^ "The objectives of the PAP", The Pan-African Parliament '' 2014 and beyond. ^ a b Falola, Toyin; Essien, Kwame (2013). Pan-Africanism, and the Politics of African Citizenship and Identity. London: Routledge. pp. 71''72. ISBN 1135005192 . Retrieved September 26, 2015 . ^ Goebel, Anti-Imperial Metropolis, pp. 250''278. ^ Maguire, K., "Ghana re-evaluates Nkrumah", GlobalPost, October 21, 2009. Retrieved September 13, 2012. ^ a b Agyeman, O., Pan-Africanism and Its Detractors: A Response to Harvard's Race Effacing Universalists, Harvard University Press (1998), cited in Mawere, Munyaradzi; Tapuwa R. Mubaya, African Philosophy and Thought Systems: A Search for a Culture and Philosophy of Belonging, Langaa RPCIG (2016), p. 89. ISBN 9789956763016. Retrieved August 23, 2018. ^ "Pan-Africanism". exhibitions.nypl.org . Retrieved February 16, 2017 . ^ "A history of Pan-Africanism", New Internationalist, 326, August 2000. ^ The History of Pan Africanism, PADEAP (Pan African Development Education and Advocacy Programme). ^ Lubin, Alex, "The Contingencies of Pan-Africanism", Geographies of Liberation: The Making of an Afro-Arab Political Imaginary, Chapel Hill: University of North Carolina Press, 2014, p. 71. ^ Smith-Asante, E., "Biography of Ghana's first President, Dr Kwame Nkrumah", Graphic Online, March 8, 2016. Retrieved March 23, 2017. ^ a b Mkandawire, P. (2005). African Intellectuals: Rethinking Politics, Language, Gender and Development, Dakar: Codesria/London: Zed Books, p. 58. Retrieved March 23, 2017. ^ a b Legum, C. (1965). Pan-Africanism: a short political guide, New York, etc.: Frederick A. Praeger, p. 41. ^ Adi, H., & M. Sherwood (2003). Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledge, p. 66. ^ a b Legum (1965). Pan-Africanism, p. 42. ^ Adi & Sherwood (2003). Pan-African History, p. 179. ^ Legum (1965), Pan-Africanism, p. 45. ^ Legum (1965). Pan-Africanism, p. 46. ^ Legum (1965), Pan-Africanism, p. 47. ^ Martin, G. (2012). African Political Thought, New York: Palgrave Macmillan. ^ a b Adi & Sherwood (2003), Pan-African History, p. 10. ^ "African states unite against white rule", ON THIS DAY | May25. BBC News. Retrieved March 23, 2017. ^ a b c d Evans, M., & J. Phillips (2008). Algeria: Anger of the Dispossessed, Yale University Press, pp. 97''98. ^ Martin, G. (December 23, 2012). African Political Thought. Springer. ISBN 9781137062055. ^ See e.g. Ronald W. Walters, Pan Africanism in the African Diaspora: An Analysis of Modern Afrocentric Political Movements, African American Life Series, Wayne State University Press, 1997, p. 68. ^ Campbell, Crystal Z. (December 2006). "Sculpting a Pan-African Culture in the Art of N(C)gritude: A Model for African Artist" (PDF) . The Journal of Pan African Studies. Archived from the original on June 1, 2015. CS1 maint: BOT: original-url status unknown (link) ^ Oxford University African Society Conference, Corpus Christi College, Oxford University, May 5, 2012. ^ "About Us". Csus.edu . Retrieved October 15, 2015 . ^ The M.A. in Pan African Studies Archived October 25, 2014, at the Wayback Machine, African American Studies at Syracuse University. ^ Smith, Whitney (2001). Flag Lore of All Nations . Millbrook Press. p. 36. ISBN 0761317538 . Retrieved October 7, 2014 . ^ Lionel K., McPherson; Shelby, Tommie (Spring 2004). "Blackness and Blood: Interpreting African American Identity" (PDF) . Philosophy and Public Affairs. 32: 171''192. ^ Wikisource contributors, "The Declaration of the Rights of the Negro Peoples of the World", Wikisource, The Free Library. (Retrieved October 6, 2007). ^ "25,000 Negroes Convene: International Gathering Will Prepare Own Bill of Rights", The New York Times, August 2, 1920. Proquest. Retrieved October 5, 2007. ^ "Negroes Adopt Bill Of Rights: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded". The Christian Science Monitor, August 17, 1920. Proquest. Retrieved October 5, 2007. ^ "What Holocaust". "Glenn Reitz". Archived from the original on October 18, 2007. ^ "The Maafa, African Holocaust". Swagga. ^ Ogunleye, Tolagbe (1997). "African American Folklore: Its Role in Reconstructing African American History". Journal of Black Studies. 27 (4): 435''455. ISSN 0021-9347. ^ "Pan-African Renaissance". ^ Rodney Worrell (2005). Pan-Africanism in Barbados: An Analysis of the Activities of the Major 20th-century Pan-African Formations in Barbados. New Academia Publishing, LLC. pp. 99''102. ISBN 978-0-9744934-6-6. ^ a b Duberman, Martin. Paul Robeson, 1989, pp. 296''97. ^ "Council on African Affairs", African Activist Archive. ^ "Philosophy, Principles, and Program". The Organization Us. ^ "Francis Okechukwu Ohanyido". African Resource. ^ Tate, Greg, "Hip-hop Turns 30: Whatcha Celebratin' For?", Village Voice, January 4, 2005. ^ Clay, Andreana. "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity". In American Behavioral Scientist, Vol. 46.10 (2003): 1346''58. External links [ edit ] SNCC Digital Gateway: Pan-Africanism'--Digital documentary website created by the SNCC Legacy Project and Duke University, telling the story of the Student Nonviolent Coordinating Committee & grassroots organizing from the inside-outAfrican UnionAfrican Code Unity Through DiversityA-APRP WebsiteThe Major Pan-African news and articles siteProfessor David Murphy (November 15, 2015). "The Performance of Pan-Africanism: performing black identity at major pan-African festivals, 1966''2010" (Podcast). The University of Edinburgh . Retrieved January 28, 2016 '' via Soundcloud.
Ebro Darden - Wikipedia
Mon, 02 Dec 2019 12:36
Ebro Darden
BornIbrahim Jamil Darden
( 1975-03-17 ) March 17, 1975 (age 44) NationalityAmericanOccupationMedia executiveradio personalityYears active1990''presentKnown forHot 97 radio personalityBeats1 DJChildren1Websitewww.EbroDarden.comIbrahim "Ebro" Darden (born March 17, 1975) is an American media executive and radio personality. Until 2014, he was Vice President of Programming for Emmis Communications' New York contemporary urban station WQHT (Hot 97). He is currently a co-host on the Hot 97 morning show, Ebro in the Morning, alongside Peter Rosenberg, and Laura Stylez. As of 2015, Darden also hosts a hip hop music-based radio show on Beats 1.
Early life [ edit ] Darden was born to a black father and a Jewish mother. He attended a Pentecostal church and Hebrew school while growing up in Oakland and Sacramento.[1]
Career [ edit ] Start in radio [ edit ] Darden began his career in radio in 1990 at KSFM in Sacramento, California, while he was still a teenager. At KSFM he worked in research and as a sales runner until moving into programming as an intern, and later co-hosting for KSFM's night and morning shows. In 1997, he worked at KBMB in Sacramento as Programming and Music Director, as well as an afternoon host. Eventually, Darden became Operations Manager at KBMB, while also co-hosting mornings at KXJM in Portland, Oregon, in 1999.
Hot 97 [ edit ] In 2003, Darden became Music Director for WQHT, ultimately becoming the Program Director for the station in 2007.[2][3][4]
Darden worked alongside several past WQHT Hot 97 morning show co-hosts including Star and Bucwild, Miss Jones, DJ Envy, Sway, and Joe Budden from 2004 to 2007, and introduced Cipha Sounds and Peter Rosenberg to the AM drive in 2009. He rejoined the Hot 97 Morning Show in 2012, alongside Cipha Sounds, Peter Rosenberg, and Laura Stylez.
As Programming Director and on-air host, Darden was the main voice of several events at Hot 97 including Nicki Minaj's relationship with the station, and her alleged sexual relationship with the host; Hurricane Sandy; and Mister Cee's personal life.[5]
In 2014, VH1 announced a new unscripted comedy series, This Is Hot 97, which featured Darden and fellow hosts including Angie Martinez, Funkmaster Flex, Peter Rosenberg, Cipha Sounds, Miss Info, and Laura Stylez.[6]
Beats 1 [ edit ] In addition to his current on-air role at Hot 97, Darden is now one of three anchor DJs on Beats 1, an Internet radio service from Apple Music.
Feuds and controversy [ edit ] A comedic rivalry between Darden and fellow accomplished radio personality Charlamagne Tha God of Power 105.1 has been ongoing for years. In May 2017, Darden clarified their relationship, stating, "The stuff we do on the radio is stupid. It's for fun. I make fun of you for fun. That's it. It's not that deep... me and that dude don't have a personal problem... a personal relationship".[7]
Darden was mentioned in Remy Ma's "shETHER" diss track, on which Ma insinuated that he slept with Nicki Minaj by stating "Coke head, you cheated on your man with Ebro". After jokingly going back and forth with both Ma and her husband Papoose on social media, Darden denied the rumors, stating that he and Minaj had only a professional relationship.[8]
Ebro has been in an ongoing feud with Brooklyn artist 6ix9ine. Ebro made fun of 6ix9ine as looking like a clown and criticized him for bragging about streaming numbers,[9] and 6ix9ine responded on the song "Stoopid" with the line "That nigga Ebro, he a bitch/Just another old nigga on a young nigga dick." [10]
Personal life [ edit ] Darden has a daughter, Isa, who was born in 2014.[11]
Recognition [ edit ] In 2013, he was recognized by Radio Ink as a future African American leader.[12]
Filmography [ edit ] References [ edit ]
Queen & Slim (2019) - IMDb
Mon, 02 Dec 2019 12:13
3 nominations. See more awards >> Learn more More Like This Comedy | Crime | Drama
1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A detective investigates the death of a patriarch of an eccentric, combative family.
Director:Rian Johnson
Stars:Daniel Craig,Chris Evans,Ana de Armas
Action | Crime | Drama
1 2 3 4 5 6 7 8 9 10 6.6 / 10 X An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy.
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1 2 3 4 5 6 7 8 9 10 6.5 / 10 X The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
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1 2 3 4 5 6 7 8 9 10 7.9 / 10 X Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod.
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Drama
1 2 3 4 5 6 7 8 9 10 7.2 / 10 X A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health.
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1 2 3 4 5 6 7 8 9 10 7.7 / 10 X Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss.
Director:Trey Edward Shults
Stars:Taylor Russell,Kelvin Harrison Jr.,Alexa Demie
Comedy | Drama | War
1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home.
Director:Taika Waititi
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1 2 3 4 5 6 7 8 9 10 5.7 / 10 X A rookie New Orleans police officer is forced to balance her identity as a black woman after she witnesses two corrupt cops committing murder.
Director:Deon Taylor
Stars:Naomie Harris,Frank Grillo,Mike Colter
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1 2 3 4 5 6 7 8 9 10 7.3 / 10 X A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution.
Director:Todd Haynes
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1 2 3 4 5 6 7 8 9 10 8.3 / 10 X Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.
1 2 3 4 5 6 7 8 9 10 6.5 / 10 X Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes.
Director:Bill Condon
Stars:Helen Mirren,Ian McKellen,Russell Tovey
Crime | Drama | Mystery
1 2 3 4 5 6 7 8 9 10 7.1 / 10 X In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend.
Director:Edward Norton
Stars:Edward Norton,Gugu Mbatha-Raw,Alec Baldwin
Edit Storyline Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country Written bystmc-25959
Plot Summary | Add Synopsis Motion Picture Rating (MPAA) Rated R for violence, some strong sexuality, nudity, pervasive language, and brief drug use. | See all certifications >> Edit Details Release Date: 27 November 2019 (USA)
See more >> Edit Box Office Opening Weekend USA: $11,700,000, 1 December 2019
Gross USA: $15,810,000
Cumulative Worldwide Gross: $15,810,000
See more on IMDbPro >> Company Credits Technical Specs Runtime: 131 min
Aspect Ratio: 2.39 : 1
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full technical specs >>
Edit Did You Know? Trivia First feature film to be directed by Melina Matsoukas, who has previously only directed music videos and TV episodes.
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Quotes Slim :Are you tryin' to die?
Queen :No. I just always wanted to do that.
Slim :Well, don't do it while I'm drivin'
Queen :You should try it.
Slim :Nah, I'm good.
Queen :Pull over.
Slim :Na-ah.
Queen :Come on! Pull over. Pull over!
Slim :If I do, would you please, let me drive the rest of the way it is?
Queen :Swear to God.
[...]
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