#Detroit Film Critics Society Awards

[lboogie1906]

Allen and Albert Hughes (born April 1, 1972) are film directors and producers, known for works such as Menace Society II and The Book of Eli. Albert was born minutes before Allen to Albert Hughes and Aida in Detroit.

Their parents divorced when they were two years old and their mother took them to Pomona, California when they were nine. She provided them with a video camera when they were twelve years old. They spent a lot of time making short films. They took their first TV production class in which they made a short film titled “How to be a Burglar” for a class assignment.

Albert began taking classes at Los Angeles City College’s Film School. Allen typically worked with the actors while Albert handled the technical aspects. They began filming music videos and directing for artists like Tone Loc and Tupac Shakur.

Their first film, Menace II Society, premiered at the Cannes Film Festival. It became a critical box office success as it grossed nearly ten times the three-million-dollar budget. It won Best Movie at the MTV Movie Awards. They premiered Dead Presidents, at the New York Critics Film Festival. The film failed to impress the critics or make a profit. American Pimp, released at the Sundance Film Festival, was equally unsuccessful. They filmed anti-handgun public service announcements which seemed at odds with their films.

They co-directed From Hell, a film adaption of the graphic novel of the same name about Jack the Ripper. Albert moved to the Czech Republic to live with his long-time girlfriend, and Allen embarked on his solo career.

Allen directed episodes of the American version of Touching Evil and the television feature Knights of the South Bronx. He directed a segment of New York, I Love You.

They co-directed The Book of Eli. Allen directed Broken City. Albert announced he would be producing The 7 Wonders of Crisis 3. Allen’s latest work was a four-part HBO documentary miniseries called The Defiant Ones for which he won Best Music Film in the Grammy awards. Albert began directing Alpha and The Fury of a Patient Man.

Allen has a son and Albert has a daughter. #africanhistory365 #africanexcellence

[brian-in-finance]

2021 Award Nominations

Winners TBA Monday 6 December

Best Director nominee - Kenneth Branagh, Belfast

Best Picture nominee - Belfast

Remember when Detroit was another new-to-Brian film critics group?

[thejewofkansas]

Awards Season 2021-22: Awards Round-Up 12/6

Awards Season 2021-22: Awards Round-Up 12/6

This week, we’ll going over the wins from the following groups: Atlanta Film Critics Circle (AFCC)Detroit Film Critics Society (DFCS) – nomineesWashington D.C. Area Film Critics Association (WAFCA) – nominees A bit of a light start, but I’ll take it! Picture: AFCC: Licorice PizzaDFCS: CyranoWAFCA: Belfast Three groups, three different films. Okay, then. I’m most surprised by Cyrano winning…

[haimsource]

Alana Haim’s acting debut in Licorice Pizza: award nominations and wins

Santa Barbara International Film Festival

Virtuosos Award (win)

National Board of Review

Breakthrough Performance (win)

Pheonix Film Critics Society

Breakthrough Performance (win)

Oklahoma Film Critics Circle

Best Actress (win) 

Atlanta Film Critics Circle

Best Ensemble (tie)

Best Actress (tie)

Boston Online Film Critics Association

Best Ensemble (win)

Boston Society of Film Critics

Best Actress (win) 

Chicago Film Critics

Best Actress (nomination)

Most Promising Performer (win)

New Mexico Film Critics

Best Actress (win) 

Three if By Space Film Awards

Best Lead Actress (win)

Young Filmmakers of America Association Awards

Best Actress in a Comedy or Musical (win) 

Florida Film Critics Circle

Best Actress (win)

Best Ensemble (nomination)

Columbus Film Critics Association

Best Actress (win)

Best newcomer (win)

St. Louis Gateway Film Critics Association

Best Scene: truck driving in reverse (win)

Georgia Film Critics

Best Actress (win)

Breakthrough Award (win)

Best Ensemble (win)

Minnesota Film Critics Alliance

Best Actress (runner up)

Southern Eastern Film Critics Association

Best Actress (runner up)

Critics Association of Central Florida

Best Actress (runner up)

National Society of Film Critics

Best Actress (runner up)

North Carolina Film Critics Association

Best Actress (nomination)

Best Ensemble (nomination)

Best Breakthrough Performance (win)

Manchester Film Awards

Best Breakout Performance (win)

Detroit Film Critics Society

Best Actress (nomination)

Breakthrough (nomination)

Golden Globes

Best Actress in a Comedy or Musical (nomination)

Online Society of Film Critics

Best Lead Actress (nomination)

Music City Film Critics Association

Best Actress (nomination)

North Dakota Film Society

Best Actress (nomination)

Seattle Film Critics

Best Actress (nomination)

Denver Film Critics Society

Best Actress (nomination)

Alliance of Women Film Journalists

Best Woman’s Breakthrough Performance (nomination)

Portland Critics Association

Best Female Leading Role (nomination)

Chicago Indie Critics Awards

Best Actress (nomination)

Austin Film Critics Association

Best Actress (nomination)

Pandora International Film Festival

Acting Breakthrough (nomination)

NME Awards

Best Actor (win)

Satellite Awards

Best Actress in a Comedy or Musical (nomination)

Critics’ Choice Awards

Best Actress (nomination)

Best Acting Ensemble (nomination)

BAFTA 

Best Actress (nomination)

[shanewbpz822]

Why Nobody Cares About Showboat Film

Why How To Make Independent Films are Booming

Table of ContentsWhy The Greatest American Independent Movies are So PopularThe Only Guide to Independent Filmmakers You're Going To NeedHow Sundance Film Festival are Changing the World

e., cooperating the profits), but possession still resided the founders. As the years passed and the characteristics of business transformed, these "producing companions" drifted away. Goldwyn and also Disney left for RKO, Wanger for Universal Pictures, as well as Selznick for retired life. By the late 1940s, United Artists had practically discontinued to exist as either a manufacturer or supplier.

Selznick, Alexander Korda, as well as Walter Wangermuch of the same individuals who were members of United Artistsfounded the Society of Independent Movie Producers. Later on members included William Cagney, Sol Lesser, and also Hal Cockroach. The Society aimed to maintain the rights of independent producers in a sector overwhelmingly managed by the workshop system.

The most amazing guide to American Indie Filmmaking

In 1942, the SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The grievance implicated Paramount of conspiracy to regulate first-run as well as subsequent-run cinemas in Detroit. It was the first antitrust suit brought by manufacturers against exhibitors affirming monopoly and also restriction of profession. In 1948, the USA High Court Paramount Choice ordered the Hollywood flick studios to sell their theater chains and also to get rid of certain anti-competitive methods.

By 1958, several of the factors for producing the SIMPP had actually been corrected as well as SIMPP closed its workplaces. The efforts of the SIMPP and the introduction of low-cost mobile cameras throughout The second world war efficiently made it possible for anyone in America with a rate of interest in making movies to create, produce, and direct one without the aid of any kind of significant movie studio.

Filmmakers such as Ken Jacobs with little or no official training began to explore brand-new ways of making as well as firing movies. Little Fugitive came to be the initial independent film to be chosen for Academy Award for Ideal Original Screenplay at the American Academy Honors. It likewise obtained Silver Lion at Venice.

The top 5 things Best Independent Films can help with

As the 1950s advanced, the brand-new low-budget standard of filmmaking got increased recognition globally, with movies such as Satyajit Ray's critically well-known (19551959). Unlike the films made within the studio system, these new low-budget movies can manage to take dangers and explore new artistic territory outside the classical Hollywood narrative.

16 You Always Wondered About Independent Film Directors

Based upon a typical idea that the "main movie theater" was "running out of breath" and also had actually become "morally corrupt, visually out-of-date, thematically superficial, [and] temperamentally boring", this brand-new plant of independents formed The Film-Makers' Cooperative, an artist-run, charitable organization which they would make use of to distribute their movies with a central archive.

When he went back to America, Ken Rage would debut a number of his essential works there. Mekas as well as Brakhage would certainly take place to found the Anthology Movie Archives in 1970, which would certainly likewise show vital to the development and preservation of independent movies, also to this particular day. Not all low-budget films existed as non-commercial art endeavors.

Low-budget movie making promised exponentially better returns (in terms of percentages) if the movie might have an effective run in the movie theaters. Throughout this moment, independent producer/director Roger Corman began a sweeping body of work that would certainly come to be epic for its frugality and also grueling shooting timetable. Until his supposed "retirement" as a supervisor in 1971 (he remained to produce movies even hereafter day) he would certainly produce up to 7 movies a year, matching as well Source as typically exceeding the five-per-year timetable that the execs at United Artists had once believed difficult.

Corman's instance (which of others like him) would assist begin a boom in independent B-movies in the 1960s, the principal purpose of which was to generate the young people market which the major studios had actually lost touch with. By assuring sex, wanton violence, substance abuse, and also nakedness, these movies wished to attract audiences to independent theaters by offering to reveal them what the significant workshops might not.

All The Things Influential People In Independent Film Has Changed

As these tiny producers, cinemas, and also suppliers remained to try to damage one an additional, the B-grade shlock film quickly was up to the degree of the Z movie, a specific niche group of movies with production worths so reduced that they became a phenomenon in their own right. The cult audiences these pictures brought in quickly made them optimal prospects for midnight film screenings focusing on target market involvement and cosplay.

Romero shocked audiences with, a new kind of intense and also unrelenting independent horror movie. This movie was launched just after the desertion of the production code, however before the fostering of the MPAA rating system. Thus, it was the initial and also last movie of its kind to take pleasure in a completely unlimited testing, in which little ones had the ability to witness Romero's new brand of highly sensible gore.

With the production code deserted and fierce and also troubling films like Romero's getting popularity, Hollywood opted to pacify the uneasy filmgoing public with the MPAA rankings system, which would place constraints on ticket sales to young people. Unlike the manufacturing code, this score system positioned a danger to independent movies because it would certainly impact the variety of tickets they might offer and also reduce right into the grindhouse cinema's share of the youth market.

Nevertheless, having a movie audience-classified is strictly volunteer for independents and also there's no lawful impediment to releasing films on an unrated basis. Nevertheless, unrated flicks face barriers in advertising because media outlets such as TELEVISION channels, newspapers and also sites usually position their own constraints on films that do not featured a built-in national score to avoid providing flicks to inappropriately young audiences.

Most Unusual Indie Film To Studios facts

Widescreen processes and technological improvements, such as Cinemascope, stereo noise, 3-D as well as others, were created in an effort to preserve the diminishing target market by providing a larger-than-life experience. The 1950s as well as very early 1960s saw a Hollywood dominated by musicals, historic legendaries, and also other movies which gained from these breakthroughs.

[awardseasonblog]

#DianaRigg, conosciuta ai più nel ruolo di Emma Peel nella serie di spionaggio degli anni '60 The Avengers e in quello di Olenna Tyrell in Game of Thrones, è stata memorabile in #LastNightinSoho di Edgar Wright (ora disponibile su #Sky). Per questa performance, nominata solo ai Saturn Awards e ai Detroit Film Critics Society Awards, è stata ingiustamente esclusa dalla Stagione dei Premi dello scorso anno. Nell'affascinante #LastNightinSoho, la Rigg in un glorioso canto del cigno che segna la sua ultima apparizione cinematografica prima della sua scomparsa lo scorso autunno, offre una vivida performance miscelando con grazia e potenza il suo trasformismo. #OscarSnub #AwardsSeasonStory https://www.instagram.com/p/Chg1FwGMCw-/?igshid=NGJjMDIxMWI=

[blackkudos]

George William Crockett, Jr.

George William Crockett Jr. (August 10, 1909 – September 7, 1997) was an African-American attorney, jurist, and congressman from the U.S. state of Michigan. He also served as a national vice-president of the National Lawyers Guild and co-founded what is believed to be the first racially integrated law firm in the United States.

Early life

George Crockett was born in Jacksonville, Florida to George William Crockett, Sr. (1883–1975) and Minnie Amelia Jenkins (1884–1983), who had two other children: Alzeda Crockett and John Frazier Crockett. George Sr. pastored the Harmony Baptist Church in Jacksonville for more than 30 years and mastered the carpentry trade. George Sr. became a railroad carpenter for the Atlantic Coast Line Railroad. His son, George Jr., would later build room additions and continue practicing carpentry for pleasure in adulthood. Minnie, a gentle woman, Sunday School teacher and poet, said in a November 23, 1969 Times-Union Journal (Jacksonville) article, "My philosophy is that children should be ahead of their parents, should climb a step higher and make a contribution to the family and to society." George Jr. took his mother's philosophy to heart.

Education

Crockett graduated from Stanton High School in Jacksonville. In 1931, he received a Bachelor of Arts degree from Morehouse College, Atlanta, Georgia, a prestigious, historically black university that awarded its first degrees in 1897. He was later given an Honorary LL.D. from Morehouse in 1972, was inducted into Phi Beta Kappa, and served as a Trustee of the College for many years. During his Morehouse tenure, Crockett pledged Kappa Alpha Psi.

Crockett received a law degree from the University of Michigan Law School in 1934 and returned to Jacksonville to practice law that year as one of very few African American attorneys in the state of Florida.

As a lawyer

Crockett participated in the founding convention of the nation's first racially integrated bar association, the National Lawyers Guild in 1937, and later served that organization as its national vice-president.

As the first African-American lawyer in the U.S. Department of Labor, 1939–43, Crockett worked as a senior attorney on employment cases brought under the National Labor Relations Act, a legislative program of President Franklin D. Roosevelt’s New Deal. Crockett also worked as a hearing officer in the Federal Fair Employment Practices Commission during 1943.

That same year the United Auto Workers retained Crockett to run the union’s Fair Practices Committee, which tried to oppose so-called “hate strikes” by white workers, who protested the migration North by Black workers.

In 1946, Crockett along with partners Ernest Goodman, Morton Eden, and Dean A. Robb, co-founded the corporation believed to be the first racially integrated law firm in the U.S., Goodman, Crockett, Eden, and Robb, in Detroit, Michigan. The firm, eventually called Goodman, Eden, Millender and Bedrosian, closed in 1998.

In 1948, Crockett became a member of the legal team that went to New York for the Foley Square trial to defend 11 Communist Party leaders accused of teaching the overthrow of the Federal government, a violation of the Smith Act. Among the 11 were Communist Party leaders: Gil Green, Eugene Dennis, Henry Winston, John Gates, Gus Hall, Robert G. Thompson and fellow Morehouse alumnus and first black New York City Councilman Benjamin J. Davis. In 1949, while defending the Smith Act prosecution, Crockett and four other defense attorneys were sentenced by Judge Harold Medina to Federal prison for contempt of court. Crockett served four months in an Ashland, Kentucky Federal prison in 1952. A portion of Crockett's jury summation at the trial was published in "Freedom is Everybody's Job!: The Crime of the Government Against the Negro People, Summation in the trial of the 11 Communist leaders."

Crockett’s criticism of McCarthyism and the House Un-American Activities Committee grew after that case, and in 1952 he represented future Detroit mayor Coleman Young and the Rev. Charles A. Hill before the Committee.

As large numbers of young civil rights volunteers traveled to the U.S. South in the spring of 1964, Crockett recruited lawyers from the National Lawyers Guild to follow them. He founded the National Lawyers Guild’s office in Jackson, Mississippi, and managed the Mississippi Project (a coalition of the NLG and other leading civil rights legal organizations) during the 1964 Freedom Summer.

The infamous murders of the civil rights workers James Chaney, Andrew Goodman, and Michael Schwerner occurred in June of that year. The three had been arrested by local police while investigating the arson of a Black church near Philadelphia, Mississippi. Collaborating with local white supremacist vigilantes, the Neshoba County sheriff released the three men from jail late at night, and other civil rights workers reported their disappearance.

From the NLG office in Jackson, Crockett dispatched Guild lawyers to search for the missing men. The effort was in vain, and, years later, Crockett described his growing despair in the 1995 PBS documentary Mississippi America, narrated by Ossie Davis and Ruby Dee.

In the film, Crockett recounts his drive from Jackson to Meridian in a personal search for the missing men. He survived an effort of the sheriff to arrange his ambush by loudly offering driving directions, while white supremacists loitered nearby. Crockett returned safely to Jackson. He offered a full report to the Justice Department and the FBI, who refused to take the information. The murdered bodies of the 3 young men, one black, two white, were found days later.

As a judge

In 1965, Crockett became a candidate for the Detroit Common Council. Bob Millender guided his campaign. Crockett lost by a small margin "after he had been severely red-baited in the election," according to his former law partner Ernie Goodman (A Tribute to George W. Crockett, Jr, privately published, 1997.)

In 1966, Crockett was elected Judge of Recorder's Court, Wayne County, Michigan. The court handled criminal cases. From that bench, Judge Crockett incurred the wrath of the white corporate media and endured death threats for his role in a highly publicized police shooting, raid, and mass arrest.

On March 29, 1969, following an officer-involved shooting outside New Bethel Baptist Church in which a Detroit police officer died, police officers fired into and stormed the church. A secessionist organization, the Republic of New Afrika, had rented the church for a meeting. Witnesses in the majority African-American neighborhood later stated that the responding officers had all been white. More than one-hundred fifty persons, including juveniles, were arrested inside the church and taken to police headquarters. The church pastor called Judge Crockett before dawn.

Crockett opened temporary court at police headquarters. In refusing to find probable cause to hold the people from what he termed a “collective punishment” mass arrest, Judge Crockett released 130 of the arrested persons. In the controversy that followed, Detroit saw the appearance of bumper stickers that read, “Sock It to Crockett” and "Impeach Judge Crockett". The police association organized a picket line at the courthouse. The black community and interracial civic organizations supported Crockett.

In 1974, Crockett was elected Chief Judge of the Detroit's Recorder's Court. He served there until retiring in 1978.

As a Congressman

In November 1980, as the candidate of the Democratic Party from Michigan's 13th congressional district, Crockett was elected in a special election to the 96th Congress to fill the vacancy caused by the resignation of Charles C. Diggs, Jr. from the U.S. House of Representatives. Dennis W. Archer ran Crockett's successful election [1] campaign].

Crockett was simultaneously elected to a full term in the 97th Congress and was subsequently re-elected to the next four Congresses, serving from November 4, 1980, to January 3, 1991. Speaker of the House Thomas "Tip" O'Neill swore in 71-year-old Crockett in the presence of Crockett's wife Dr. Harriette Clark Crockett, son, and 96-year-old mother, Mrs. Minnie Crockett. She recited a poem she composed many years earlier titled, Our Children Three.

During his tenure, Crockett was a member of the Congressional Black Caucus, the Democratic Study Group, the Congressional Caucus on Women's Issues, and the Congressional Arts Caucus. He also served on the House Judiciary Committee, the Select Committee on Aging, and the House Foreign Affairs Committee. As a member of the Africa Subcommittee, Crocket authored the Mandela Freedom Resolution, HB.430, which called upon the South Africa government to release Nelson Mandela and his wife Winnie Mandela from imprisonment and banning. The resolution was passed by both houses of Congress in 1984. Later, Crockett continued to denounce apartheid in South Africa and was jailed with Detroit Mayor Coleman A. Young and others for demonstrating in Washington, DC against apartheid.

Crockett filed suit against the Reagan administration claiming violation of the War Powers Act in providing El Salvador with military aid (Crockett v. Reagan, 720 F.2d 1355 (C.A.D.C., 1983)).

Crockett chaired the Foreign Affairs' Subcommittee on Western Hemisphere Affairs from 1987 until his retirement.

On Wednesday, March 28, 1990 Crockett, who was affectionately called "Judge" by his House colleagues, announced on the House Floor: "Mr. Speaker, a few days ago the press carried the story on the death of the Honorable Harold Medina, who was the judge who presided over the famous communist trials in New York back in 1949 and 1950. In the course of that trial, Judge Medina sentenced the five defense lawyers to prison. I'm the only living survivor of those five defense lawyers.

"During the four months that I served in a federal prison, it never occurred to me that one day I would also serve in the United States Congress and be a member of the committee having oversight jurisdiction over all federal judges and all federal prisons.

"Today, Mr. Speaker, I rise to inform my colleagues that I have decided to retire from the House at the conclusion of the 101st Congress. After 68 years of working, championing unpopular causes, I'm hoping to enjoy a little time off.... I've been privileged to serve the people of Michigan's 13th District in this body, and it has been a challenge and an honor I will always cherish."

Representative John Conyers, also from Detroit, described Crockett's announcement by saying "When he finished, all the members stood and clapped." Source: Detroit Free Press, March 29, 1990, p. 15A.

Family

George and Ethelene Crockett had three children: Elizabeth Crockett Hicks, George W. Crockett III, and Dr. Ethelene Crockett Jones. George III also served on the Recorders Court. George Jr. had nine grandchildren: Wayne, Charles, Kyra, Iyisa, Kimberly, Kelly, LeBeau and Enrique, and eight great-grandchildren. One nephew, Rear Admiral Benjamin Thurman Hacker (1935–2003) was a U.S. Navy officer, who became the first Naval Flight Officer to achieve Flag rank.

Following the death of Dr. Ethelene Crockett, George Crockett Jr. married Dr. Harriette Clark Chambliss, a pediatrician in Washington, D.C.

Crockett is buried in Laurel, Delaware in the New Zion United Methodist Church cemetery, with his parents and other generations of Crocketts and within walking distance from Crockett Street, named in honor of the Crockett family.

http://wikipedia.thetimetube.com/?lang=en&q=George%20W.%20Crockett%2C%20Jr.

[thejewofkansas]

Awards Season 2020-21: Critics Groups Salad V

Awards Season 2020-21: Critics Groups Salad V

Been a while since I’ve done one of these. Got a lot of groups to go over – 16, in fact. Most aren’t going to impact the Oscar race in of themselves, but they help us to read the season. This time around, the groups are: African-American Film Critics Association (AAFCA)Austin Film Critics Association (AFCA)Critics’ Choice Awards (CCA)Detroit Film Critics Society (DFCS)Georgia Film Critics…

[hometvse]

Take Shelter Plagued by a series of apocalyptic visions, a young husband and father questions whether to shelter his family from a coming storm, or from himself.

[asgcontemporarydrawing]

Jeremy Deller

In his own estimation, Jeremy Deller is not an artist of a single medium (his works use many), but rather an instigator of social interventions. Critic Mark Brown once referred to Deller as a “pied piper of popular culture”—an apt reference to Deller’s extensive use of music and sound, his deliberately lowbrow approach, and his performance pieces that often require participation of the viewer. His works frequently look towards historic events and archives as a source, which he then builds upon accumulatively with found materials. One of his best-known pieces is the massive performance the Battle of Orgreave (2001), a re-staging of an infamous clash between striking miners and the police in 1984. Deller is also known to frequently collaborate with other artists. “I work because I’m interested in other people,” he has said. “I’m nosy.” Deller won a Turner Prize in 2004.

                                                                                                                 - Artsy

Deller traces his broad interests in art and culture, in part, to childhood visits to museums. After meeting Andy Warhol in 1986, Deller spent two weeks at The Factory in New York. He began making artworks in the early 1990s, often showing them outside of conventional galleries. In 1993, while his parents were on holiday (he was 27, still living at home), he secretly used the family home for an exhibition titled Open Bedroom.

In 1997, Deller embarked on Acid Brass, a musical collaboration with the Williams Fairey Brass Band from Stockport. The project was based on fusing the music of a traditional brass band with acid house and Detroit techno.

Much of Deller's work is collaborative. His work has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. Much of his work is ephemeral in nature and avoids commodification.

Deller staged The Battle of Orgreave in 2001, bringing together almost 1,000 people in a public re-enactment of a violent confrontation from the 1984 Miners' Strike. 

The Battle of Orgreave was ranked second in The Guardian's Best Art of the 21st Century list. In 2004, for the opening of Manifesta 5, the roving European Biennial of Contemporary art, Deller organised a Social Parade through the streets of the city of Donostia-San Sebastian, drafting in cadres of local alternative societies and support groups to participate.

In 2005/6, he was involved in a touring exhibit of contemporary British folk art, in collaboration with Alan Kane. In late 2006, he instigated The Bat House Project, an architectural competition open to the public for a bat house on the outskirts of London.

The following year, 'Our Hobby is Depeche Mode', a documentary co-directed with Nick Abrahams about Depeche Mode fans around the world was premiered at the London Film Festival, and followed by festival screenings around the world.

On 1 July 2016, his We're Here Because We're Here, commemorating the 100th anniversary of the Battle of the Somme, took place in public spaces across the United Kingdom. On 29 June 2017, his event "What Is The City But The People?" opened the Manchester International Festival.

In 2019 the Jewish Museum London commissioned Deller to create a short film of antisemitic footage showing contemporary media, politicians, and propagandists making antisemitic statements for its special exhibit Jews, Money, Myth. 

In 2019 Deller produced a film Everybody in The Place: An Incomplete History of Britain 1984–1992 which covered rave culture and political turmoil in 1980s Britain.

Later the same year, Deller was forced to admit that his design for the memorial to the Peterloo Massacre, intended to provide a podium for speakers and a monument to equality campaigners, had completely failed to make any provision for wheelchair users, despite corporate artwork prominently featuring wheelchair users and even though access had been raised during the consultation process. Protests by disabled groups led to a last minute redesign and Deller describing himself as "chastened".

Deller was the winner of the Turner Prize in 2004. His show at Tate Britain included documentation on Battle of Orgreave and an installation Memory Bucket (2003), a documentary about Crawford, Texas—the hometown of George W. Bush—and the siege in nearby Waco.

In 2010, he was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA) for 'creating art that encourages public responses and creativity'.

                                                                                                       - Wikipedia

As it is with 90% of modern/contemporary art, it is not for me. Though I appreciate the praise he’d gotten and can only congratulate him on his achievements, the only work of his that I like is Come friendly bombs and fall on Eton, 2018, and even that is solely visual.

Modern art is just never going to be for me.

[ljones41]

“THE POST” (2017) Review

"THE POST" (2017) Review When one thinks of Katharine Graham, Ben Bradlee and The Washington Post; the Watergate scandal comes to mind. So, when I heard that filmmaker Steven Spielberg planned to do a movie about the famous newspaper's connection to the "Pentagon Papers" . . . I was very surprised.

As many know, the Pentagon Papers had originated as a U.S. Department of Defense sponsored report that depicted the history of the United States' political and military involvement in Vietnam from 1945 to 1967. Sometime between 1969 and 1971, former military/RAND Corporation strategic analyst Daniel Ellsberg and RAND colleague Anthony Russo secretly made several copies of classified documents about the U.S. involvement in Vietnam since 1945 and submitted them in 1971 to The New York Times correspondent, Neil Sheehan. The Times eventually published the first excerpts of the classified documents on June 13, 1971. For years, I have been aware of The New York Times's connection to the Pentagon Papers. I had no idea that The Washington Post had played a major role in its publication, as well. There have been several productions and documentaries about the Pentagon Papers. However, most of those productions centered around Daniel Ellsberg or The New York Times's roles in the documents. "THE POST" marked the first time in which any production has depicted The Washington Post's role. Many people, including employees from The New York Times, have questioned Spielberg's decision to make a movie about The Post's connection to the Pentagon Papers. Some have accused Spielberg of giving credit for the documents' initial publication to the The Washington Post. And yet, the movie made it perfectly clear that The New York Times was the first newspaper to do so. It even went out of its way to convey Post editor-in-chief Ben Bradlee's frustration at The Times' journalistic coup. Following The New York Times's publication of the Pentagon Papers' first excerpts, the Nixon Administration, at the urging of Secretary of State Henry Kissenger, opposed the publication. Later, President Richard Nixon ordered Attorney General John Mitchell to obtain a Federal court injunction, forcing The Times to cease publication after three articles. While The New York Times prepared a legal battle with the Attorney General's office, Post assistant editor Ben Bagkikian tracks down Ellsberg as the source of the leak. Ellsberg provides Bagdikian with copies of the same material given to The Times, who turns them in to Bradlee. The movie's real drama ensues when the newspaper's owner, Katherine Graham, finds herself torn between Bradlee's urging to publish the documents and the newspaper's board of directors and attorneys, urging her not to. I had at least two problems with "THE POST". I am certain that others had more problems, but I could only think of two. I had a problem with Janusz Kamiński's cinematography. I realize that the man is a legend in the Hollywood industry. And I have been more than impressed with some of his past work - many of it for Steven Spielberg's movies. But I did not like his photography in "THE POST". I disliked the film's grainy and slightly transparent photography. I do not know the reasons behind Spielberg and Kamiński's decision to shoot the movie in this style. I do know that I found it unappealing. My second problem with the film centered around Spielberg's directorial style. In other words, his penchant for sentimentality nearly made the film's last ten minutes slightly hard for me to swallow. I refer to the scene in which one of the reporters read aloud the Supreme Court's decision to allow both The Washington Post and The New York Times, along with any other newspaper, to continue publishing the Pentagon Papers. It simply was not a matter of actress Carrie Coon reading the Court's decision out loud. Spielberg emphasized the profoundness of the moment with John Williams' maudlin score wailing in the background. A rather teeth clenching moment for me. Otherwise, I enjoyed the movie very much. Superficially, "THE POST" did not seem that original to me. When one has seen the likes of "ALL THE PRESIDENT'S MEN" and "SPOTLIGHT", what is so different between them and "THE POST". But there was a difference. For the movie's real heart focused upon owner Katherine Graham and her conflict over whether or not to allow the next excerpts of the Pentagon Papers to be published. And what made this even more interesting is the woman's character. If one had read Graham's memoir, "Personal History", one would learn that for years, she had suffered from an inferiority complex since childhood, due to her strained relationship with her more assertive mother. In fact, her father, who was the newspaper's original owner, had handed over the newspaper to her husband, Philip Graham, instead of her. And she saw nothing wrong with her father's decision. Following her husband's death, Graham found herself publisher of The Post. During the movie's setting - June 1971 - not only did Graham found herself dealing with Ben Bradlee's urgent demand that the newspaper publishes the Pentagon Papers, but also with the newspaper's stock market launch. Even worse, Graham also found herself facing a board of directors who did not take her seriously as The Post's publisher. So in the end, "THE POST" was more than about the Papers itself and the question of the United States' involvement in the Vietnam War. It seemed to be about how an unpopular war had an indirect impact upon a woman's life through a political scandal. The movie also seemed to be about a struggle between the media's belief in free press in order to inform the people and the government's belief in its right to control what the people should know. In a way, the Vietnam War and Daniel Ellsberg's release of the Pentagon Papers established The Washington Post's rise as an important national newspaper. And it opened the public's eyes about the U.S. government's involvement in Vietnam - something that had been hidden from the government for over two decades. The war and Ellsberg also kick started Katherine Graham's elevation as a newspaper publisher willing to take a risk for an important news story and of her self-esteem. Spielberg's movie could have simply been about The New York Times's scoop with its publication of the first excerpts of the Pentagon Papers and its battle with the Nixon Administration. But as I have earlier pointed out, his narrative has been seen in past productions. Aside from my disappointment with Kamiński's cinematography, there were other aspects of "THE POST" I admired. I certainly had no problems with Rick Carter's production designs. One, he did an admirable job of re-creating Washington D.C. and New York City circa 1971. And I was especially impressed that both Carter and set decorator Rena DeAngelo's recreation of The Washington Post's newsroom was as accurate as possible. I had learned that the newsroom depicted in the 1976 movie, "ALL THE PRESIDENT'S MEN" was slightly larger. Apparently, sometime between the newspaper's coverage of the Pentagon Papers and Watergate, its newsroom had been renovated and enlarged. Good catch on Carter and DeAngelo's part. Hollywood icon Ann Roth designed the costumes for the film and I must say that I was impressed. I was not impressed because I found her costumes dazzling or memorable. I was impressed because Roth, who had also served as costume designer for three of director Anthony Maghella's films, perfectly captured the fashion styles of the conservative Washington political set of the early 1970s. Both Meryl Streep and Tom Hanks earned acting nominations - for their portrayals of Katherine Graham and Ben Bradlee. Streep is the only one who earned an Academy Award nod. I am a little conflicted about it. On one hand, I cannot deny that the two leads gave very good performances. Streep did an excellent job in conveying Graham's emotional growth into her role as her late husband's successor as owner of The Washington Post. And Hanks was first-rate as the ambitious and tenacious Bradlee, who saw The Post's acquisition of more excerpts from the Pentagon Papers as a step into transforming the newspaper as a major national periodical. The movie also featured an interesting performance from Bob Odenkirk, who portrayed Ben Bagkikian, the assistant editor who had decided to set out and find Ellsberg after the Attorney General's Office forced The New York Times to cease publication of the Papers. Another interesting performance came from Bruce Greenwood, whose portrayal of the besieged former Secretary of Defense Robert McNamara really impressed me. I was surprised to discover that "THE POST" won a Best Ensemble award from the Detroit Film Critics Society. But you know what? Perhaps I should not have been that surprised. With a cast that included Carrie Coon, David Cross and Philip Casnoff; I really enjoyed those scenes featuring Bradlee with his senior staff, whether they were discussing or examining the Pentagon Papers. The movie also featured solid performances from Bradley Whitford, Sarah Poulson, Matthew Rhys, Tracy Letts, Michael Stulhbarg, Alison Brie, Jesse Plemmons, Pat Healy, and Zach Woods. I can honestly say that I would not regard "THE POST" as one of my top five favorite movies directed by Steven Spielberg. In fact, I am not sure if I would regard it as one of his best films. But the movie proved to be one of my favorites released in 2017, thanks to Spielberg's direction, a first-rate screenplay written by Liz Hannah and Josh Singer, and an excellent cast led by Meryl Streep and Tom Hanks. I have a feeling that it is one movie that I would never get tired of watching.

[galgadotsource]

Gal Gadot as been nominated in the category “Breakthrough”!

[the-caleb-landry-jones-blog]

Caleb is nominated! Check out the Breakthrough category!

[awardseasonblog]

La vittoria di #JessicaChastain ai #SAG Awards come miglior attrice per la sua performance nel biopic #TheEyesofTammyFaye rafforza le sue chance per i prossimi Oscar attestandosi come una delle favorite, insieme alla Kidman (Golden Globe) e alla Stewart (27 Film Critics Awards), dopo aver conquistato una serie di riconoscimenti da parte delle associazioni dei critici americani: Conchiglia d’Argento (San Sebastian Film Festival), Desert Palm Achievement Award (Palm Springs International Film Awards), Detroit Film Critics Society Award, Las Vegas Film Critics Society Award, North Carolina Film Critics Association Award, Houston Film Critics Society Award, Music City Film Critics Association Award N.B: su 27 edizioni dei SAG Awards 20 volte il verdetto della categoria Miglior attrice è stato confermato agli Oscar #AwardsSeason #BestActress #sagawards #ScreenActorsGuildAwards https://www.instagram.com/p/CagT81YoVle/?utm_medium=tumblr

[blackkudos]

Benny Carter

Bennett Lester "Benny" Carter (August 8, 1907 – July 12, 2003) was an American jazz alto saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. He was a major figure in jazz from the 1930s to the 1990s, and was recognized as such by other jazz musicians who called him King. In 1958, he performed with Billie Holiday at the Monterey Jazz Festival - but, then, really, he performed with every major artist of several many jazz generations, and at every major festival you could possibly care to name.

The National Endowment for the Arts honored Benny Carter with its highest honor in jazz, the NEA Jazz Masters Award for 1986. He was awarded the Grammy Lifetime Achievement Award in 1987, and both won a Grammy Award for his solo "Prelude to a Kiss" and received a star on the Hollywood Walk of Fame in 1994. In 2000 awarded the National Endowment for the Arts, National Medal of Arts, presented by President Bill Clinton.

Biography

Born in New York City in 1907, the youngest of six children and the only boy, received his first music lessons on piano from his mother. Largely self-taught, by age fifteen, Carter was already sitting in at Harlem night spots. From 1924 to 1928, Carter gained valuable professional experience as a sideman in some of New York's top bands. As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter, Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone. For the next two years he played with such jazz greats as cornetist Rex Stewart, clarinetist-soprano saxophonist Sidney Bechet, pianists Earl Hines, Willie "The Lion" Smith, pianist Fats Waller, pianist James P. Johnson, pianist Duke Ellington and their various groups.

First recordings

He first recorded in 1928 with Charlie Johnson's Orchestra, also arranging the titles recorded, and formed his first big band the following year. He played with Fletcher Henderson in 1930 and 1931, becoming his chief arranger in this time, then briefly led the Detroit-based McKinney's Cotton Pickers before returning to New York in 1932 to lead his own band, which included such swing stars as Leon "Chu" Berry (tenor saxophone), Teddy Wilson (piano), Sid Catlett (drums), and Dicky Wells (trombone). Carter's arrangements were sophisticated and very complex, and a number of them became swing standards which were performed by other bands ("Blue Lou" is a great example of this). He also arranged for Duke Ellington during these years. Carter was most noted for his superb arrangements. Among the most significant are "Keep a Song in Your Soul", written for Fletcher Henderson in 1930, and "Lonesome Nights" and "Symphony in Riffs" from 1933, both of which show Carter's fluid writing for saxophones. By the early 1930s he and Johnny Hodges were considered the leading alto players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. Carter's name first appeared on records with a 1932 Crown label release of "Tell All Your Day Dreams to Me" credited to Bennie Carter and his Harlemites. Carter's short-lived Orchestra played the Harlem Club in New York but only recorded a handful of brilliant records for Columbia, OKeh and Vocalion. The OKeh sides were issued under the name Chocolate Dandies. His trumpet solo on the October 1933 recording of "Once Upon A Time" by the Chocolate Dandies (OKeh 41568 and subsequently reissued on Decca 18255 and Hot Record Society 16) has long been considered a milestone solo achievement.

In 1933 Carter took part in an amazing series of sessions that featured the British band leader Spike Hughes, who went to New York specifically to organize a series of recordings featuring the best Black musicians available. These 14 sides plus four by Carter's big band were only issued in England at the time, originally titled Spike Hughes and His Negro Orchestra. The musicians were mainly made up from members of Carter's band. The bands (14–15 pieces) include such major players as Henry "Red" Allen (trumpet), Dicky Wells (trombone), Wayman Carver (flute), Coleman Hawkins (saxophone), J.C. Higginbotham (trombone), and Leon "Chu" Berry (saxophone), tracks include: "Nocturne", "Someone Stole Gabriel's Horn", "Pastorale", "Bugle Call Rag", "Arabesque", "Fanfare", "Sweet Sorrow Blues", "Music at Midnight", "Sweet Sue Just You", "Air in D Flat", "Donegal Cradle Song", "Firebird", "Music at Sunrise", and "How Come You Do Me Like You Do".

Europe

Carter moved to Europe in 1935 to play trumpet with Willie Lewis's orchestra, and also became staff arranger for the British Broadcasting Corporation dance orchestra and made several records. Over the next three years, he traveled throughout Europe, playing and recording with the top British, French, and Scandinavian jazzmen, as well as with visiting American stars such as his friend Coleman Hawkins. Two recordings that showcase his sound most famously are 1937's "Honeysuckle Rose," recorded with Django Reinhardt and Coleman Hawkins in Europe, and the same tune reprised on his 1961 album Further Definitions, an album considered a masterpiece and one of jazz's most influential recordings.

Return to Harlem and a move to Los Angeles

Returning home in 1938, he quickly formed another superb orchestra, which spent much of 1939 and 1940 at Harlem's famed Savoy Ballroom. His arrangements were much in demand and were featured on recordings by Benny Goodman, Count Basie, Duke Ellington, Lena Horne, Glenn Miller, Gene Krupa, and Tommy Dorsey. Though he only had one major hit in the big band era (a novelty song called "Cow-Cow Boogie," sung by Ella Mae Morse), during the 1930s Carter composed and/or arranged many of the pieces that became swing era classics, such as "When Lights Are Low," “Blues in My Heart," and "Lonesome Nights."

He relocated to Los Angeles in 1943, moved increasingly into studio work. Beginning with "Stormy Weather" in 1943, he arranged for dozens of feature films and television productions. In Hollywood, he wrote arrangements for such artists as Billie Holiday, Sarah Vaughan, Billy Eckstine, Pearl Bailey, Ray Charles, Peggy Lee, Lou Rawls, Louis Armstrong, Freddie Slack and Mel Torme. In 1945, trumpeter Miles Davis made his first recordings with Carter as sideman on album Benny Carter and His Orchestra, and considered him a close friend and mentor. Carter was one of the first black men to compose music for films. He was an inspiration and a mentor for Quincy Jones when Jones began writing for television and films in the 1960s. Carter's successful legal battles in order to obtain housing in then-exclusive neighborhoods in the Los Angeles area made him a pioneer in an entirely different area.

Benny Carter visited Australia in 1960 with his own quartet, performed at the 1968 Newport Jazz Festival with Dizzy Gillespie, and recorded with a Scandinavian band in Switzerland the same year. His studio work in the 1960s included arranging and sometimes performing on Peggy Lee's Mink Jazz, (1962) and on the single "I'm A Woman" in the same year.

Academia

In 1969, Carter was persuaded by Morroe Berger, a sociology professor at Princeton University who had done his master's thesis on jazz, to spend a weekend at the college as part of some classes, seminars, and a concert. This led to a new outlet for Carter's talent: teaching. For the next nine years he visited Princeton five times, most of them brief stays except for one in 1973 when he spent a semester there as a visiting professor. In 1974 Princeton awarded him an honorary master of humanities degree. He conducted workshops and seminars at several other universities and was a visiting lecturer at Harvard for a week in 1987. Morroe Berger also wrote the book Benny Carter – A Life in American Music (1982), a two-volume work, covers Carter's career in depth, an essential work of jazz scholarship.

In the late summer of 1989 the Classical Jazz series of concerts at New York's Lincoln Center celebrated Carter's 82nd birthday with a set of his songs, sung by Ernestine Anderson and Sylvia Syms. In the same week, at the Chicago Jazz Festival, he presented a recreation of his Further Definitions album, using some of the original musicians. In February 1990, Carter led an all-star big band at the Lincoln Center in a concert tribute to Ella Fitzgerald. Carter was a member of the music advisory panel of the National Endowment for the Arts. In 1990, Carter was named "Jazz Artist of the Year" in both the Down Beat and Jazz Times International Critics' polls. In 1978, he was inducted into the Black Filmmakers Hall of Fame and in 1980 received the Golden Score award of the American Society of Music Arrangers. Carter was also a Kennedy Center Honoree in 1996, and received honorary doctorates from Princeton (1974), Rutgers (1991), Harvard (1994), and the New England Conservatory (1998).

One of the most remarkable things about Benny Carter's career was its length. It has been said that he is the only musician to have recorded in eight different decades. Having started a career in music before music was recorded electrically, Carter remained a masterful musician, arranger and composer until he retired from performing in 1997. In 1998, Benny Carter was honored at Third Annual Awards Gala and Concert at Lincoln Center. He received the Jazz at Lincoln Center Award for Artistic Excellence and his music was performed by the Lincoln Center Jazz Orchestra with Wynton Marsalis, Diana Krall and Bobby Short. Wynton accepted on Benny's behalf. (Back trouble prevented Benny from attending.)

Carter died in Los Angeles, at Cedars-Sinai Medical Center July 12, 2003 from complications of bronchitis at the age of 95. In 1979, he married Hilma Ollila Arons, who survived him, along with a daughter, a granddaughter and a grandson.

Songs composed by Carter

"Blues in My Heart" (1931) with Irving Mills

"When Lights Are Low" (1936) with Spencer Williams

"Cow-Cow Boogie (Cuma-Ti-Yi-Yi-Ay)" (1942) with Don Raye and Gene De Paul

"Key Largo" (1948) with Karl Suessdorf, Leah Worth

"Rock Me to Sleep" (1950) with Paul Vandervoort II

"A Kiss from You" (1964) with Johnny Mercer

"Only Trust Your Heart" (1964) with Sammy Cahn

Other songs by Carter include "A Walkin' Thing", "My Kind of Trouble Is You", "Easy Money", "Blue Star", "I Still Love Him So", "Green Wine" and "Malibu". Of course there are, literally, hundreds more - he truly was one of jazz's greatest composers.

http://wikipedia.thetimetube.com/?q=Benny+Carter&lang=en

[fyeahcaseyaffleck]

Congrats to Casey! He's now in good company with Mel, Woody and Polanski!

I’m not sure anon… are those guys you mentioned also Golden Globe, Critics Choice, Independent Spirit Award, BAFTA Awards, Desert Palm Achievement Award, AACTA International Award, Gotham Award, EDA Awards winners?

As well as winning the top honor from:

Atlanta Film Critics AwardsAustin Film Critics AwardsACCA AwardsBoston Society of Film Critics AwardsChicago Film Critics AwardsDenver Film Critics AwardsDetroit Film Critics AwardFlorida Film Critics AwardsGeorgia Film Critics AwardGijon International Film Festival AwardsHouston Film Critics AwardsIndiana Film Journalist AwardsIFC AwardsKansas Film Critics AwardsLas Vegas Film Critics Sierra AwardsLondon Critics Circle Film AwardsNational Board of Review AwardsNational Society of Film Critics AwardsNevada Film Critics AwardsNew York Film Critics AwardsNorth Carolina Film Critics AwardsNorth Texas Film Critics AwardsOklahoma Film Critics AwardsOnline Film Critics AwardsPhoenix Critics Circle AwardsPhoenix Film Critics AwardsSan Diego Film Critics Society AwardsSanta Barbara International Film Festival AwardsSeattle Film Critics AwardsSoutheastern Film Critics AwardsSt. Louis Film Critics AwardsUtah Film Critics AwardsVancouver Film Critics AwardsWashington D.C. Area Film Critics AwardsWomen Film Critics Circle Awards

Casey is also in the company of all other winners of these awards, as well as all other Oscar winners 🤗

#BestActor