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caltropspress · 1 year ago

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FEEDBACK LOOP #12: AJ Suede's "Most Black Superheroes"

Hands of onyx—my magnetic field fuck up electronics, I’m shielded—they feel it fusing. Born from nothing, sudden futures.

—ELUCID, “Ghoulie” (2022)

Boogying to my Walkman with the S on my chest.

—Redman, “A Day of Sooperman Lover” (1992)

Charlie Parker was a great electrician who went around wiring people.

—Bob Kaufman, “Fragment” (1959)

Although electricity, like the air around us, seems very impalpable, appealing to so few of the senses, it is yet capable of being measured…

—Lewis Latimer, from Incandescent Electric Lighting: A Practical Description of the Edison System (1890)

Black superheroes harness power outside themselves—channeling it, conducting it—becoming maestros of electro-ultra-magnetics, masters of ceremony. Amiri Baraka assessed the drumming of Sonny Murray, speaking of “his body-ness, his physicality in the music,” concluding that Murray was “a conductor of energies.” AJ Suede has reinvented himself as one Ark Flashington, and he’s cold lampin’. On “South Bronx,” KRS-One describes how “power from a streetlight made the place dark.” A cold lamp is one drained of its energy—its electricity siphoned to illegal sources. Think of New York City going dark during the blackout of July 13, 1977. Think of how the subsequent looting led to audio equipment ending up in the hands of budding creators. Think of the scene in Stan Lathan’s Beat Street from 1984: how they run wires from the abandoned building in the Bronx to a lamppost. The building, burnt out five times by an arsonist landlord collecting on insurance money, is given new life. The electricity stolen from the lamppost powers Kenny’s turntables and gets the party jumping. Jeff Chang details how the Ghetto Brothers played on the block by “plugging their amps into the lampposts.” He quotes Kool Herc divulging how he did the same, sharing a hack he’d learned watching construction workers: “I had a big McIntosh amp…300 watts per channel. As the juice start coming, man, the lights start dimming.” Light and dark merge like the twisting of two frayed wires. Psycho Les promised to “pump more watts than any RadioShack” on the Beatnuts’ “World’s Famous,” and all these examples prove how potent tinkering can be: a life-giving force, a revived pulse.

The precedent for suggesting superheroic poetics in hip-hop is congenital. Captain Sky’s “Super Sporm” traveled through the vas deferens (vas def?—mos def!) in 1978, smooth operations and muscle contractions assured its arrival in Big Bank Hank’s “Rapper’s Delight” lyrics in 1980 (“I can bust you out with my super sperm…”), and Kurtis Blow accepted the secretions in 1985 (the same year he told us, coincidentally, AJ is cool—no question). Seminal indeed!

Redman’s “A Day of Sooperman Lover” (1992) is Blowfly-level spoofing—not so heroic or chivalric as the song turns from rescuing a kitty cat to a Crying Game situation where our caped crusader unexpectedly “felt the bozack” of his beloved. Worth noting that when Reggie “dipped into [his] Sooperlover suit” it was accompanied by a “quick flash.” The rendezvous might’ve been chaotic but it was no Black Steel in the Hour of Chaos. Suede needs that steel to be ultra-conductive—something like Tricky’s “Black Steel” rendition. Something similar to “The Adventures of Grandmaster Flash on the Wheels of Steel” (1981). Flash’s early opus of the scratch and prismatic turntablism relied on disassembly of The Official Adventures of Flash Gordon (1966) record as much as it did disco data and funk fodder. Look up in the sky—yeah, above the clouds like Gang Starr in ’98, with Preemo pulling from Superman: The Man from Krypton, a 1978 children’s record.

The fixation probably apexed with the Last Emperor’s “Secret Wars.” “What if I had the power to gather all of my favorite MCs,” he proposed, “with the illest comic book characters and they became archenemies?” The original writing and recording of “Secret Wars” dates back to 1995 and ’96. Last Emp told David Ma that MCs and superheroes both operate as “modern day mythology.” Hip-hop heads decolonized comic conventions like Fanon, placing Black Masks over White Skins: Jean Grae, Ironman, MF DOOM, et cetera, and it don’t stop, and it can’t stop.

The fact that most Black superheroes use electricity speaks to a historical tendency for [particularly non-Black] comic writers and illustrators to codify stereotyped representations of identity. AJ Suede, though, celebrates the commonality of so many Black superheroes with an emphasis on their weaponizing of electricity. Purveyors of potent defenses (a double portion of protection, ELUCID would say) whose Main Source of power derives from an [ec]static breaking of atoms.

Suede deads the myth of superpredator and elevates a superhero mythopoeia super-suited to an Age of Incendiary Devices. He assembles a team (in hip-hop we might call it a crew) of comic book characters to demonstrate that most Black superheroes use electricity. Whether he presents this as a tired trope or point of pride is left ambiguous, but I prefer to think of it as a salute to the commonality.

AJ Suede holds a “couple of lanterns, lighting the path,” and the desire path leads us to Edison’s Lab in Menlo Park, New Jeruzalem. It was there that Lewis Latimer took eight steps to perfecting the carbon filament after Edison caught the L. Latimer literally wrote the book on electric light: Incandescent Electric Lighting: A Practical Description of the Edison System. History, as it goes, has made Latimer the lesser-known, but we can measure his impact in such luminaries as Bigg Jus. “I blow mics like filaments,” Jus rapped on CoFlow’s “Silence.” “I’m tungsten light within that causes something.” Something. What it causes must be too ineffable. Suede describes his “armor like tungsten, wolfram, / Wonder who indestructible.” Last Emp teased, Inconceivable? Unbelievable? On “Electric Relaxation,” Q-Tip claimed to be “stronger than Teflon.” We can thank Lewis Latimer for the threaded socket as well. See it on the cover of the Project Blowed compilation from 1995: a bare bulb hanging down, suspended in a white void, hinting at the empty-headed ingenuity of the most virtuosic freestyles to emerge from the MCs serving the Good Life. “There’s something special inside of my mental cargo vessel,” Aceyalone raps on “I Think,” “and it runs on lethal, ethyl methane, profane, / Kinda like a flux capacitor.” He thinks—bright bulb idea sharer. 88 MPH stream-of-consciousness thoughts. 1.21 gigawatts powered by either plutonium or hooked pole + lightning bolt.

Granville T. Woods got labeled “Black Edison,” but—actual fact—Thomas Alva should’ve been dubbed “White Woods.” Edison tried to jack Woods’ steez, claiming ownership (as oppressors are wont to do) to his patents, but Woods was having none of that litigious noise and won in court. Edison wanted credit for a creation that wasn’t his, but Woods was like, “That goddamn credit? Dead it, / You think a white inventor paying you back?—shit, forget it!” With his Synchronous Multiplex Railway Telegraph, Woods equipped trains with magnetic forces for the purpose of communication long before DONDI and FUTURA were bombing ’em.

And what was Edison up to in the meantime? He produced an 1896 film, The Watermelon Eating Contest, which featured “two of the colored gentry eating melon on a wager.” In 1905, he promulgated a worser racial cinematic vision with the Edwin S. Porter-directed The Watermelon Patch, which depicts a melon heist by “darkies” and a pursuit of the thieves by scarecrows-turned-skeletons. Subsequently, we see bloodhounds and cakewalking. On “Most Black Superheroes,” AJ Suede circumvents the mob. He moves “left with the science, but right with the math.” Red-right, white-left, Buck 65 rapped in 1999, memorizing his RCA cables. The wrath of Suede’s math is on par with Jeru’s—he knows how and when to plug in, to plug tune, when to summon storms from the grass surrounding the watermelon patch.

That AJ Suede is singing about Black superheroes distracts from his own heroics. Behind his “Ark Flashington” alter ego, Suede gathers the “harvest abundant [for] feeding the village.” The pun on “arc” weds his electrifying powers to “ark” in a Noachian sense. “Ark,” from the Latin arca, meaning “chest,” alludes to a coffer for storing secrets (abilities, identities) or a chest in an anatomical or figurative sense: the seat of emotional strength and fortitude. The “ark” in Ark Flashington, there-to-the-fore, is the chest from which AJ Suede’s arcane language springs. As purple lightning flashed and purple haze lifted, Cam’ron rapped on 2004’s “More Gangsta Music” about “walk[ing] around like [he’s] got an S on [his] chest.” He had the “Tec on [his] left,” but it’s not a TEC-9 in Suede’s case; it’s a high-voltage technology.

As AJ Suede welds words together, there’s the constant risk of an arc flash—something, as his loyal listeners, we’d masochistically welcome. The way he tangles spools of l’s (“billionaire”; “still feel”) and coils conductive short-u’s (“deductibles”; “government”; “clusterfuckable”; “but”; “wonderful”) leaves us feeling vaporized. (We caught the toxic fume vapors!)

As such, we should come correct in PPE. Contact artist Lonnie Holley to commission a replica of his “African Mask” (2004)—a welder’s mask, actually, wreathed by a radial tire. Ribbons of rubber and sockets hanging like talismans and outlet boxes. This assemblage of scraps links [literally] the millennia-old metallurgy in Nigeria with the 20th century segregated workforce at Sloss Furnaces in Birmingham. Rockin’ the protective Holley headpiece will have you “feel[ing] wonderful,” as Suede says. You’ll be ready to drop a gem on ’em or, conversely, run the joules. You’ll look like the masked figure on the cover of Ark Flashington—all psychedelic oversaturation and electromagnetic energy exuding outward. Replace the S on your chest with the same inflammable material emblem from Massive Attack’s debut—embrace a “Safe from Harm” simmering beneath the surface of your epidermis.

“Alternating current in the blood gets channeled,” AJ Suede raps as he morphs verb into noun. You’re sitting on your sofa alongside Canibus tuning into Channel Zero, but the cathode-ray tube is on the fritz. Screen all fulla snow. Suede juxtaposes the light and dark of alternating current electricity in our TV sets and—like David Lynch—reveals the light and dark media representations of humanity.

The current carries “through the fingertips and eyes, / Talking to the skies” like Lynch settles his camera on #6 utility poles. Over the course of his career, the Twin Peaks director has been partial to electricity. “I don’t know why all people aren’t fascinated with it,” he said in 2006. “It makes beautiful sounds, and it makes a lot of times some incredible light. It runs many things in our world, and it’s beautiful. It’s sometimes dangerous, but it’s magical. It’s such a power….” He speaks to the ethos of Ark Flashington, and Suede’s “Most Black Superheroes” delves headlong into the racial components. Sure, Lynch has the soot-blackened faces of the Woodsmen (“Gotta light?” one infamously asks). He hideously birthed the “jumping man” (leaping tall buildings in a single bound…) above the convenience store in Fire Walk With Me (1992). The “jumping man” is acted by Carlton Lee Russell, a Black man, though he wears a mask of white plaster. A second Black man, credited fittingly as “the electrician,” is also present in that surreal scene. But these racial undertones are just that—rarely discussed contexts secondary to Lynch’s infatuation with the direction of electron flow and the nature of good and evil. No more than minstrelsy of the manic and unhinged, if that. AJ Suede sacrifices everything on the gallows-like altar of a transmission tower in order to get us closer to overstanding.

Remember how they treated Black soldiers after Nam? By simply raising the question, AJ Suede raises hell and reminds us. “Never give help,” he says, subverting the saves-the-day super duty tough work of your typical superheroes, “’cause they don’t give a damn.” History is a weapon which can be used to recognize the difference between a worthy rescue and an informed recusal.

In Seize the Time (1970), Bobby Seale’s account of his days developing the Black Panther Party, a current navigates through his narrative—“current” in both senses: contemporaneous to his volatile times and the flow of charged particles. Writing at the height of the Black Power movement [calculate Black power in wattage], he notes that our “modern, highly technological society” includes pervasive “electronic surveillance,” in addition to and aiding the efforts of “cops armed and equipped for overkill.” Electricity found its path into his earlier employment struggles, too. “I worked at Kaiser Aerospace Electronics near Oakland,” he writes. “It involve[d] testing for microscopic cracks in metals by a complicated chemical and magnetic process.” Despite mastering the trade and finding the knowledge rewarding, he quit a little over a year later because he conscientiously objected to where the company was moving: “[T]he war was going on and I felt I was aiding the government’s operation.” Government clusterfuckable, in Suede’s words. Later, as Seale was transported by US Marshals across state lines, he spent a layover in a Salt Lake City lockup, what he refers to as “a completely electronic jail.” The future shock of his detainment, with its “doors [that] opened and closed electronically”—absent the necessity of any human touch—reminded him of a “streamlined concentration camp.” “I was on a political charge,” he writes [my emphasis]—quarks, protons, and electrons notwithstanding—and ultimately this seeming scientifikal fact limits his options. “If I escaped,” he reasoned, “everybody would believe I was guilty of all that jive, those trumped-up charges. At the same time I knew darn well the power structure is going to move and do everything they can to try to convict me and railroad me into prison and the electric chair.” And there’s no glory in damning yourself to the living/dying embodiment of Eric Haze’s iconic Death Row Records logo, is there?

10.

Black people must ultimately come to realize that such coalitions, such alliances have not been in their interest…[I]n fact, the whites enter the alliance in many cases precisely to impede that progress.

—Kwame Ture and Charles V. Hamilton, Black Power: The Politics of Liberation in America (1967)

Ture and Hamilton point to labor unions to emphasize “the treacherous nature of coalitions.” As unions achieved collective bargaining rights nationwide, Black workers experienced “deterioration.” In the 1940s, the International Brotherhood of Electrical Workers (Suede’s new crew name, if I had my way) got their victory, but Black laborers were contracted out of the union. Ture and Hamilton quote Myrna Bain: “The excuse was advanced that, since their union contract specified ‘whites only,’ they could not and would not change this to provide continued employment for the Negroes who were at the plant before the union was recognized.”

“Fuck what you got,” AJ Suede raps, liberals, well-wishers, and allies “can’t change spots.” In fact, it’s not a matter of “can’t”—they won’t change spots. The only math they know is a zero-sum game. “After handshakes people still change plans,” so like Public Enemy said, you can’t truss it.

11.

What recourse does AJ Suede have? He signals the skies and gathers the [Black] powers available to him. He recruits Dwayne McDuffie and Robert L. Washington III’s Static, giving props to Virgil Hawkins’ namesake static bolts that sizzle and criss-cross into a Malik El-Shabazz “X” on the front panel of his cap. He hangs a banner from the 1994 inaugural issue: YOU DON’T START NONE THERE WON’T BE NONE. Time is illmatic, of course, and Nas tells us he “keep[s] static like wool fabric”—linking electricity, beef, and even “the kinkiness of Black people’s hair.”

Suede calls upon Black Lightning, tapping his ability to ionize illbient beats and throw up a force field before fists. He brings in Black Vulcan from the Super Friends in case they need to spot-weld the Fugees' "Ready or Not" submarine (on loan). He looks to da baddest bitch—no, not Trina (though she fellates at a pace “like lightning”)—but to Storm, relying on her to psionically and atmokinetically keep the peace. Hardware heads over with metal alloys looted from Alva Industries. In the same way Milestone Comics diverged from the prevailing archetypes and tokenism of Black superheroes, AJ Suede builds a posse that can apply pressure through a low-pass filter or phaser.

“Most Black Superheroes” survives on the subtle cracking and clicking of the Geiger counter in a tick-tock Doomsday clock loop rendered rhythmic: a molecular metronome. Drums tapped out on a cellar circuit breaker rather than an SP-404. Yes, most Black superheroes use electricity, and AJ Suede turns his sine waves square through a fuzz pedal. He abuses the tube amp until he achieves Electro Harmonix. He regulates the barometric pressure between Seattle and Bristol, rhyming at a rainy-day downtempo BPM, tautens the tripwire, and sends the circuit breaker tripping. His woofers thud the trunk of the jeep with melanated melankolic bass tones. “Most Black Superheroes” is an electric boogaloo of AJ Suede’s own mad scientist invention—a hip-hop park jam of resistance and Vedic possibilities where ohm meets om.

Images:

David Lynch, The Factory Photographs, 2014 (detail) | Captain Sky, The Adventures of Captain Sky, album cover (1978) | Superman: The Man From Krypton, Peter Pan Records (1978) | Lewis Latimer, “Electric lamp” (with Nichols, Joseph V.), patent (1881) | Project Blowed compilation, album cover (1995) | The Watermelon Patch, screenshot, Edison Films (1905) | Lonnie Holley, African Mask (2004) | David Lynch, “Electricity in Hand and Home” | Hardware, appearing in Milestone Comics (issue unknown) | Black Lightning in Justice League of America #174, (Jan. 1980) | Static, Issue 1, Dwayne McDuffie and Robert L. Washington III, DC Comics (May 4, 1993) | Storm, appearing in Marvel Comics (issue unknown) | David Lynch, The Factory Photographs, 2014 (detail)

#AJ Suede #underground hip hop #comics #black power #ark flashington #most black superheroes

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jpbjazz · 4 months ago

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LÉGENDES DU JAZZ

JAMES MOODY, UN SAXOPHONISTE MÉCONNU “I’ve always wanted to be around people who know more than me, because that way I keep learning.”

- James Moody

Né le 26 mars 1925 à Savannah, en Georgie, James Moody était le fils de James Moody et Ruby Hann Watters. James, qui avait aussi un frère, Louis, a été élevé par sa mère. Moody a grandi à Newark, au New Jersey.

Issu d’une famille de musiciens, Moody avait commencé à s’intéresser au jazz après avoir entendu son père jouer de la trompette avec le groupe de Tiny Bradshaw. L’intérêt de Moody pour la musique ne datait pas d’hier. Il expliquait: "When I was a kid [my mother] had a washing machine outside of the house that would go 'arookata-arookata.' She said I used to stand by and dance to the washing machine."

À l’âge de seize ans, l’oncle de Moody lui avait fait cadeau d’un saxophone alto en argent.

Moody avait adopté le saxophone ténor après avoir assisté à un concert de l’orchestre de Count Basie à l’Adams Theater de Newark, auquel avaient participé des saxophonistes comme ‘’Buddy’’ George Holmes Tate et Don Byas. Les saxophonistes Lester Young et Coleman Hawkins avaient également eu une grande influence sur son jeu.

Moody, qui jouait aussi de la flûte et du saxophone soprano à l’occasion, a étudié la composition avec Dizzy Gillespie, la composition et la théorie musicale avec Tom McIntosh, et la théorie musicale avec Michael Longo. DÉBUTS DE CARRIÈRE En 1943, Moody était entré dans l’armée de l’Air et avait joué avec le groupe de couleur (‘’negro band’’) du Greenboro Training Center. Après sa démobilisation en 1946, Moody avait joué du bebop avec Dizzy Gillespie durant deux ans. Lorsque Moody s’était joint au groupe de Gillespie, il se produisait avec un groupe non autorisé appelé le ‘’Negro Air Force Band’’, qui était dirigé par le trompettiste Dave Burns, qui avait plus tard avec le big band de Gillespie, puis avec le groupe de Moody au milieu des années 1950. Moody et Burns avaient été éblouis lorsqu’ils avaient entendu Gillespie donner un concert sur la base militaire de Greensboro, en Caroline du Nord. Lors d’un entretien avec Gillespie, les deux hommes avaient informé le trompettiste qu’ils seraient bientôt démobilisés. Dizzy avait alors invité Moody et Burns à venir passer une audition à New York. Après avoir raté une première audition, Moody s’était joint au big band tout-étoile de Gillespie en 1946.

En faisant partie du groupe de Dizzy, Moody avait une chance en or d’obtenir une visibilité internationale et de s’établir comme un improvisateur majeur. Moody se trouvait en bonne compagnie, puisqu’il partageait la vedette avec le vibraphoniste Milt Jackson, le pianiste Thelonious Monk, et le trompettiste Miles Davis, le contrebassiste Ray Brown et le batteur Kenny Clarke. Lors de son premier enregistrement avec l’orchestre, Moody s’était d’ailleurs établi comme soliste en interprétant une magnifique version de la pièce ‘’Emanon.’’ Comme le mentionnait le saxophoniste Jimmy Heath, "Moody's 'Emanon' solo was very exciting to all the saxophone players around Philadelphia. It was very different than any blues solo that you had heard. He had the bebop sound." La carrière de Moody était lancée. Un an plus tard, il avait enregistré avec Milt Jackson.

En 1948, Moody avait dirigeé la première session d’enregistrement de sa carrière pour les disques Blue Note. Lors de cette session, Moody avait joué à la fois du saxophone et de la flûte. Parmi les musiciens qui avaient accompagné Moody lors de l’enregistrement, on remarquait plusieurs des collaborateurs du big band de Gillespie. L’album avait été sous le titre éloquent de ‘’James Moody and His Bebop Men.’’ UN SUCCÈS INESPÉRÉ L’année suivante, découragé par le racisme qui prévalait aux États-Unis, Moody avait décidé de s’installer en Europe, plus particulièrement à Paris, où il était demeuré durant trois ans. À Paris, Moody vivait avec son oncle, qui l’avait aidé à se débarrasser de sa dépendance envers l’alcool.

Lors son séjour en Europe, Moody avait souvent joué avec des musiciens américains de passage, comme Tadd Dameron et Miles Davis. Il avait également fait des tournées en France, en Scandinavie et en Suisse, où il avait enregistré avec Miles Davis et Kenny Clarke.

C’est son séjour en Europe qui avait convaincu Moody d’ajouter le saxophone alto à son arsenal. Moody était en Suède lorsqu’il avait enregistré en octobre 1949 sa célèbre improvisation intitulée ‘’I’m in the Mood for Love’’, sur laquelle il jouait du saxophone alto plutôt que du ténor. C’était d’ailleurs la première fois de sa carrière que Moody jouait du saxophone alto professionnellement. La pianiste Gosta Theselius, qui avait écrit les arrangements, avait conçu les harmonies de la pièce lorsqu’elle se trouvait dans la salle de bain !

La pièce ‘’I’m in the Mood for Love’’ avait changé la vie de Moody et avait préparé son retour aux États-Unis. En 1954, la pièce avait connu un regain de popularité lorsque le chanteur King Pleasure en avait enregistré une version chantée sur des paroles écrites par Eddie Jefferson. La chanson était vite devenue un classique et avait été reprise par plusieurs chanteurs et chanteuses: Aretha Franklin, George Benson, Van Morrison et même Amy Winehouse.

De fait, la chanson avait obtenu un tel succès que pendant le reste de la carrière de Moody, la version chantée de la pièce, connue sous le titre de ‘’Moody’s Mood for Love’’, était devenue plus populaire que l’original. Toujours aussi courtois et avenant, Moody se faisait un plaisir d’accéder à la demande des amateurs en interprétant lui-même la chanson en concert.

Le séjour de Moody sur le continent l’avait établi comme artiste à part entière. Il avait même contribué au développement du jazz européen lors de son séjour. En 1952, Moody avait finalement décidé de retourner aux États-Unis afin de jouer et d’enregistrer avec des groupes comprenant des musiciens comme Pee Wee Moore entre autres. Il avait aussi collaboré avec d’autres saxophonistes, comme Gene Ammons et Sonny Stitt, avec lesquels il avait formé un groupe composé de trois saxophonistes ténor. À la même époque, Moody avait également accompagné le chanteur Brook Benton et la chanteuse Dinah Washington.

Peu après son arrivée aux États-Unis, Moody avait formé un septet qui fusionnait le jazz et le R & B. Eddie Jefferson était le chanteur du groupe. En 1956, le septet de Moody avait enregistré l’album ‘’Flute ‘n the Blues’’ sur étiquette Argo Records. Il s’agissait du premier enregistrement de Moody comme flûtiste. Moody précisait: "I never really studied the flute, although I had help from many beautiful people. So I just got a flute and started 'spittin' into it not knowing what I was doing. The fingerings, some of them, seemed similar to saxophone, and I just blew like that and that's how I started."

C’était aussi la première fois de la carrière de Moody qu’il utilisait trois instruments sur un album: le saxophone alto, le saxophone ténor et la flûte. L’album comprenait le succès ‘’Boo’s Tune’’ qui fut plus tard repris par Ray Charles.

Le 24 juillet 1955, Moody avait participé avec son orchestre à la 11e édition de la Cavalcade du Jazz qui avait lieu au stade Wrigley Field de Los Angeles. Le concert, qui était produit par Leon Hefflin Sr., mettait également en vedette Big Jay McNeely, l’orchestre de Lionel Hampton, The Medallions et The Penguins.

Même s’il avait enregistré plusieurs albums remarquables pour les disques Argo, Moody supportait plutôt difficilement les longues tournées et les pressions constantes de la vie de musicien itinérant. Finalement, Moody était de nouveau retombé dans l’alcool après qu’un incendie survenu à Philadelphie ait emporté tous les instruments, les costumes et les arrangements du groupe. Déterminé à ne pas laisser l’alcool détruire sa carrière, Moody s’était fait admettre volontairement à l’Overbrook Hospital de Cedar Grove au New Jersey, une institution spécialisée dans le traitement des maladies mentales. Moody avait passé six mois à Overbrook. Une fois libéré, Moody s’était installé à Chicago où il avait enregistré un album largement influencé par le blues et intitulé ‘’Last Train from Overbrook’’ dans lequel il démontrait ses progrès et sa virtuosité comme flûtiste.

Des décennies après la création du bebop, le style musical de Moody avait continué d’évoluer. Il avait même fait une incursion dans le free jazz. Le saxophoniste Jimmy Heath expliquait: "Over the years, Moody has become so free-- not in a random fashion, but a scientific freedom-- that he can do anything he wants with the saxophone.... He has true knowledge. He is in complete control," En 1963, Moody était retourné à ses anciennes amours et avait pris la relève de Leo Wright comme saxophoniste et flûtiste du groupe de Dizzy Gillespie avec lequel il était demeuré jusqu’en 1971. Moody avait travaillé plus tard avec Mike Longo. C’est lors de son séjour avec le groupe de Gillespie, dont il était un des plus fervents admirateurs, que Moody avait rencontré ses futurs collaborateurs Kenny Barron et Lee Spann.

En 1975, Moody, avec une femme et une fille à sa charge, avait décidé de laisser tomber l’existence instable de musicien de cabaret et de partir à la recherche de revenus plus réguliers. Moody s’était donc installé à Las Vegas où il avait joué durant sept ans avec le Las Vegas Hilton Orchestra, accompagnant des vedettes comme Elvis Presley, Ann-Margaret, les Osmonds, Lou Rawls, Bill Cosby et Liberace. Dans une entrevue accordée au Saxophone Journal en 1998, Moody avait expliqué pourquoi il avait choisi de d’établir à Las Vegas:

“The reason I went to Las Vegas was because I was married and had a daughter and I wanted to grow up with my kid. I was married before and I didn’t grow up with the kids. So I said, ‘I’m going to really be a father.’ I did much better with this one because at least I stayed until my daughter was 12 years old. And that’s why I worked Vegas, because I could stay in one spot.” De retour à New York en 1979, Moody avait formé son propre quintet. La carrière de Moody avait connu un nouveau souffle lorsqu’il avait remporté en 1985 un prix Grammy pour sa participation à l’album ‘’Vocalese’’ du groupe Manhattan Transfer dans la catégorie de la meilleure performance instrumentale en jazz. L’obtention de ce prix Grammy avait relancé la carrière d’enregistrement de Moody qui avait fait ses débuts l’année suivante sur étiquette RCA avec la parution de l’album ‘’Something Special.’’ Cet album avait été suivi de ‘’Moving Forward’’, dans lequel Moody avait démontré ses talents de chanteur sur la pièce ‘’What Do You Do’’ et de flûtiste sur le classique ‘’Giant Steps’’ de John Coltrane. Son album de 1989, intitulé ‘’Sweet and Lovely’’, était dédicacé à son épouse Linda, qu’il avait épousé en avril de la même année. C’est d’ailleurs Dizzy Gillespie lui-même qui avait joué de la trompette lors de la cérémonie.

En 1989, Moody s’était installé à San Diego, où il avait travaillé comme soliste et membre de groupes tout-étoile. Au cours des années 1990, Moody avait de nouveau fait équipe avec Gillespie (cette fois comme membre de l’United Nations Orchestra) dans le cadre d’une tournée de l’Europe et des États-Unis. Durant ce laps de temps, Moody avait continué d’expérimenter et de s’adapter aux derniers développements du jazz. Il avait même fait des enregistrements avec des cordes et des synthétiseurs. Grand pédagogue, Moody donnait également des cours et des ateliers dans les collèges et les universités.

En 1995, les disques Telarc avaient publié ‘’Moody’s Party’’, un album live enregistré à l’occasion du 70e anniversaire de naissance du saxophoniste. En avril 1996, Moody avait enregistré son premier album sur étiquette Warner Bros intitulé ‘’Young at Heart’’, sur lequel il avait repris des chansons traditionnellement associées à Frank Sinatra. En 1997, Moody avait aussi rendu hommage au compositeur Henry Mancini sur son album ‘’Moody Plays Mancini.’’ DERNIÈRES ANNÉES ET DÉCÈS En 1997, Moody avait fait une brève incursion au cinéma en interprétant le rôle de William Glover dans le film de Clint Eastwood ‘’Midnight in the Garden of Good and Evil’’, une adaptation d’un roman de John Berendt.

Dans un entrevue accordée en 1998 à Bob Bernotas, Moody avait déclaré qu’il croyait que le jazz avait une résonance spirituelle.

Moody avait passé les dernières années de sa carrière à jouer avec un quartet formé de la pianiste Renee Rosnes, du contrebassiste Todd Coolman et du batteur Adam Nussbaum. Il jouait aussi régulièrement avec les Dizzy Gillespie Alumni All-Stars et le Dizzy Gillespie Gillespie All-Star Big Band, en plus de collaborer fréquemment avec le trompettiste, compositeur et chef d’orchestre Jon Faddis. En 2007, Moody et Faddis avaient tous les deux travaillé avec le WDR Big Band à Cologne en Allemagne sous la direction de Michael Abene. Toujours avec Faddis, Moody était parti en tournée avec le Philip Morris Superband qui comprenait comme artistes invités des musiciens comme Jimmy Smith, Kenny Burrell, Gradu Tate et Barbara Morrison. Faisaient également partie de la formation le contrebassiste Niels-Henning Orsted Pedersen, le saxophoniste Jimmy Heath, le batteur Kenny Washington, le joueur de trombone Slide Hampton et le pianiste Monty Alexander. La tournée d’une durée d’un mois comprenait dix-huit concerts et avait débuté le 3 septembre 1986 à Perth en Australie. Le Canada, le Japon et les Philippines faisaient également partie de l’itinéraire. Le Philip Morris Superband avait été fondé en 1985.

James Moody s’est marié à trois reprises. Les deux premiers s’étaient terminés par un divorce. En 1989, Moody avait épousé en troisièmes noces Linda Petersen McGowan. Moody avait une fille, Michelle Moody Bagdanove, et trois beau-fils (via son mariage avec Linda), Regan, Danny et Patrick McGowan. Moody résidait avec sa femme à San Diego.

Sur le plan religieux, Moody était un adepte de la Baha’i Faith, une religion de type humaniste qui intégrait les concepts de base des principales religions mondiales. En 2005, Moody et son épouse avaient établi le Moody Scholarship Fund, une bourse d’études qui est décernée annuellement aux étudiants les plus méritants du conservatoire de musique du Purchase College-State University of New York. Moody avait d’ailleurs souvent participé à des programmes éducatifs, notamment pour le compte de l’International Association for Jazz Education (IAJE).

Le 2 novembre 2010, l’épouse de Moody, Linda Petersen, avait déclaré en son nom qu’il était atteint d’un cancer au pancréas et qu’il avait décidé de partir en douceur, sans avoir recours à la chimiothérapie ou à d’autres traitements agressifs du même genre. Après avoir reçu les soins paliatifs, Moody est mort à San Diego le 9 décembre 2010, à la suite de complications consécutives à son cancer. Il était âgé de quatre-vingt-cinq ans.

Ont survécu à Moody son épouse Linda, sa fille Michelle Moody Bagdanove, ses trois trois beaux-fils Patrick, Regan et Danny McGowan, son frère Louis, quatre petits-enfants et un arrière-petit-fils.

James Moody avait remporté plusieurs prix et récompenses au cours de sa longue carrière. Deux mois après sa mort, on lui avait décerné un prix Grammy dans la catégorie du meilleur album instrumental de jazz pour son disque ‘’Moody 4B.’’ En 1998, le National Endowment of the Arts lui avait décerné un Jazz Masters Fellowship Award, le plus important honneur pouvant être décerné à un musicien de jazz aux États-Unis.

Le New Jersey Performing Arts Center a fondé un festival en l’honneur du saxophoniste, le James Moody Democraty of Jazz Festival. Moody était laussi lauréat de deux doctorats honorifiques du Florida Memorial College et du Berklee College of Music. En 2010, la carrière de Moody avait été couronnée par la remise du Jazz Journsalists Award for Litetime Achievement in Jazz.

Homme charmant et plein d’esprit, Moody avait toujours été très apprécié du public. Au cours de sa longue carrière, James Moody avait participé à plus de quatre-vingt-dix enregistrements.

La curiosité toujours en éveil, James Moody avait toujours vu son éducation musicale comme un ‘’work in progress.’’ Il expliquait: “I’ve always wanted to be around people who know more than me, because that way I keep learning.”

Le critique du New York Times, Peter Watrous, avait un jour écrit au sujet de Moody: “As a musical explorer, performer, collaborator and composer he has made an indelible contribution to the rise of American music as the dominant musical force of the twentieth century.” ©-2023-2024, tous droits réservés, Les Productions de l’Imaginaire historique SOURCES: ‘’James Moody.’’ Wikipedia, 2022. ‘’James Moody.’’ National Endowment of the Arts, 2023. KEEPNEWS, Peter. ‘’James Moody, Jazz Saxophonist, Dies at 85.’’ New York Times, 10 décembre 2010.

#jazz

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wimpydave · 8 months ago

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Full Fight | Craig McIntosh vs. Kenny Mokhonoana | Bellator 291

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bongaboi · 11 months ago

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Georgia: 2023 Orange Bowl Champions

MIAMI GARDENS, Fla. — Georgia football dropped a boulder on the remnants of Florida State’s team in Hard Rock Stadium Saturday.

The Seminoles did not at all resemble the bunch that went 13-0 and were left out of the College Football Playoff. Its roster was decimated by players that pulled out of playing after being crushed to not be able to play for a national title.

Georgia took advantage in a 63-3 shellacking of the No. 5 Seminoles in the Orange Bowl.

Coming off an SEC championship game loss to Alabama that knocked it out of the playoff, the Bulldogs rolled to a 42-3 halftime lead behind 383 yards of total offense and finished the season 13-1.

Here are three things we learned about the Bulldogs after its second win in this bowl game in the last three seasons:

Georgia footballs shows no mercy in the Orange Bowl Georgia’s offense played without two projected NFL first-round draft picks in tight end Brock Bowers and offensive tackle Amarius Mims.

The Bulldogs still had way too much firepower for a Florida State missing eight defensive starters to opt outs and injuries. That included three new names that came to light on gameday: defensive linemen Joshua Farmer and Braden Fiske and linebacker Tatum Bethune. The Seminoles had 14 starters out in all.

Georgia set a program record for most points in half in a bowl game with 42 and the 39-point first halftime lead was its largest ever in a bowl.

Kendall Milton rushed for 104 yards and two touchdowns on 9 carries, all in a first half as Georgia rolled up 180 rushing yards on 16 carries. Milton went left then cut back and went right and into the end zone for a 15-yard touchdown run and later added a 5-yard score. Daijun Edwards 15-yard touchdown run made it 21-7.

Georgia scored touchdowns on nine straight possessions after turning it over on downs on the first time it had the ball. That includes with Gunner Stockton at quarterback for the last three of those.

Carson Beck was 13 of 19 for 203 yards and touchdowns of 12 yards to Arian Smith on a screen and 2 to Dominic Lovett. Beck was lifted at halftime.

Dillon Bell laid out to make a diving catch for 35 yards and then made another spectacular catch for 40 yards later in the half.

Georgia football defense clamps down on Seminoles Jordan Travis, Florida State’s star quarterback who was lost for the season and missed the final two games before the Orange Bowl, went to the locker room using crutches and in a walking boot with the Seminoles managing just a field goal in the first half.

Brock Glenn, the true freshman third stringer, was 7 of 22 for 122 yards and an interception. He got the start when backup Tate Rodemaker opted out before Christmas.

Georgia was missing starting inside linebacker Smael Mondon who was held out due to nagging injuries.

Cornerback Daniel Harris, who posted on social media he was going in transfer portal but hasn’t, got in the game on the second defensive series.

He was in coverage on a well-placed deep ball to Kentron Poitier for a 55-yard gain early in the second quarter. That was two yards shy of the longest pass play given up by Georgia this season.

Mykel Willaims and CJ Allen combined for a 1-yard loss on a Glenn run and the Seminoles settled for a short field goal.

Allen, a freshman linebacker, had a team-high 6 tackles. Williams forced a fumble and recovered late in the second quarter.

Playmaker Ladd McConkey scores on 'touchdown run' Running back Kenny McIntosh threw a touchdown pass in the 2021 Orange Bowl and Ladd McConkey looked like he would throw on a throw behind the line of scrimmage.

Instead the wide receiver weaved his way from in front of the Florida State sideline all the way on the other side down the Georgia sideline for what went as a 27-yard touchdown run. He broke a tackle at the 20-yard line.

McConkey put his arms across his chest and broke out a big smile in the end zone.

Coach Kirby Smart was smiling broadly on the sideline as well.

It was the fourth rushing touchdown of McConkey’s career.

The redshirt junior had two touches in the game. His other was a 22-yard catch.

#2023 #orange bowl #bowl season #college football #new year's six #georgia bulldogs

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wavdsteen · 1 year ago

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Peter Tosh en zijn nalatenschap in de muziek

Geboren als Winston Hubert McInTosh op 19 Oktober 1944 in Jamaica, waar hij op zijn 16e levensjaar verhuisde naar de sloppenwijk Trench Town, daar maakte hij kennis met de reggae invloeden die de rest van zijn leven een grote rol zouden spelen. Peter Tosh, en zijn muziek Zijn moeder was een enorme drijfveer als het om muziek gaat, want als één ding duidelijk werd vanuit zijn opvoeding was wel…

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#apartheid #Bob Marley #mick jagger #Peter #Peter Tosh #rolling stones #rolling stones records #ska #The Wailers #Tosh #wanneer overleed Peter Tosh #zuid afrika

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nfliplnews · 1 year ago

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[ad_1] The Seahawks placed running back Kenny McIntosh on injured reserve Saturday. He sprained his left knee in last month's mock game.The seventh-round pick will miss a minimum of four games before being eligible to return.The Seahawks also announced the elevations of two players for Sunday's game against the Rams.Cornerback Artie Burns and linebacker Jon Rhattigan are expected to dress for the season opener.Burns, who initially signed with the Seahawks as a free agent last year, made a move inside to the nickel spot in recent weeks. He played well in that spot in Seattle's preseason finale at Green Bay.Rhattigan, who initially made the team as an undrafted rookie out of Army in 2021, is a core special teams player. [ad_2] Source link

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kabenotkabe · 2 years ago

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Kenny McIntosh

#georgia bulldogs #champions #2023 #championship

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h00dsw0rld · 2 years ago

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Kenny McIntosh

#kenny mcintosh #football

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ozziesjester · 9 months ago

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!! mobile friendly f/o list !! (´ﾉω；`)

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Jimmy Valmer (South Park) 🎙 Romantic

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#for easier editing qwq #im embracing hellaverse cringe

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beautifulbizarremagazine · 2 years ago

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🌟10th Anniversary Issue 41 Pre-Orders now open! 🌟https://store.beautifulbizarre.net/product/issue-41-pre-order/

Beautiful Bizarre Magazine is a leading publication for contemporary art lovers, featuring in-depth interviews and profiles of leading and emerging visual and wearable artists from around the world. Each issue offers informative, inspiring, and thought-provoking content, perfect for artists, artisan fashion designers, collectors, curators, galleries, and anyone looking to stay up-to-date on the latest trends in the contemporary art world. Inside Issue 41

Exclusive In-Depth Interviews: Michael Parkes [cover artist], Tamura Yoshiyasu, Tania Rivilis, Andrew Hem.

Articles: Roxanne Sauriol Hauenherm, Paolo Puck, Known as Myself, Yuki T Photography, Ilya Zomb.

10 Year’s of Beautiful Bizarre Magazine: Interview with Beautiful Bizarre Magazine’s Co-Founder and Editor-in-Chief who speaks to us about how the magazine began, how it has grown and evolved over the last decade. Her challenges, successes, learning, and her journey thus far.

Curator’s Wishlist: Martin & Louise McIntosh, Directors of Outre Gallery in Melbourne, Australia share what they would like to add to their personal collection.

Collectors Profile: Kim Larson & Bradley Platz, Directors of Modern Eden Gallery speak to us about their personal collection and what motivates them to collect contemporary art.

Lookbook: Full page reproductions of Nona Limmen’s dark surreal photography.

Quick Q&A: Lou Benesch, Loputyn, Petite Doll, Karen Turner, and Win Wallace [2022 Beautiful Bizarre Art Prize, Honourable Mention], all respond to the same 4 questions which delve into their artistic practice:

How do you maintain your individuality as an artist and avoid being influenced by others in your field?

Tell us about your earliest memories of creating art and when you first realized that you wanted to be an artist?

How do you balance your personal life with your art career while ensuring a healthy work/life balance?

How do experimentation and risk-taking play a role in your creative process?

Beautiful Bizarre Artist Directory: Discover exceptional, innovative and skilled artists from around the world with Beautiful Bizarre Artist Directory – the leading platform for connecting with top talent.

Inside this issue: Jon Ching, Adrian Cox, Iness Rychlik, Elizabeth Winnel, Ransom & Mitchell, Dawid Planeta, El Gato Chimney, Tran Nguyen, Daantje Bons, Troy Brooks, Hannah Yata, Mothmeister, Josh Dykgraaf, Reuben Negron, Amahi Mori, Stephanie Rew, Jeff Echevarria, Bill Mayer, Akishi Ueda, Adam Matano, Brian Viveros, Annie Stegg Gerard, Eunpyon, Marcela Bolivar, Lindsey Carr, Ebony Russell, Hannah Flowers, Theodora Capat, Erik Mark Sandberg, Sara Gallagher, Brittany Markert, Adrian Cox, Bill Mayer, Beth Mitchell, Aaron Mcpolin, Nicolas Bruno, Steven Kenny, Allison Reimold, Adam Matano, Hiroshi Hayakawa, Lexi Laine, Hannah Flowers, Ema Shin, Heidi Taillefer.

Some of our Favourite Things: We share some of our favourite artisan fashion designers including: Louise Gardiner Embroidery, Ellen Rococo, Yu Tanaka, Jingyi Xiexie, and Sandra Mansour.

Our Community: Our Instagram #beautifulbizarre community feature including: @candiceghaiphotography, @christina.ridgeway.art, @julyhendrix, @marieeve_proteau, @petulantpretty, @vasilisa.romanenko, @margosimms, @thisiscraves

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#beautifulbizarre #artmagazine #art #photography #sculpture #digitalart #artisanfashion #couture #artinspiration

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insideusnet · 2 years ago

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No. 1 Georgia Tops Kentucky, Goes Unbeaten in SEC Again : Inside US

By GARY B. GRAVES, AP Sports Writer LEXINGTON, Ky. (AP) — Between Kenny McIntosh and Jack Podlesny, top-ranked Georgia got all the important points it needed on a day where style points weren’t possible. McIntosh rushed for a career-best 143 yards, including a crucial 9-yard score late in the third quarter, and the Bulldogs withstood Kentucky’s fourth-quarter rally Saturday for a 16-6 win and…

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beingallelite · 4 years ago

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#matt hardy #kenny mcintosh #twitter: kenny mcintosh #aew #all elite wrestling #posted on: 12.4.20

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bongaboi · 2 years ago

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Georgia: 2022 Peach Bowl Champions

ATLANTA -- Just when it looked like the Georgia football team was in deep, deep trouble, the Bulldogs found a way to survive.

The No. 1 Georgia football team's quest for a second straight national championship seemed all but lost in the fourth quarter of the Chick-fil-A Peach Bowl late Saturday night. Trailing No. 4 Ohio State by 14 points, the Bulldogs made the critical plays in all phases of the game to rally for a 42-41 win in the College Football Playoff semifinals at Mercedes-Benz Stadium.

With eight seconds left, and a crowd of 79,330 holding its breath, the Buckeye's kicker, Noah Ruggles, missed a 50-yard field-goal attempt that would have sent Ohio State (12-1) to the National Championship Game. He missed and the Bulldogs (14-0) were able to survive and advance.

Georgia will meet No. 3 TCU in the National Championship Game on Jan. 9, at SoFi Stadium in Inglewood, Calif. The Horned Frogs upset No. 2 Michigan, 51-45, in the Vrbo Fiesta Bowl on Saturday.

Georgia outgained the Buckeyes 533-467, with quarterback Stetson Bennett completing 23 of 34 passes for 398 yards, with three touchdowns and an interception. OSU's C.J. Stroud finished 23 pot 34 for 348 yards and four touchdowns.

The Bulldogs' opening drive, after a quick stop of the Buckeyes that included a 10-yard sack by linebacker Smael Mondon, Jr., included some bright spots, including two receptions by Adonai Mitchell. But it ended in a 47-yard field-goal attempt by Jack Podlesny that was wide left, giving the Buckeyes the ball back at their 29.

Ohio State went right to work, with Stroud hitting Marvin Harrison, Jr., for a 24-yard gain on first down. Later, on second-and-7 at the UGA 31, Stroud rolled to his right to avoid pressure, waited a moment, and then hit Harrison on the right side of the end zone for the game's first score, putting the Buckeyes up 7-0 with 8:16 left in the opening quarter.

Georgia responded quickly with a drive that showed off a lot of weapons. Bennett hit Dominick Blaylock on the left side for a 20-yard gain on third-and-10 at the UGA 25. Two plays later, Daijun Edwards pinballed off of a Buckeye and scampered for an 18-yard gain to the OSU 47. On the next play, Bennett rolled right and hit Brock Bowers for a 17-yard gain.

Bennett was sacked for a 7-yard loss on the next play, but on second-and-17 at the 25, he threw a quick strike to Kenny McIntosh, lined up in the left slot, and the running back made one cut and then took off for the end zone. Podlesny's extra point tied the game 7-7 with 3:15 remaining in the first. Bennett completed 9 of 10 passes for 110 yards and the touchdown in the first quarter.

The Buckeyes regained the lead, 14-7, on their next drive, on Miyan Williams' 2-yard run. The Bulldogs' nearly got a takeaway earlier in the drive when cornerback Kelee Ringo punched the ball out of Harrison's arms on a 24-yard completion, but the ball rolled out of bounds before any men in red could dive on it.

Ohio State got the ball right back, deep in Georgia territory, after a Bennett pass was intercepted by Steele Chambers and returned 15 yards to the UGA 30. The Buckeyes pushed their lead to 21-7 with 10:56 left in the half on Stroud's 16-yard touchdown pass to Harrison in the back right corner of the end zone. The deficit was the largest the Bulldogs had faced all season.

In need of a response, Georgia delivered it quickly. Edwards broke free for a 21-yard gain on the first play of the ensuing drive. Later, Bennett hit wideout Arian Smith deep for a 47-yard gain to the 11. On the next play, running back Kendall Milton ran the ball in on the right side for a touchdown, cutting OSU's lead to 21-14 with 9:16 on the clock.

Georgia's defense got a big stop on OSU's next drive, with linebacker Mykel Williams sacking Stroud for a 9-yard loss to the Buckeye 19 on third down. The Bulldogs started their next drive at their 38, with 7:41 to play in the half. They ended it with a 3-yard Bennett touchdown run, and Podlesny's extra point tied the game 21-21 with 6:07 to play in the half.

The drive began emphatically, with McIntosh taking a handoff and bursting free up the left hash after a couple of cuts. But he tripped after looking behind him and fell at the OSU 10, after a 52-yard gain. Edwards then ran the ball for 7 yards, to the 3, and Bennett did the rest. After that drive, the Bulldogs were averaging 11.9 yards per play for the game.

Georgia's defense got a second straight quick stop, and after a punt the offense took over at the Georgia 32. On third-and-6, Bennett fired a strike to Marcus Rosemy-Jacksaint for a 28-yard gain. Milton then ran for 15 yards to the 20 on the next play. On fourth-and-4 at the 14, with 1:49 left in the half, Georgia opted for a 32-yard Podlesny field goal that put the Bulldogs in front for the first time, 24-21, giving Georgia 17 unanswered points after falling behind 21-7.

Ohio State got the ball back with 1:44 to play in the half and very quickly found the end zone, regaining the lead, 28-24, on a 37-yard touchdown pass from Stroud to Xavier Johnson with 49 seconds remaining. The 28 points were the most Georgia's defense has allowed this season and the second-most it had allowed in a game.

Georgia was forced to punt on the opening possession of the second half, and Ohio State's offense went back to work against a Bulldog defense struggling to defend the pass. A couple of big completions helped the Buckeyes move into the red zone, and a 10-yard touchdown pass on third down, from Stroud to Emeka Egbuka, make it 35-24 with 10:37 left in the third.

With 31 seconds left in the third quarter, the Buckeyes added to their lead with a 25-yard Noah Ruggles field goal that made it 38-24. Podlesny cut into the lead with a 31-yard field goal with 10:14 left in the game, making it a 38-27 game.

After Georgia's defense forced a punt, Bennett on the first play of the ensuing drive hit Smith for a 76-yard touchdown to cut the margin 38-33 with 8:41 remaining. Georgia tried for a two-point conversion and Bennett hit Ladd McConkey on the right side, making the score 38-35. Smith somehow got way behind the Buckeye defense and had nothing between him and the end zone but about 30 yards of green turf.

Ohio State added a Ruggles 48-yard field goal with 2:43 to play to push its lead to 41-35, giving the Bulldogs at least a shot at pulling out the comeback win. And Georgia made the most of its shot, executing a 5-play, 72-yard drive in 102 seconds that culminated in a 10-yards touchdown pass from Bennett to Mitchell in the left corner of the end zone. Podlesny's extra point put the Bulldogs ahead 42-41 with 54 seconds left.

Stroud led the Buckeyes down the field on their final drive, running and throwing Ohio State into Georgia territory. His 27-yard scramble reached the 31-yard line with 24 seconds left, setting up Ruggles for a 50-yard attempt with eight seconds left. It never had a chance, missing well left.

Georgia got the ball back with three seconds on the clock and Bennett, his eyes clearly filled with tears on the TV broadcast, ran out to kneel down and send the Bulldogs to the National Championship Game.

#2022 #georgia bulldogs #college football #college football playoff #new year's six #peach bowl #bowl season

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