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theliberaltony · 4 years ago

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via Politics – FiveThirtyEight

Tomorrow will mark the start of what could be one of the swiftest Supreme Court fights in modern history. On Saturday, just a week after the death of Justice Ruth Bader Ginsburg, President Trump is expected to announce his nominee for her replacement: Judge Amy Coney Barrett, who is currently serving on the 7th Circuit Court of Appeals.

The nomination battle over Barrett will be bitter.

If she is confirmed — and right now, Republicans have the votes — her presence on the court will give the conservative wing a solid 6-3 majority, allowing the other conservative justices to bypass Chief Justice John Roberts. Or, put another way, Roberts will no longer be the court’s median. (He has cast several pivotal votes with the liberal justices over the years, often out of apparent concern for the court’s institutional legitimacy.)

Barrett’s appointment marks an enormous shift in the Supreme Court’s center of gravity. According to one estimate of her ideological leanings, Barrett will be the third-most conservative justice on the court, just to the left of Justices Samuel Alito and Clarence Thomas, and to the right of Trump’s two previous nominees, Justices Neil Gorsuch and Brett Kavanaugh. That’s a best-case scenario for liberals, too. Several experts told me that based on Barrett’s previous rulings as a federal judge and writings as a law professor, she could end up to the right of Alito — or even Thomas.

But even in that third-place slot, Barrett replacing Ginsburg is one of the largest swings on the modern court since 1953:

Big swings in the court’s makeup are rare

Supreme Court justice replacements by the biggest changes in ideological rank, where 1 is most liberal and 9 is most conservative

the biggest shifts on the modern supreme Court term Justice Rank Replacement rank change 1991 Marshall 1 Thomas 9 +8 1969 Warren 2 Burger 9 +7 2020 Ginsburg 2 Barrett 7 +5* 1969 Fortas 3 Blackmun 8 +5 1990 Brennan 2 Souter 5 +3 1962 Frankfurter 8 Goldberg 5 -3 1965 Goldberg 5 Fortas 2 -3

*Estimated change, based on JCS score When there were more than nine justices in a term, we dropped the justice(s) who voted in the fewest cases (e.g., O’Connor in 2005, Douglas in 1975).

Source: Martin-Quinn scores

Of course, it’s difficult to predict how any given nominee will vote once she is on the court, and in the past, several of the court’s most liberal justices were appointed by Republican presidents.1 But over the past several decades, the conservative legal movement has worked to cultivate a stable of potential justices who are consistent ideological conservatives. Barrett is in many ways the poster child for that effort.

Trump has even said that he was “saving” Barrett for Ginsburg’s seat. That’s because Barrett is a favorite of conservative Christians in particular, and is widely seen as a justice who would be willing to significantly expand states’ ability to restrict abortion access, or even vote to overturn Roe v. Wade, the 1973 ruling that established a constitutional right to abortion. She also criticized Roberts’s 2012 vote to uphold the Affordable Care Act in a recent law review article, which is significant if she’s confirmed by early November, as the Supreme Court is hearing a challenge to the law a week after the election.

“Everything about her screams ‘reliable conservative,’” said John Kastellec, a politics professor at Princeton University who studies Supreme Court nominations. “If you wanted a person who seems like a very safe bet to strike down Roe v. Wade, she’d be it.”

So it’s hard to imagine that Barrett won’t turn out to be the steadfast conservative her boosters are hoping for — and that’s a point Democrats are likely to drive home during her confirmation hearings. This line of attack isn’t without risks for Democrats, though. When Barrett was nominated to the 7th Circuit in 2017, she was criticized for her conservative ideology, but that backfired somewhat on Democrats, in part because Sen. Dianne Feinstein suggested during the hearings that Barrett, a Catholic, would be guided by “dogma” in her judicial decision-making — a comment that many religious conservatives saw as an anti-Catholic dog whistle.

But this time around, Kastellec and other experts told me, Democrats are likely to steer clear of attacking Barrett on personal traits, and instead emphasize what a hard conservative swing on the court could mean for abortion, the Affordable Care Act, gun restrictions, and a host of other liberal precedents. Barrett is young, too. At 48, she could be on the court for decades to come.

That means the confirmation hearings, which are likely to start around October 12, will probably be extremely rancorous. But it’s doubtful that would stop the GOP from steaming ahead with a vote on Barrett’s nomination after only a few weeks of deliberation. An ambitious timeline like that seems very possible, since Senate Republicans currently have a solid majority willing to vote on Trump’s pick for the Supreme Court even before Barrett was named. And several Republicans, including Trump, have indicated that they want to make sure the vote happens before Election Day so that the new justice is seated in time to resolve any election-related disputes — potentially giving Trump’s new nominee enormous power over the result of the election.

The rush to confirm a new justice is something of a gamble, electorally speaking, however. It could galvanize some religious conservatives and other Republican stalwarts who care a lot about judicial nominations, but it could also turn off other voters, since recent polls have indicated that many Americans are not enthusiastic about the idea of confirming a new Supreme Court justice so close to the election. But having a solid 6-3 conservative majority on the court is a big enough win for Republicans that they may be willing to risk a lot to achieve it.

#IFTTT #Politics – FiveThirtyEight #politics #538 #Amelia Thomson-DeVeaux

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papermoonloveslucy · 5 years ago

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MILTON BERLE

July 12, 1908

Milton Berle was born Milton (Mendel) Berlinger in New York City on July 12, 1908. He started performing at the age of five. He perfected his comedy in vaudeville, early silent films, and then on radio, before taking his act to the small screen, where he would be proclaimed “Mr. Television” and later “Uncle Miltie.” He hosted “Texaco Star Theater” on NBC from 1948 to 1956. The variety show was re-titled "The Milton Berle Show” in 1954 when Texaco dropped their sponsorship. The program was briefly revived in 1958, but lasted only one season. One of his classic bits was to dress in drag.

Berle won two Emmy Awards in 1950 for Most Kinescoped Personality and Best Kinescope show - a category that only existed in 1950. Here they are used as set dressing for his office on “The Lucy-Desi Comedy Hour” in 1959. Desilu also reproduced his TV Guide cover from earlier in the year. The caricature is by Al Hirschfeld. Berle received an honorary Emmy in 1979 engraved “Mr. Television”.

Lucille Ball and Desi Arnaz appeared on “The Milton Berle Show” on February 22, 1949, although Berle was out sick, replaced by Walter O’Keefe, delaying a Berle and Ball collaboration until 1950, when Berle hosted “Show of The Year: Cerebral Palsy Telethon” on June 10 and Lucy and Desi were guests. In the decade that followed, Berle (on NBC) and Ball (on CBS) both became the biggest stars of television.

Like Lucille Ball, Uncle Miltie had his own comic book! This is the first issue dated December 1950.

Ball and Berle returned for a second season of their respective TV shows in 1952, sharing the cover of this regional TV Guide.

Lucille Ball was atop the TV totem pole on the cover of this April 1953 TV Guide while Milton Berle stands on the shoulders of Imogene Coca and Sid Caesar, flanked by the Texaco gas pump and holding a jester’s staff. This was only the third National issue and the second to feature Lucille Ball.

‘Mr. Television’ and ‘The Queen of Comedy’ finally came together in 1959 on “The Lucy-Desi Comedy Hour” episode “Milton Berle Hides Out at the Ricardos” (LDCH E11). Berle plays himself, promoting his new novel “Earthquake”. As the above photo shows, Berle does his drag act while hiding out to finish his next book. That same year, Lucy and Milton both participated in a tribute to Eleanor Roosevelt on her Diamond Jubilee. It was broadcast on NBC.

Also in 1959, Lucy and Desi returned the favor by appearing on “Sunday Showcase: The Lucy-Desi Milton Berle Special” on NBC. The special was set in Las Vegas and the Arnaz’s played the Ricardos.

In December 1965, shortly after Lucy Carmichael moved to Los Angeles on “The Lucy Show,” “Lucy Saves Milton Berle” when she thinks he has taken to drink. Berle (playing himself) is doing research for a movie, and tells Lucy that the drunk she saw was actually his brother Arthur!

In payback, Lucille Ball appears on the first episode of Berle’s new variety show, “The Milton Berle Show” on September 9, 1966. The show only lasts one season.

A few weeks later, once again trading appearances, Milton Berle does a brief wordless cameo in “Lucy and John Wayne” on “The Lucy Show.”

Two seasons later, Lucy Carmichael will again meet Milton Berle for the first time in "Lucy Meets the Berles”. This time, however, she meets both Milton and his wife, Ruth Cosgrove Berle, who also plays herself.

On “Here’s Lucy,” Berle finally gets to play a character different than himself as used car dealer Cheerful Charlie in a November 1969 installment that also features his real-life brother Jack (right).

For the opening of season 24 of “The Ed Sullivan Show” Ed hosts the ‘Georgie Awards’ for Entertainer of the Year, from Caesar’s Palace, Las Vegas. Lucille Ball and Milton Berle are on hand to present awards.

“The 23rd Annual Primetime Emmy Awards” were broadcast on NBC on . May 9, 1971. Lucy attended the Awards with her husband Gary, her daughter Lucie, and her son-in-law Phil Vandervoort. Milton Berle was also in attendance.

“Zenith Presents: A Salute to Television’s 25th Anniversary” on September 10, 1972, brought together many of the most popular names of early broadcasting and included classic film clips, kine-scopes, video tape segments, and the personal memories of those who were a vital part of entertainment history. Naturally this included Ball, Berle, and Hope.

In late 1973, the Friars Club celebrated presented “A Show Business Salute To Milton Berle”. Sammy Davis Jr. hosted with guests Lucille Ball, Jackie Gleason, Bob Hope, Kirk Douglas, Red Foxx, and Carol O’Connor.

A few months later, Berle made his only appearance on “Here’s Lucy” (once again playing himself) in “Milton Berle is the Life of the Party”. Lucy Carter bids on Berle’s appearance on a telethon in order to enliven one of her dreary parties.

When “The Dean Martin Celebrity Roast” feted Lucille Ball in 1975, Milton Berle was one of the many colleagues on hand to roast and toast the Queen of Comedy.

While America was celebrating its bicentennial in 1976, the National Broadcast Corporation was celebrating 50 years in show business with “NBC: The First 50 Years.” Naturally, “Mr. Television” (an NBC star) and Lucille Ball (then very associated with CBS) were there to mark the occasion. A few days later, CBS honored Lucille Ball for a quarter century of television with “CBS Salutes Lucy: The First 25 Years”. Berle hopped over to the Tiffany Network to help pay tribute.

Less than a month later, Lucy and Milton were back on “The Dean Martin Celebrity Roast” to rib their mutual friend Danny Thomas, who spent time on both NBC and CBS during his career.

On March 26, 1978, Lucille Ball, Joey Bishop, George Carlin, Johnny Carson, Angie Dickinson, Kirk Douglas, Jim Henson, Bob Hope, Gabe Kaplan, Gene Kelly, Donny and Marie Osmond, Gregory Peck, and Carl Reiner were all on hand for “A Tribute to Mr. Television, Milton Berle”.

Lucy and Milton were back in Vegas for yet another “Dean Martin Celebrity Roast” to honor actor Jimmy Stewart in 1979.

In 1980, Lucy and Miltie were present for “Sinatra: The First 40 Years” at Caesar’s Palace Las Vegas.

“Bob Hope’s 30th Anniversary Television Special” on January 18, 1981, was a retrospect of Bob Hope’s first 30 years on TV. Celebrating with Bob are guests Lucille Ball, Milton Berle, Danny Thomas, George Burns, Sammy Davis Jr., and many others.

Milton Berle (in drag) joined Lucille Ball for “Bob Hope’s Women I Love - Beautiful But Funny” on February 28, 1982. Other than Bob, Milton was the only other biological male in the show!

Appropriately, Milton Berle and Lucille Ball were among the first inductees into “The First Annual Television Academy Hall of Fame Awards” on March 4, 1984. Steve Allen introduces Berle while Carol Burnett does the honors for Ball.

That same year “Bob Hope’s Unrehearsed Antics of the Stars”. Ball tells Hope about her disastrous audition for Gone With the Wind.

Berle and Ball (now an NBC employee) are there for the special “Bob Hope Buys NBC?” in 1985. Former President Gerald Ford also makes an appearance!

As President of the Friars Club, Milton Berle was present for most all of their events, including their tribute to Gene Kelly in late 1985. Lucille Ball and Gary Morton also attending the honoring.

Lucille Ball was a presenter at “The 38th Primetime Emmy Awards” on September 21, 1986. Milton Berle was also in attendance.

The final performance of Lucille Ball on television was in “Happy Birthday, Bob: 50 Stars Salute Your 50 Years at NBC” on May 16, 1988. She sang “Comedy is No Joke”. Milton Berle was also in attendance.

For the “AFI Life Achievement Award: A Salute to Jack Lemmon” on March 10, 1988 The audience is full of celebrity friends, including including Lucille Ball and Milton Berle.

“The Princess Grace Foundation Special Gala Tribute to Cary Grant” on October 19, 1988. Lucille Ball attends with her husband, Gary Morton. Milton Berle is also there.

This would be the last time Ball and Berle shared the same television marquee. Lucille Ball died six months later. A week before her passing, Ruth Cosgrove Berle died. In 1991, he married again to Lorna Adams. They remained married until Milton Berle died of colon cancer in 2002 at age 93.

“I live to laugh, and I laugh to live.” ~ Milton Berle

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dweemeister · 5 years ago

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Aaron Loves Angela (1975)

The protests following the death of George Floyd have ignited debates about police militarization and tactics in the United States. They have also reenergized, in some cases mainstreamed, a discussion about what is celebrated in popular culture. Some have argued that certain films should not be available for consumption because they have espoused white supremacist values or have merely depicted white supremacy – an argument that this blog rejects in favor of contextualization and curation. By many of those same critics’ hypothetical standards towards how black people can or should be depicted, blaxploitation films might be considered too problematic to show. Blaxploitation, a subgenre of exploitation film, rose and fell in the early- and mid-1970s. It featured majority-black (if not all-black) casts, but the characters they depicted often reinforced violent and sexualized stereotypes under the guise of empowerment.

Among the directors central to blaxploitation were Gordon Parks (1969’s The Learning Tree, 1971’s Shaft; the former is the first film directed by an African-American for a major Hollywood movie studio) and his son, Gordon Parks Jr. Released by Paramount, the younger Parks’ fourth and final film, Aaron Loves Angela, is a confounding film that cannot be cleanly categorized within the blaxploitation subgenre. At times, Aaron Loves Angela looks as if it will be played as a straight teenage coming-of-age or interracial romance film peripherally adapted from Shakespeare’s Romeo and Juliet, but a poorly written criminal subplot direct from low-rent blaxploitation fails to connect with the central drama. As disappointing as the execution is, the film’s interracial romance and – at least when the film focuses on the title characters – its framing through the star-crossed lovers is unlike anything of its kind in mid-1970s American cinema.

It is the early 1970s in Harlem. De facto segregation between blacks and Puerto Ricans does nothing to quell a simmering racial animosity. Two 15-year-olds – Aaron James (Kevin Hooks) and Angela Sanchez (Irene Cara in her film debut) – have a wordless, chance meeting during a high school basketball game. They gaze in each other’s eyes, with that tingly feeling in their stomachs. Of course, that tingly feeling is overwhelming and inconducive to winning a basketball game. Yes, Aaron’s team loses the game and a (predictable) bench-clearing brawl occurs. Aaron and Angela, despite their knowledge that most of their friends and family would disapprove, begin to see each other. Both are the only child in a single-parent household. He lives with his resentful father, Ike (Moses Gunn), once a promising American football player whose career ended due to injury, and too often stating his desire to see his son play professional basketball. She lives with her mother, and has never lived in one place long enough to make lasting friends.

Just as Aaron and Angela start their relationship, screenwriter Gerald Sanford (a journeyman television writer credited with episodes of Barnaby Jones and CHiPs) drops in a subplot that sidetracks the film so much that it not only undermines the budding story of the protagonists, but it seems as if it came from an entirely different film. In Aaron’s apartment building, drug dealer and pimp Beau (Robert Hooks; Kevin’s father) reels in Aaron on a narcotics deal with the Italian-American mafia. Aaron agrees to help for no good reason. Sanford’s inclusion of Beau and his girlfriend Cleo (Ernestine Jackson; whose character commits statutory rape) is an attempt to justify the film’s careening turns into a blaxploitation crime drama – a shootout, a climactic vehicular pursuit with innocent minors endangered. Considering how the film begins, its title, its ostensible spotlighting of two actors in a rarely-produced subgenre of romance, the subplot is a detriment to the young actors’ performances – there are genuine moments of tenderness, but not nearly enough – and the way their characters are written.

Romeo and Juliet displayed interest in developing the young Montague and Capulet; West Side Story affords the music and space for the audience to know Maria and Tony. Aaron and Angela favors the former, with the latter’s personality, family and friends, and ambitions reduced to her attraction to Aaron and nothing else. That Sanford and Parks are so disinterested in imbuing Angela with any character depth is an encapsulation of how carelessly they handle the story. As the criminal subplot begins to overstep its welcome, the amount of time directed towards Angela (without Aaron doting on her) and the Puerto Rican community evaporates. The film’s incuriosity towards its female and Puerto Rican characters probably should have been expected given the nature of exploitation films, but it is nevertheless dispiriting to see this sort of storytelling recklessness for a perspective seldom seen in American filmmaking.

The drug deal subplot also reduces the screentime for the best performance in Aaron Loves Angela. Moses Gunn, as Ike, is excellent here. He vacillates between fits of alcoholic rage and uttering thoughts regretted the moment after their delivery to sober melancholy and overbearing parenting. Stereotypes of black fatherhood in American mainstream media will often have the father be absent from their child’s life, sometimes simply unsupportive, and occasionally involved in criminal enterprise. Certainly, Ike exudes hostility and bitterness – which, on its face, appears to uphold those historic negative stereotypes frequently seen in movies (not just blaxploitation films). Noting his brief, injury-ended professional football career, that depthless well of antipathy is justified – in recent years, the National Football League (NFL) has been criticized for neglecting the financial and physical wellbeing of its retired players. Parks and Sanford should receive some credit, even if this is accidental, for providing dimension to a black father’s negative behavior. The film does not condone Ike’s behavior towards Aaron, but it retains some sympathy for the embattled father – something that might not have been perceptible with anything but a solid turn by Gunn. As Ike, Gunn plays a lifetime haunted by ghosts of glory.

Aaron Loves Angela also boasts songs by Puerto Rican singer/songwriter José Feliciano (who has a cameo in the film; some of the songs were co-written by his then-wife, Janna Merlyn Feliciano). The best and most notable feature of the code-switching soundtrack is “Angela”, played over the film’s opening credits. “Angela” is an impassioned song, strummed along to Feliciano’s signature guitar along with rolling string harmonies that make the piece distinctively Feliciano’s. The English-language version of “Angela” has not received much attention due to Aaron and Angela’s lack of success at the box office and contemporary obscurity, but the Spanish-language “Angela” (with a Spanish “g” pronounced as an “h”) was a generational hit among Spanish speakers. Irene Cara, a skilled vocalist (as any fan of 1980’s Fame will tell you), does not sing in this film.

Following Aaron Loves Angela, Gordon Parks Jr. formed a new production company, Africa International Pictures, and set to work on his newest project, an adventure film entitled Revenge. At least one-third of Revenge was completed when, on April 3, 1979, Parks and three others perished in an airplane crash that occurred shortly after takeoff. Revenge was never completed. The younger George Parks was survived by his father. For the young actors, they continued to work in the entertainment industry albeit thriving in different mediums. Kevin Hooks left acting to become a television producer and director while Irene Cara would become better known for her musical career (“Fame”, “Flashdance… What a Feeling”) than for her acting.

Movies centered on an interracial romance, let alone youthful interracial romance, are almost never distributed by major movie studios. Often consigned to smaller, independent studios and limited theatrical releases, these films deserve to have an audience. For Aaron Loves Angela, this was a film made by an established Hollywood studio, but apparently floundered with audiences – explanations for its lack of financial success are almost nil in freely-available literature because of the film’s obscurity.

Here is an attempt at inference. By 1973, the blaxploitation subgenre had been protested by civil rights groups and disgruntled actors and directors under the banner of the Black Artists Alliance because of their portrayals of black characters. Studio executives took notice of these protests, and the blaxploitation film would be in terminal decline for the remainder of the decade – these protests occurred even though these films provided black actors and actresses with a volume of starring roles that had never been seen in American cinema. With its 1975 release, Aaron Loves Angela arrived during the subgenre’s hasty decline. It is not an accomplished film, but Aaron Loves Angela’s central conceit – a film centered on African-American and Puerto Rican teenagers in a relationship – has unfortunately been buried due to the timing of its release. The virtuous qualities and cultural damage of films like Aaron Loves Angela and blaxploitation in general remain an open debate – one that deserves the recognition of nuance and previously unheard voices to help guide.

My rating: 5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Aaron Loves Angela #Gordon Parks Jr.#Kevin Hooks #Irene Cara #Moses Gunn #Robert Hooks #Ernestine Jackson #Gerald Sanford #Jose Feliciano #TCM #My Movie Odyssey

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blackkudos · 5 years ago

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Robert Hooks

Robert Hooks (born Bobby Dean Hooks, April 18, 1937) is an American actor, producer, and activist. He is most recognizable to the public for his more than 100 roles in films, television, and stage. Most famously, Hooks, along with Douglas Turner Ward and Gerald S. Krone, founded The Negro Ensemble Company (NEC). The NEC is credited with the launch of the careers of many major black artists of all disciplines, while creating a body of performance literature over the last thirty years, providing the backbone of African-American theatrical classics. Additionally, Hooks is the sole founder of two significant black theatre companies: the D.C. Black Repertory Company, and New York's Group Theatre Workshop.

Biography

Early life

The youngest of five children, Hooks was born in Foggy Bottom, Washington, D.C. to Mae Bertha (née Ward), a seamstress, and Edward Hooks who had moved from Rocky Mount, North Carolina with their four other children, Bernice, Caroleigh, Charles Edward "Charlie", and James Walter "Jimmy". Named Bobby Dean Hooks at birth, Robert was their first child born "up-north" and the first to be born in a hospital. His father, Edward, died in a work accident on the railroad in 1939.

Hooks attended Stevens Elementary School. In 1945, at the insistence of his sister Bernice who was doing community arts outreach for youngsters at Francis Junior High School, he performed the lead in his first play, The Pirates of Penzance, at the age of nine. From the ages of 6 to 12, Bobby Dean journeyed with his siblings to Lucama, North Carolina to work the tobacco fields for his uncle's sharecropping farm as a way to help earn money for the coming school year in D.C.

In 1954, just as Brown vs. Board of Education was being implemented in the north, he moved to Philadelphia to be with his mother, her second husband, and his half-sister, Safia Abdullah (née Sharon Dickerson). Hooks experienced his first integrated school experience at West Philadelphia High School. Hooks soon joined the drama club and began acting in plays by William Shakespeare and Samuel Beckett. He was graduated in 1956, passing on a scholarship to Temple University in order to pursue a career as a stage actor at the Bessie V. Hicks School of Theatre (alongside Charles Dierkop and Bruce Dern, with whom he second-acted plays doing their pre-Broadway tryouts in Philadelphia) while working at Browning King, a men's tailor shop at Fourteenth and Chestnut streets.

Career

Having trained at the Bessie V. Smith School of Theatre in Philadelphia, and after seeing A Raisin in the Sun in its Philadelphia tryout in February 1959, Hooks moved to New York to pursue acting. In April 1960, as Bobby Dean Hooks, he made his Broadway debut in A Raisin in the Sun replacing Louis Gossett, Jr. who would be doing the film version. He then continued to do its national tour. He then stepped into the Broadway production of A Taste of Honey, replacing Billy Dee Williams; then repeating the same national tour trajectory as he had done for "Raisin..." the previous year. In early 1962 he next appeared as the lead in Jean Genet's The Blacks, replacing James Earl Jones as the male lead, leaving briefly that same year to appear on Broadway again in Tiger, Tiger, Burning Bright before stepping back into the lead role in The Blacks in 1963. He then returned to Broadway, first in Ballad for Bimshire and then in the short-lived 1964 David Merrick revival of The Milk Train Doesn't Stop Here Any More (as a character created by Tennessee Williams for this revival) and starring Tallulah Bankhead and Tab Hunter in his only stage performance. Immediately thereafter, in March 24, 1964 he originated the role of Clay in Amiri Baraka's Dutchman. With this play, on the advice of Roscoe Lee Brown, Hooks became known as, Robert Hooks. He also originated roles on the New York stage in Where's Daddy? for which he won the Theatre World Award and he was nominated for Best Male Lead in a Musical for Hallelujah Baby while he was simultaneously starring in David Susskind's N.Y.P.D.—the first African American lead on a television drama.

In 1968 Hooks was the host of the new public affairs television program, Like It Is.

Hooks was nominated for a Tony for his lead role in the musical, Hallelujah, Baby!, has received both the Pioneer Award and the NAACP Image Award for Lifetime Achievement, and has been inducted into the Black Filmmakers Hall of Fame. He also won an Emmy for his PBS special, Voices of Our People.

Significant roles for which Hooks is known include Reeve Scott in Hurry Sundown (1967), Mr. T. in the blaxploitation film Trouble Man (1972), grandpa Gene Donovan in the comedy Seventeen Again (2000), and Fleet Admiral Morrow in Star Trek III: The Search for Spock (1984). He also appeared on television in an episode of the NBC crime drama series The Eddie Capra Mysteries in 1978 and portrayed Doctor Walcott in the 1980s television series Dynasty.

Activism

Arts and Culture

In 1964, as a result of a speaking engagement at the Chelsea Civil Rights Committee (then connected to the Hudson Guild Settlement House) he founded The Group Theatre Workshop (GTW), a tuition-free environment for disadvantaged urban teens who expressed a desire to explore acting. Among the instructors were Barbara Ann Teer, Frances Foster, Hal DeWindt, Lonne Elder III, and Ronnie Mack. Alumni include Antonio Fargas, Hattie Winston, and Daphne Maxwell Reid.

The Group Theatre Workshop was folded into the tuition-free training arm of the The Negro Ensemble Company (NEC) founded in 1967 with Douglas Turner Ward and Gerald S. Krone with a $1.3 million grant from the Ford Foundation under the auspices of W. McNeil Lowry.

From 1969-1972, Hooks served as an original board member of Black Academy of Arts and Letters (BAAL) (located in New York) alongside C. Eric Lincoln, President; John O. Killens, Alvin F. Poussaint, and Charles White. Chartered by the State of New York, BAAL's mission was to bring together Black artists and scholars from around the world. Additional members included: Julian Adderley, Alvin Ailey, Margaret Walker, James Baldwin, Imamu Baraka, Romare Bearden, Harry Belafonte, Lerone Bennett, Arna Bontemps, Ossie Davis, Ruby Dee Davis, St. Clair Drake, Ernest Dunbar, Katherine Dunham, Lonne Elder III, Duke Ellington, Alex Haley, Ruth Inge Hardison, Vertis Hayes, Chester Himes, Lena Horne, Jacob Lawrence, Elma Lewis, Henry Lewis, Paule Marshall, Donald McKayle, Arthur Mitchell, Frederick O’Neal, Gordon Parks, Sidney Poitier, Benjamin Quarles, Lloyd Richards, Lucille D. Roberts, and Nina Simone.

In response to the violence in his home town of Washington, D.C. in the wake of the Rev. Dr. Martin Luther King, Jr.'s assassination, and aided by a small grant from the Eugene and Agnes E. Meyer Foundation, Hooks took a leave of absence from the Negro Ensemble Company to create The D.C. Black Repertory Company (DCBRC, 1970-1981). As Founder and Executive Director, the DCBRC was intended as a further exploration of the ability of the arts to create healing. The a capella group Sweet Honey in the Rock was created and developed within its workshop process.

The Inner Voices (Lorton Prison arts training program, 1971) proved to be a result of the beneficial effect of the DCBRC in the D.C. area. In response to a direct plea from an inmate, Rhozier "Roach" Brown, who was serving a life sentence in Lorton, Hooks' D.C. Black Repertory Company structured the first prison-based arts program in the United States. While it is the norm now, it was then a revolutionary attempt at rehabilitation through the arts. Eventually The Inner Voices performed more than 500 times in other prisons, including a Christmas special entitled, "Holidays, Hollowdays." Due to Roach's work, President Gerald Ford commuted his sentence on Christmas Day, 1975.

His relocation to the West Coast redirected Hooks' approach to parity in the arts with his involvement with The Bay Area Multicultural Arts Initiative (1988) as a board member and grant facilitator-judge. Funded by monies from a unique coalition made up of the San Francisco Foundation (a community foundation); Grants for the Arts of the San Francisco Hotel Tax Fund, and The National Endowment for the Arts, the function of this organization was the funding of deserving local multicultural arts organizations.

In 1992, Hooks co-founded (with writer Lonne Elder III) Arts in Action. Located in South Central Los Angeles, this was a film and television training center established to guide individuals who aspired to careers in film production. It formulated strategies and training for securing entry-level jobs. Courses included: career development workshops; pre-production and production for film and television; creative problem solving in production management; directing for stage and screen—principles and practices; also the craft of assistant directors, script supervisor, technicians, wardrobe, make-up, etc.

The Negro Ensemble Company of Los Angeles (NEC-LA) (1994-1997) was created because so many New York members and original members had relocated to the west coast. Hooks, as founder and executive director enlisted alumni from his New York Negro Ensemble Company to serve as board members: Denise Nicholas, Denzel Washington, James Earl Jones, Laurence Fishburne, Richard Roundtree, Samuel L. Jackson. NEC-LA's goal was to be a new and innovative multi-ethnic cultural project that strived to achieve the community effectiveness and professional success of its parent organization.

Personal life

Hooks is the father of actor, television and film director Kevin Hooks. He married Lorrie Gay Marlow (actress, author, artist) on June 15, 2008. Previously, he was married to Yvonne Hickman and Rosie Lee Hooks.

Awards

1966 - Theatre World Award (1965–66 ) for "Where's Daddy?" (The Billy Rose Theatre)

1979 - American Black Achievement Award - Ebony Magazine

1982 - Emmy Award for Producing (1982) Voices of Our People: In Celebration of Black Poetry (KCET-TV/PBS)

1966 - Tony Nomination, Lead Role in a Musical for Hallelujah, Baby

1985 - Inducted into The Black Filmmakers Hall of Fame, recipient Oscar Micheaux Award (1985)

1986 - March 2nd declared Robert Hooks Day by the City of Los Angeles, Mayor Tom Bradley

1987 - Excellence in Advertising and Communications to Black Communities from CEBA (Excellence in Advertising and Communications to Black Communities)

2000 - Honorary Doctor of Humane Letters, Honoris Causa honorary degree, Bowie State University

2000 - May 25th declared Robert Hooks Day in Washington, D.C.

2005 - Beverly Hills/Hollywood Chapter NAACP Image Award for Lifetime Achievement

2005 - Beverly Hills/Hollywood Chapter NAACP Trailblazer Award to the Negro Ensemble Company

2005 - Trailblazer Award – City of Los Angeles

2006 - The Black Academy of Arts and Letters (TBAAL), Lifetime Achievement Award (Dallas)

2007 - The Black Theatre Alliance Awards / Lifetime Achievement Award

2015 - Living Legend Award (2015) National Black Theatre Festival

2018 - October 18th proclaimed Robert Hooks Day by Mayor Muriel Bowser, Washington, D.C.

2018 - Hooks is entered into The Congressional Record by the Hon. Eleanor Holmes Norton, September 4, 2018, Vol. 164

2018 - Visionary Founder and Creator Award - D.C. Black Repertory Company on its 47th anniversary

Acting Credits

Film

Sweet Love, Bitter (1967) .... Keel Robinson

Hurry Sundown (1967) .... Reeve Scott

Last of the Mobile Hot Shots (1970) .... Chicken

Carter's Army (1970) .... Lt. Edward Wallace

Trouble Man (1972) .... Mr. T

Aaron Loves Angela (1975) .... Beau

Airport '77 (1977) .... Eddie

Fast-Walking (1982) .... William Galliot

Star Trek III: The Search for Spock (1984) .... Admiral Morrow

Passenger 57 (1992) .... Dwight Henderson

Posse (1993) .... King David

Fled (1996) .... Lt. Clark

#04/18

10 notes · View notes

numbug1234 · 5 years ago

Text

Sonic the Hedgehog: Timeline

You’ve ever wondered about the chronology of a mascot platforming series with many self-contained entries? No? Well I did, and I combed through the lore as much as possible in order to find any definitive points to order things around in, and now I feel that I have the definitive timeline for you all.

(Notes and their sources appear at the end of the document – all notes listed before all sources)

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Timeline 1

Circa 1998000 BCE (likely earlier) [note 1] Light Gaia, Dark Gaia, and the planet itself came into being. The two incarnations of light and darkness (respectively) would periodically clash every few tens of thousands of years, with Dark Gaia destroying the planet and Light Gaia repairing it.

Circa 18000 BCE (likely earlier) -Light Gaia and Dark Gaia have their most recent clash over the fate of the planet. Result of this conflict is unknown. -As part of the aftermath of the battle, the denizens of the time created the Gaia Manuscripts -Earliest known appearance of the Chaos Emeralds

Unknown time period (likely after the above events) -Ancient Babylonians crash-landed onto the planet -Ended up integrating their technology with the local planet's resources

Circa 2000 BCE [note 2] -The Gizoid was created by the Fourth Great Civilisation, but ended up destroying it.

Circa 1000 BCE (possibly earlier) [note 2-1] -The Knuckles Clan was wiped out by Chaos. -Tikal stopped Chaos from wiping out the planet by sealing herself and Chaos within the Master Emerald. -Earliest known appearance of the Master Emerald.

Circa 1 BCE (possibly earlier) -Black Doom's earliest known interaction on Earth, where he hid a Black Arms fleet within a desert.

959 CE -Master Zik was born [note 3-1].

1847 -Zavok was born [note 3-1].

1862 -Zomom was born [note 3-1].

1868 -Zazz was born [note 3-1].

1875 -Zeena was born [note 3-1].

1883 Zor was born [note 3-1].

Circa 1950 CE (possibly earlier) -Professor Gerald Robotnik was hired by the United Federations military G.U.N. to create the Ultimate Life Form on-board the Space Colony: ARK. -Gerald agreed in order to develop a cure for his ill granddaughter, Maria. -On the side, Gerald stumbled across the Gizoid and another dimension where a terrible monster was in. To buy time, Gerald ended up handing the Gizoid to the military, only for it to destroy part of the ARK. -Gerald was only able to complete the Ultimate Life Form thanks to a deal with Black Doom, who happened to be passing by about then. Gerald came to regret this deal, and prepared a method to wipe the Black Arms out upon their return. -GUN became weary of the military project, and stormed the ARK in order to violently shut down the project. Gerald was the only survivor of the shutdown (including his granddaughter), and was forced to finish his research. Gerald slowly went insane, and implanted some additional coding into some of his creations, in order to get revenge on the Earth one day. He was implied to have been executed by firing squad.

1975 [note 3-2] [note 4] -Vector the Crocodile is born.

1976 CE -Bark the Polar Bear is born [note 3-3]. -Storm the Albatross is born [note 3].

1977 CE -Mighty the Armadillo is born [note 3-2]. -Big the Cat is born [note 3]. -Rouge the Bat is born [note 3]. -Wave the Swallow is born [note 3].

Circa 1978 CE (likely earlier) Dynamite Düx [note 5] -This entry is listed here because at this point Bin wasn't mentioned as having any kind of son, making it likely that he had his one adventure prior to this incident.

1978 CE -Bean the Dynamite is born, his father is Bin from Dynamite Düx [note 3-3] [note 5]. -Princess Elise the Third is born [note 3].

1979 CE -Knuckles the Echidna was born [note 3]. -Espio the Chameleon was born [note 3-2] [note 4].

1980 CE -Sonic the Hedgehog was born on Christmas Island [note 3-4].

1981 CE -Blaze the Cat was born in an alternate dimension [note 3]. -Jet the Hawk was born [note 3].

1983 CE -Amy Rose was born [note 3].

1985 CE -The Duke of Solleanna was researching the flame of hope in order to discover a method of time travel. -An experiment ended up failing violently, as the flame ended up splitting into two beings, Ible and Mephiles. -Before his death, the Duke ended up sealing Iblis within his daughter, Princess Elise the Third. -The fate of Mephiles the Dark is unknown.

1987 CE Miles “Tails” Prower is born [note 3].

1988 CE (another universe) Marine the Raccoon is born [note 3].

1989 CE [note 4] Charmy Bee is born [note 3-2]. Cream the Rabbit is born [note 3].

1993 CE Sonic the Hedgehog (SEGA Genesis/SEGA Megadrive) [note 6] -The introduction of both Sonic the Hedgehog and Dr. Ivo Robotnik (who will later be known as Eggman).

Sonic the Hedgehog (SEGA Master System, SEGA Game Gear) [note 6]

Tails Adventures [note 6] -Specifically noted as taking place before Tails meets Sonic for the first time.

Sonic the Hedgehog 2 (SEGA Genesis/SEGA Megadrive) [note 6] [note 7] -Sonic and Tails meet for the first time shortly before the events of this entry.

Sonic the Hedgehog 3 [note 6] [note 7] [note 8] -While not happening back to back, this entry immediately follows the events of the previous entry [note 4]. -Introduction of Knuckles the Echidna.

Sonic & Knuckles [note 6] [note 7] [note 8] -Sonic's story takes place before Knuckles' story.

Sonic the Hedgehog 2 (SEGA Master System, SEGA Game Gear) [note 6] [note 7]

SegaSonic the Hedgehog [note 6] [note 7] -Introduction of Mighty the Armadillo and Ray the Flying Squirrel.

Sonic Chaos [note 6] [note 7]

Sonic Triple Trouble [note 6] [note 7] -Introduction of Fang the Sniper, and earliest chronological appearance of Metal Sonic [note 4].

Knuckles' Chaotix [note 6] [note 9] -Metal Sonic needed to have fought and be defeated by Sonic before these events take place

Sonic the Fighters [note 6] [note 9] -Introduction of Bark the Polar Bear, Bean the Dynamite, and Amy Rose.

Sonic R [note 6]

Before Sonic the Hedgehog CD [note 6] -On the last month of the year, Little Planet appears as usual. -Dr. Robotnik finds Little Planet and the immense time travel capabilities that it stores.

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Timeline 1+ [note 9]

Before Sonic CD -This divergent timeline's beginning point is unknown, or even if it diverged at all yet. If it is a new timeline, the events leading up to Sonic CD are unaltered, except for the following: -Dr. Robotnik places robot generators all over Little Planet's past, alongside holograms of Metal Sonic terrorising the local animals, and then puts Little Planet in a metal shell, chained up to a mountain near Never Lake.

1993 CE [note 9] Sonic the Hedgehog CD -It is canon that Sonic had gotten the Bad Ending. -This is the last time Metal Sonic can appear until Sonic the Hedgehog 4: Episode Metal, and is also the character's debut.

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Timeline 8+ [note 9]

1993 CE Sonic the Hedgehog CD. -Dr. Robotnik utilises the Time Stones to undo Sonic's victory on Little Planet, leaving it chained up and captured. -It is said that Little Planet appears on the last month of every year, meaning that after it disappears, a new year begins.

1994 CE Tails' Skypatrol

Sonic Labyrinth [note 6]

Sonic 3D Blast: Flickes' Island. [note 6]

Sonic Blast [note 6]

Sonic Pocket Adventure -Dr. Robotnik starts swapping between his classic outfit and his modern outfit, and Sonic, Tails, and Knuckles gain their modern eye colours while keeping their classic proportions, firmly establishing this entry as the in-between point between Classic and Modern.

Sonic the Hedgehog 4: Episode 1

Sonic the Hedgehog 4: Episode Metal -Metal Sonic's revival after being abandoned on Little Planet

Sonic the Hedgehog 4: Episode 2 -Little Planet makes its appearance over Never Lake, which happens on the last month of the year.

1995 CE

Sonic Pinball Party (potential placement) [note 10]

Sonic Adventure -First time Dr. Robotnik gets referred to by the name of 'Eggman'. -Big the Cat, Chaos, and E-102 Gamma are introduced, and while not introduced Cream the Rabbit can be seen flying in the city in the remakes.

Sonic Shuffle

Sonic Adventure 2 -Shadow the Hedgehog and Rouge the Bat are introduced. The former is believed dead after the events of this entry.

Sonic Advance

Sonic Advance 2 -Introduction of Cream the Rabbit.

Sonic Pinball Party (potential placement) [note 10]

Sonic Heroes [note 11] -Introduction of E-123 Omega, and the re-introduction of Vector, Espio, and Charmy.

Shadow the Hedgehog [note 11]

Sonic Battle [note 2] [note 11]

Sonic Advance 3

Sonic the Hedgehog (Xbox 360/Playstation 3) [note 12] -Introduction of Princess Elise the 3rd. -After Sonic rescues Elise from Eggman, he threatens all of Soleanna in order for the princess to turn herself over. Eggman's ship crashes before Sonic can reach them, killing Elise and unleashing Iblis across the world. -Mephiles the Dark finds a Chaos Emerald, and likely manages to copy Shadow's shadow and send him (and Rouge) into the future.

Circa 2181 CE (likely later) -Silver the Hedgehog is born.

Circa 2195 CE (likely later) -Blaze the Cat is present through unknown means. -Shadow and Rouge wander the ruined city, uncovering an abandoned Omega. -Mephiles the Dark meets up with Silver and Blaze, offering them a chance to save the future by travelling back in time to assassinate the “Iblis Trigger”, who he claims is Sonic. Silver and Blaze agree, and are sent back in time.

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Timeline 9+

1995 CE Sonic the Hedgehog (Xbox 360/Playstation 3) -Silver, Blaze, and Mephiles are all separated during the time travel, leaving each of them alone. Silver meets up with Amy Rose and attempts to assassinate Sonic. While unsuccessful, this does lead to Eggman kidnapping Elise early, forcing Sonic, Tails, and Knuckles to travel to Eggman's base, where they get sent to a random time period. -After Amy abandons him, Silver meets back up with Blaze, and the two investigate Eggman's base, finding a Chaos Emerald his drone had brought. -Elise dies.

Circa 2195 CE (likely later) -In the future, Sonic, Tails, Knuckles, Shadow, and Rouge team up in order to find two Chaos Emeralds to go back in time with. After fighting Iblis, they find two and go back in time using them, however Shadow stays behind upon seeing Mephiles' presence.

Timeline 10+

1995 CE Sonic the Hedgehog (Xbox 360/Playstation 3) -Sonic, Tails, Knuckles, and Rouge all end up back in the present day. Sonic immediately goes to rescue Elise, only to be stopped by Silver, and presumably killed. -Rouge, meanwhile, seeks out Omega, and gives her Chaos Emerald to it, giving it precise orders to wait for Shadow and deliver it. -Elise dies.

Circa 2195 CE (likely later) -Shadow fights Mephiles, and is losing just before Omega shows up, who manages to save Shadow. Mephiles retreats through time travel, and both Shadow and Omega follow through the time portal.

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Timeline 11+

1995 CE Sonic the Hedgehog (Xbox 360/Playstation 3) -Shadow, upon returning, seeks out Eggman for answers. Right after that, he happens to spot Silver attacking Sonic, and jumps in to save Sonic's life, although Elise does get captured again. After a fight between the two, they accidentally trigger a time travelling portal with their Chaos Emeralds, and they break the fight to decide to go back in time to seek answers (thanks to Shadow's intel from Eggman, somehow?).

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Timeline 12+

1985 CE -Shadow and Silver travel back, with Silver learning that the Iblis Trigger is in fact Elise, and that her dying would do the opposite of sealing it, while Shadow goes and seals Mephiles, setting up one half of a time loop. The two then head back to the present, with Silver leaving behind a Chaos Emerald for Elise.

1995 CE Sonic the Hedgehog (Xbox 360/Playstation 3) -It is unknown exactly how the extra Chaos Emerald effected the events leading up to this date. -The non-time travelling Sonic is given Elise's Chaos Emerald, and even uses it to barter Elise back just before being sent to the future (and returning). -The non-time travelling Shadow accidentally releases Mephiles, and Mephiles sends him and Rouge to the future in retaliation. -The time travelling Shadow and Silver return, with Shadow helping Omega out with Mephiles, before the three of them attempt to seal Mephiles again, while Sonic, Silver, and Blaze give chase after Eggman's ship to save Elise one last time. The ship crashes, and Elise dies, but Silver and Sonic induce one last time portal in order to Sonic to go back in time to save her.

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Timeline 13+

Unknown -Solaris of the past starts consuming time here, but as present and future Solaris still exist, the future still exists to be consumed.

1995 CE Sonic the Hedgehog (Xbox 360/Playstation 3) -Sonic manages to save Elise for good this time, before being killed by Mephiles. The grief Elise feels at this causes Iblis to be unleashed, and Mephiles fuses with Iblis to turn into Solaris, who exists at three separate points in time simultaneously. Present-version Solaris starts consuming time from this point, but as future Solaris still exists, the future still exists to be consumed.

Circa 2195 (likely later) -Silver and Blaze seal Iblis within Blaze, before sending her to another universe. -Solaris of the future starts consuming time here.

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Timeline 14+

ERROR! TIME PERIOD NOT FOUND! Sonic the Hedgehog (Xbox 360/Playstation 3) -Tails, Knuckles, Shadow, Rouge, Omega, Silver, Amy, Elise, Eggman, and a deceased Sonic all happen to survive in a pocket of space-time. This bubble is temporary, but the 9 of them hatch a plan to snatch the 7 Chaos Emeralds, revive Sonic, and turn him, Shadow, and Silver super in order to stop Solaris.

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Timeline 15+ 1985 -Sonic and Elise arrive from the future, and wipe out the flame of hope prematurely.

1995 Sonic the Hedgehog (Xbox 360/Playstation 3) -Eggman does not attack the ceremony, and a non-time travelling Sonic and Elise have vague, unexplained knowledge of each other...

Circa 2195 (likely later) -Eggman Nega travels back in time

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Timeline 16+

1995

Sonic Rush [note 13] -Re-introduction of Blaze the Cat, Introduction of Dr. Eggman Nega.

Sonic Riders -Introduction of Jet the Hawk, Wave the Swallow, and Storm the Albatross.

Sonic Rush Adventure [note 13] -Introduction of Marine the Raccoon.

Sonic Rivals [note 13] -Eggman Nega turns the world into a card, or some other disaster?

Circa 2195 (likely later) -Silver the Hedgehog travels back in time to stop Eggman Nega.

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Timeline 17+ 1995 Sonic Rivals [note 13] -Re-Introduction of Silver the Hedgehog. -Sonic, Shadow, Silver, and Knuckles stop Eggman Nega's plan. Silver takes Eggman Nega back to the future.

Sonic & the Secret Rings

Circa 2195 (likely later) -Eggman Nega travels back in time again.

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Timeline 18+ 1995 Sonic Rivals 2 [note 13] -Eggman Nega destroys the world with the Ifrit

Circa 2195 (likely later) -Silver travels back in time to stop Eggman Nega.

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Timeline 19+ 1995 Sonic Rivals 2 [note 13] -Sonic, Tails, Knuckles, Rouge, Shadow, Metal Sonic, Silver, and Espio stop Eggman Nega from unleashing the Ifrit, with Eggman Nega left behind in the Ifrit's dimension.

Sonic Riders: Zero Gravity

Sonic Unleashed

Sonic & the Black Knight

Sonic Free Riders

Sonic Colo(u)rs -Silver is absent

Circa 2195 (likely later) -Silver's time is happy and peaceful. Absolutely nothing would get wrecked if Silver went back in time.

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Timeline 20+ 1995 -Silver is present

Sonic Generations -Sonic has a birthday here. -Eggman finds a time erasing creature, and erases time en-mass. Due to the specifics of what gets wiped and what gets restored changing, a 100% accurate measurement is impossible.

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Timeline 21-48+ 1995 -Introduction of the Classic universe. -Sonic restores his friends and many locations from being erased, and defeats Eggman. -This is also where the cameo that we're using our dating system for comes from.

Sonic Lost World -Introduction of Zavok, Zazz, Zomom, Zik, Zeena, and Zor.

1996 Sonic Runners -Sonic has another birthday here.

Sonic Runners Adventure

Sonic Mania (another dimension) -The events of Mania Mode unfold. -The events of Encore Mode unfold [note 14].

Sonic Forces (digital comic series) -The events of Issue 4 take place

Sonic Forces: Episode Shadow

Sonic Forces (video game) (Prologue)

Sonic Forces (digital comic series) -The events of Issue 1 take place

1996 (likely 1997)

Sonic Forces (video game) -Silver is absent, the crew end up losing.

Circa 2195 (likely later) -Silver the Hedgehog travels back in time

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Timeline 22-49+ 1996

Sonic Forces (digital comic) -The events of Issue 2 take place

Sonic Forces: Episode Shadow [note 14]

Sonic Forces (videogame) (Prologue)

Sonic Forces (digital comic series) -The events of Issue 1 take place.

1996 (likely 1997) Sonic Forces -Silver is present, Sonic and crew succeed this time.

Sonic Mania Adventures (another dimension) -Most episodes take place

Sonic Mania Adventures (another dimension) -Christmas themed episode takes place

Team Sonic Racing -An invitation is sent out for Silver the Hedgehog

Circa 2195 (likely later) -Silver the Hedgehog recieves the invitation, and travels back in time to compete.

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Timeline 23-50+ 1997 (possibly 1998) Team Sonic Racing -Silver arrives from the future to compete in the competition.

2008 [note 15] Mario & Sonic at the Olympic Games [note 15]

2010 [note 2] [note 15] Mario & Sonic at the Olympic Winter Games

2012 [note 15] Mario & Sonic at the London 2012 Olympic Games

2014 [note 15] Mario & Sonic at the Sochi 2014 Olympic Winter Games

2016 [note 15] Mario & Sonic at the Rio 2016 Olympic Games

OK K.O: Let's Meet Sonic! [note 15]

2020 [note 15] Mario & Sonic at the Olympic Games Tokyo 2020

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Note 1: The dating system uses a cameo appearance in Sonic Generations as a point of reference, and is otherwise completely arbitrary. Note 2: Sonic Chronicles: the Dark Brotherhood is non-canon, and thus all information provided by that entry will be promptly ignored. Note 2-1: The timeframe given for the Knuckles Clan was NOT used in Sonic Chronicles, but was instead in the Japanese manual for Sonic Adventure. Note 3: All character ages have been listed in relation to their Modern era debut, unless they lack such an appearance. In such case, their debut is used as a reference point instead. All ages are listed on their Sonic Channel profiles with the following exceptions: Note 3-1: The Deadly Six's ages come from promotional material for Sonic Lost World which provided various tidbits of information on them. Note 3-2: The Chaotix (and Mighty) were provided ages in Knuckles Chaotix, however all of them (with the exception of Mighty) were retconned when they were given a modern appearance in Sonic Heroes, and thus use their now-current ages instead. Note 3-3: Their ages were listed in the Japanese version of Fighters Megamix Official Guide. Note 3-4: Sonic's age is listed on his Sonic Channel profile, however his origin of Christmas Island actually originated in the Sonic the Hedgehog Technical Files (also known as the Original Story), and has been backed up as canon by SEGA. Note 4: The Chaotix have been described as being re-imagined in Sonic Heroes, although there is currently no elaboration on if this was referring to a full reboot, or merely their appearance and personality. If it is a full reboot, their classic appearances are non-canon. Note 5: In the Japanese version of Fighters Megamix Official Guide, it is listed that Bin from Dynamite Düx is Bean's father, therefore also confirming Dynamite Düx into the Sonic the Hedgehog franchise. Note 6: There were different canons present during the creation and release of Sonic the Hedgehog titles between 1991 and 1997, and from 1998 onwards the Japanese canon was used, with only minor details carrying over. Whenever possible, the Japanese version of Sonic the Hedgehog entries released during this time period will be used as reference. Although if non-conflicting information is present in western manuals, that information will be considered as a possible minor detail that carried over. Note 7: In the Japanese manual, Sonic met Tails shortly before the events of this game, and the Japanese manual for Sonic 3 (which includes Tails) mentions that Sonic had used Super Sonic in his last adventure, meaning that Sonic 2, Sonic 3, and Sonic & Knuckles must happen side-by-side, and that any other game featuring Tails or Knuckles must take place after this game (with exceptions). Note 8: It is unknown whether the combined version of Sonic the Hedgehog 3 and Sonic & Knuckles (known as Sonic the Hedgehog 3 & Knuckles) is the canonical version or not, or if the true canon is a mixture of both. Note 9: Due to the nature of the time travel being in gameplay, it is unknown exactly how many times Sonic the Hedgehog had actually travelled through time, although it is a minimum of 6 times. In addition, it is unknown if Dr. Robotnik travelled backwards in time to place the robot generators to begin with, nor is it known if Sonic and Amy travelled back in time after the end of Sonic CD. All that is known for certain is that Stardust Speedway was failed to be saved, and by extension all of Little Planet. Note 10: Sonic Pinball's exact placement cannot be pinned down without some adjustments due to details present within the entry being inconsistent from a chronological perspective. Possibility 1 is to treat Shadow's name in the tournament as being non-canonical, or referring to another person with the same first name. Possibility 2 is to assume that Station Square (or specifically Casinopolis) has been repaired after the events of Sonic Adventure. Note 11: Despite being released before Sonic Heroes, Shadow the Hedgehog is depicted without amnesia in Sonic Battle, therefore placing it after Shadow the Hedgehog. Note 12: Due to Silver and Blaze meeting for the first time both in Sonic the Hedgehog (Xbox 360/Playstation 3) and in Sonic Rivals and Sonic Rush respectively, Sonic the Hedgehog (Xbox 360/Playstation 3) must happen first, as the details of that event end up wiping those meetings from time. Note 13: in Sonic Rush and Sonic Rush Adventure, Eggman Nega is an alternate universe counterpart, working alongside Eggman. In Sonic Rivals and Sonic Rivals 2, Eggman Nega is Eggman's descendent, and is working against Eggman. The only way to make both of these work is if the Rivals games both take place after the Rush games. Note 14: Sonic Mania's Encore Mode was deliberately designed to have its opening ambiguous over whether Sonic Forces happened or not. Sonic Mania Adventures, meanwhile, explicitly takes place after Sonic Forces, locking that entry's placement down. In addition, it helps explain why Classic Sonic and the Phantom Ruby arrive at different points in time. Note 15: The Mario & Sonic at the Olympic Games series are generally considered non-canon for good reason. The only reason I'm even entertaining the idea at all is because of a once-off mention by K.O. in a crossover episode with his show, OK K.O.: Let's Be Heroes!. Feel free to ignore these entirely.

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Sources Note 1: https://vignette.wikia.nocookie.net/sonic/images/1/10/MightyRayHiRes.png/revision/latest?cb=20160105195952

Note 2: https://board.sonicstadium.org/topic/19847-segas-secret-sonic-bible-that-well-probably-never-see-to-mars/page/10/?tab=comments#comment-964735

Note 3: https://info.sonicretro.org/images/3/39/SonicLostWorld_Zik_Profile.jpg https://sonic.fandom.com/wiki/File:Zavokprofile.jpg https://sonic.fandom.com/wiki/File:SLW_Zomom_bio_profile.jpg https://sonic.fandom.com/wiki/File:SLW_Zazz_Profile.jpg https://sonic.fandom.com/wiki/File:Zeenaprofile.jpg https://sonic.fandom.com/wiki/File:Zor_Profile.jpg http://sonic.sega.jp/SonicChannel/character/vector.html https://sonic.fandom.com/wiki/Special:BookSources/9784797302127 https://66.media.tumblr.com/68567667b614725ddfd890b135b3db71/tumblr_ochiw8xMM71vue5nao1_1280.jpg http://sonic.sega.jp/SonicChannel/character/storm.html http://info.sonicretro.org/Chaotix_manuals http://sonic.sega.jp/SonicChannel/character/big.html http://sonic.sega.jp/SonicChannel/character/rouge.html http://sonic.sega.jp/SonicChannel/character/wave.html https://66.media.tumblr.com/e8ce5230068fb1508711f35b35a88c93/tumblr_ochiw8xMM71vue5nao2_1280.jpg http://www.x-cult.org/games/39/Sonic_the_Hedgehog/1244/Game_Script/ http://sonic.sega.jp/SonicChannel/character/knuckles.html http://sonic.sega.jp/SonicChannel/character/espio.html http://sonic.sega.jp/SonicChannel/character/sonic.html http://web.archive.org/web/20021227013107/http://www.tastescity.net/sonicdimension/top/sonic-museum/story-hall/story_legend1.html http://sonic.sega.jp/SonicChannel/character/blaze.html http://sonic.sega.jp/SonicChannel/character/jet.html http://sonic.sega.jp/SonicChannel/character/amy.html http://sonic.sega.jp/SonicChannel/character/tails.html http://sonic.sega.jp/SonicChannel/character/marine.html http://sonic.sega.jp/SonicChannel/character/charmy.html http://sonic.sega.jp/SonicChannel/character/cream.html

Note 4: https://web.archive.org/web/20040330042803/http://www.egmmag.com/article2/0,2053,1507899,00.asp

Note 5: https://sonic.fandom.com/wiki/Special:BookSources/9784797302127 https://66.media.tumblr.com/e8ce5230068fb1508711f35b35a88c93/tumblr_ochiw8xMM71vue5nao2_1280.jpg

Note 6: http://info.sonicretro.org/Sonic_the_Hedgehog_(16-bit)_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_(8-bit)_manuals http://info.sonicretro.org/Tails_Adventures_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_2_(16-bit)_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_3_manuals http://info.sonicretro.org/Sonic_%26_Knuckles_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_2_(8-bit)_manuals http://info.sonicretro.org/Sonic_Chaos_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_Triple_Trouble_manuals http://info.sonicretro.org/Chaotix_manuals http://info.sonicretro.org/Sonic_R_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_CD_manuals http://info.sonicretro.org/Sonic_Labyrinth_manuals http://info.sonicretro.org/Sonic_3D:_Flickies%27_Island_manuals http://info.sonicretro.org/Sonic_Blast_manuals

Note 7: http://info.sonicretro.org/Sonic_the_Hedgehog_2_(16-bit)_manuals http://info.sonicretro.org/Sonic_the_Hedgehog_3_manuals http://info.sonicretro.org/Sonic_%26_Knuckles_manuals

Note 8: http://info.sonicretro.org/Sonic_the_Hedgehog_3_manuals http://info.sonicretro.org/Sonic_%26_Knuckles_manuals

Note 9: https://www.youtube.com/watch?v=xpZ3YZVfc20

Note 10: https://youtu.be/MTcwG4MDqAw?t=48

Note 11: https://youtu.be/qZ4aUW-ZBMk?t=52 https://youtu.be/68mOgiyjXYI?t=107 https://youtu.be/b8JdnOD55QI?t=1142 https://youtu.be/BaTKL2XL-4I?t=438

Note 12: https://youtu.be/Kr0RfvnuVqg?t=232 https://youtu.be/Kr0RfvnuVqg?t=1535 https://youtu.be/nOiWwvYDnn4?t=34 https://youtu.be/xAwfzYvYYXc?t=58

Note 13: https://www.sonicstadium.org/2012/07/sonic-boom-live-blog/ https://youtu.be/ok8fsnSp5Jk?t=126

Note 14: https://youtu.be/JZNgOx-Gbr4?t=377 https://youtu.be/FA574k9BUI8?t=80 https://readcomiconline.to/Comic/Sonic-Forces-Moment-of-Truth/Issue-4?id=124766 https://youtu.be/mnkjIK6FuVs?t=416 https://youtu.be/mnkjIK6FuVs?t=5074 https://www.youtube.com/watch?v=LYvO8eaWJNc

Note 15: https://youtu.be/wfvDvEZbQOU?t=294

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dustedmagazine · 6 years ago

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Punk’d History, Vol. VI: Art/Punk*

Whenever and wherever one locates the emergence of punk, the dichotomy is present: impulse or idea? In 1967, the Stooges had the impulse to make a lot of noise, but they weren’t so great at manipulating their instruments. Somehow, they came up with the idea of miking a blender and a vacuum cleaner. In 1975, John Lydon had the impulse to disgust his fellow Londoners, and the idea of walking around in a garbage bag seemed about right. Both Lydon’s and the Stooges’ performances bear the defining marks of dada: reimagining the usefulness of items from the domestic object world, erasing the distinction between quotidian banality and the elevated refinement of artistic experience, pranksomely disrupting the carefully policed limits of institutionalized aesthetic production. But to summon “dada” in the same breath as “Stooges” or “Sex Pistols” is to discipline punk, to render its aggressions and its visceral attachments to spit, piss and vomit in a language that’s fit for polite discussion at a campus cocktail party.

Perhaps that’s inevitable. Capital and its cultural management systems are ever rapacious for new markets and insidiously nimble in accommodating and then incorporating resistant expressions and positions. But in the early 1980s, a number of American bands inhabited an ambiguous space somewhere between the rarefied environs of the gallery and the lumpen territory of the dive bar. These bands were too Art for many punks, who were suspicious of intellectuals and their specialized discourses; and they were too Punk for the museum-and-auction house set, who were busily converting the work of bad boys like Picasso and Duchamp into “assets” and financial investments. Their music’s force was generated by intense contests between impulse and idea that opened a highly charged affective range, verging from aggressivity to sublimity to an antic irrationality that seemed to border on stupidity…like this:

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It’s easy to dismiss Happy Flowers as a gag band. They asked for it, presenting themselves as Mr. Anus (Charlie Kramer) on guitar and Mr. Horribly Charred Infant (John Beers) on drums. Both men sang, after a fashion, often in the halting, cracking cadences of upset children. Song titles identified themes and situations from grade school: “My Frisbee Went Under the Lawnmower,” “I Wet the Bed Again,” “Unhappy Meal,” “Pickin’ Scabs.” And so on. If those titles represented the band’s full range of intents and effects, it would indeed be remarkable that they managed to put out four full-length records on über-cool Homestead Records during Gerard Cosloy’s taste-making tenure with the label. But Happy Flowers’ best songs aren’t funny, or rather, they aren’t only funny. They locate an abject place, between hilarity (in the hard sense of the term) and the seismic psychological tremors of trauma.

For example: What if the voice in “Stop Touching my Food” is subject to the paralytic regime of O.C.D.? That’s tough enough for an adult to handle—what about for a kid? Or what would it feel like to be a really, really hungry kid? In the mid-1980s, that was a likely prospect. As a result of the Reagan Administration’s supply-side maneuvering and its gutting of social welfare programs, the number of children living in poverty rose; by 1988, over 12 million American children (or nearly 20% of the nation’s kids) were living below the poverty rate, representing an increase of over a million kids during Reagan’s time in the Oval Office. Happy Flowers released Oof, the record on which “Stop Touching my Food” appeared, in 1989, into a national cultural space that included a lot more poor and food insecure kids. One can’t help but feel something in response to those facts. Anger. Disgust. If you were a kid, fear and pain.

Happy Flowers were little more than kids themselves when they started the band. They released their first record, the 7” Songs for Children, in 1985 while they were undergrads at the University of Virginia. They recorded a song called “Mom I Gave the Cat Some Acid” that college radio loved, and played a lot. It’s hard to claim that the band’s sound matured between then and the next year, when two Happy Flowers tracks appeared on Touch and Go Records’ excellent compilation God’s Favorite Dog, including “Colors in the Rain,” which may be the band’s most interesting song. Aspects of “Colors in the Rain” track back toward childhood experience: the seemingly interminable boredom that only children can feel, trapped inside on a stormy day. Mr. Anus shouts, “It’s raining! It’s raining!” The kid’s frustrated impulse to escape, to get out, is palpable; the band makes a terrific racket with untuned guitar squall and rattling snare abuse. Happy Flowers want to get out, too—out of music’s conventional categories and forms. But amid the dissonance, Mr. Horribly Charred Infant also sings: “Look at the colors! Look at the colors!” That’s a different use of rain on a window. It implies an excited insight into the aesthetic play of light and glass and water, an Impressionist wonder. The song positions itself somewhere between unhappy feelings and artistic epiphany. Is it impulse, or is it idea?

What about this?

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Killdozer’s “Sonnet” appeared alongside “Colors in the Rain” on God’s Favorite Dog, and the Madison, WI, band would go on to release six LPs on Touch and Go between 1985 and 1995. In a period of heavy music that was dominated by thrash metal and even faster hardcore, Killdozer slowed down. Their magma-paced songs opened spaces in which their abrasive playing, raw volume and Michael Gerald’s scabrous vocals exerted as much punishment on listeners as possible. Their early records were ugly, punk rock affairs, full of obscenity and transgression. “Sonnet,” with its cascade of unpleasant images and its seedy narrative, fits that profile. But there’s a rigorous lyric aesthetic at work in the song, as well. True to its title, the lyrics are delivered in sonnet form—an English sonnet, specifically. It’s a strange collision of sensibilities, canonical tradition and seamy, gross-out sexual dysfunction. And it’s not the band’s only literary reference: they named themselves after a terrific Theodore Sturgeon SF story.

Even if you know the rhyme scheme of the English sonnet, and get a kick out of finding one in a punk song, it’s fairly easy to designate “Sonnet” as shtick, and Killdozer as a one-note band. And like Happy Flowers, Killdozer seemed to invite such treatment. In the late 1980s, the band was best known for their incongruous cover tunes; Killdozer’s near-nine-minute version of “American Pie” is the most infamous example (this listener prefers their feral workout on C.C.R.’s “Run Through the Jungle”). In 1989, they issued For Ladies Only, an all-covers record. It’s unclear precisely what the gag was: Was the band ridiculing the original artists—schmaltzy and vapid stuff like Conway Twitty’s “You’ve Never Been This Far Before” and Bad Company’s “Good Lovin’ Gone Bad”? Or was Killdozer mocking themselves, the way those songs revealed the absurdities of the band’s maximalist style? The degrees of parody proliferated. Killdozer threatened to become a pastiche of Killdozer, an idea amusing itself.

Around the time the band began recording, art and cultural theorists designated the prevalence of pastiche as a sign of postmodernity’s dominance and its worrisome tendency to ironize with careless impunity, collapsing into emptiness and cynicism. It’s hard not to hear the echoes of those critiques in Killdozer’s opportunistically goofball rendition of Neil Diamond’s “I Am I Said,” a song that pretty much parodies itself. Equally important in the theorists’ account of the postmodern was what Fredric Jameson called “the interpenetration of mass culture and high art.” Killdozer’s records were replete with signs of the band’s fixation on Middle American pop tastes: schlocky TV (“Space 1999”), Journey concerts (“The Pig Was Cool”), a new coat of paint on the Ford (“Earl Scheib”). The outstanding example of this is “Man Vs. Nature,” the band’s ironical paean to the massively popular disaster films of the 1970s. Gerald sings, “On the television a ship was sinking / It seemed so real, but it was just a movie / made by Irwin Allen / Why, what a relief!” Necessarily, the song’s narrator watches The Poseidon Adventure and Towering Inferno on late-night TV. Screens reflect other screens. Nothing is authentic. Art has surrendered to the logic of capital’s commodity form.

Killdozer might bristle at all that jargon. They titled their first record Intellectuals Are the Shoeshine Boys of the Ruling Elite, suggesting a typically punk rock contempt for the academy and its institutionally sanctioned forms of knowledge. But their 1994 LP Uncompromising War on Art under the Dictatorship of the Proletariat presented a different attitude. The record includes pissed off songs called “Final Market” and “Das Kapital” and cover art featuring the band in a heroic, industrial mode, mimicking Soviet propaganda, which in 1994 was not a quaint, historically distant phenomenon. The smartest song on the record might be “Working Hard, or Hardly Working?” The exhausted proverbial wink embedded in the title’s chiasmus finds its complement in the song’s structure, which is exhausting: single-minded repetition of a simple riff, over which Gerald growls, again and again, about how hard he works on each successive day of the week, in the process exhausting all of our language’s idioms for hard work. Until the weekend, when he gets “so fucking whacked” and “fucking parties hearty.” Until the weekend is over, and he’s back at work. He growls his way through the whole week again. Until the weekend. And so on. The riff grinds mercilessly away. So does capital.

“Working Hard, or Hardly Working?” is less a song than it is an idea, but the idea is so expertly fitted to the experience it wants to dramatize (the soul-killing, mind-numbing character of repetitive alienated labor) that it ends up being a terrific song. What should be crushingly dull becomes a hugely effective artistic performance. But Killdozer wasn’t the first punk band to work that dynamic:

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A couple of Flipper’s early 7” records indicate that sludgy, cough-syrupy trudges were an important part of the band’s repertoire from the very start. The band released the surreal, half-speed freakout “Sex Bomb!” in 1981. A year later they recorded their infamous version of “The Old Lady That Swallowed the Fly,” which clocks in at over five minutes but somehow seems twice that long. Both songs walk the line between experiment and prank, between tedium and a sort of ecstatic silliness. The song on the A-side of that second single is the excellent “Get Away,” which feels like a more typical Flipper track: Ted Falconi’s guitar swirls and groans and casts compelling sparks, Will Shatter sing-speaks in his beautifully urgent baritone, Steve DePace and Bruce Loose bash and boom with good-natured violence. It’s an expression of the band’s strong punk impulse, a lively counterpoint to their fascination with unconstrained noise.

“Get Away” seems to respond to Lou Reed’s “Wild Child,” following that song’s rollicking musical vibe and its lyric’s structure (and Flipper’s later tune “Talk’s Cheap” provides a West Coast rejoinder to Reed’s “New York Telephone Conversation”). In “Wild Child,” Reed reports on a number of conversations with cool friends about cool stuff: making movies and “a new soundtrack,” fast cars and “crack ups” you can walk away from, theater auditions and poetry. Lorraine may break your heart and “sleep out on the street,” but ultimately she’s just a wild child, a avatar for 1970s New York’s ceaseless motion and inexhaustible creativity, too brazen to be contained. The itinerary of friends that Shatter describes in “Get Away” have troubles of a different order: Mitchell calls from jail, “busted and strung out” and looking for bail money; Larry sits in a dark room, crazily paranoid (“what you don’t see you don’t know”) about the coming “big fall”; Suzie feels “pretty queasy” because her “life is all fucked up.” The only thing that draws them together is their shared desire to split, to find a line of flight, to “get away.”

By 1972, when Reed released “Wild Child” on his first solo record, his hipster, art-world bona fides were pretty solid: he was a Warhol Superstar, a Lower East Side legend in the making. He had a permanent seat at the big table at Max’s, over which Warhol presided, and his fame had been largely engineered by Warhol’s instincts for how to fold countercultural discontent into salable artwork. Warhol’s art was by then an established international brand. He mass-produced his silk-screen prints and Brillo boxes in his Factory. The distinction between commodity and artwork was erased: it was all postmodern Pop. But still, Warhol’s work was meant to be hung or displayed. If you were lucky enough to cop one of his Soup Can paintings at “The American Supermarket” for a measly $1500, you had an asset that reliably accrued value, both in the formal market for art managed by collectors, dealers and gallery curators, and in the more symbolic realm of cultural capital. Warhol’s hyper-commodified artworks were well worth preserving in mint condition.

The question of what to do with a copy of Flipper’s Gone Fishin’ is a bit more complex. You play the record—often. But the sleeve? Its design invites you to cut out the various figures (band members, equipment, bus) and assemble them into a little cardboard punk rock diorama, an impromptu installation for the stereo stand, or toys for the kids.

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It’s a fun experiment, testing the integrity of the record-as-commodity—less confrontational and perverse than Ever Feel Like Killing Your Boss?, another record from 1984, which the Feederz released in a sleeve sheathed in sandpaper. The Feederz wanted to make a record that would destroy other records, a literalized anti-aesthetic. Flipper’s gesture is different. You deface the commodity by cutting it to pieces, but in the process you make something. Commodity becomes use value. It’s lowbrow art, but it’s still art. And you don’t need to sweat destroying something precious. You can get another copy on Discogs for fifteen bucks. Have a laugh.

Warhol’s work elicits no laughter. It’s famously blank. There are provocations in that, but they’re pretty cold, and coldly pretty. The famous display of the soup cans at MOMA unspools in sterile perfection, pure repetition. It produces a species of manufactured dread. Flipper’s long songs also worked with repetition, but to starkly different ends and effects. Perhaps the best example of that is the version of “Life” released on the first Rat Music for Rat People compilation in 1982. The performance was recorded live, at San Francisco’s Elite Club in October of 1981.

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The band had been living in Reagan’s California for quite a while; they were now in Reagan’s America. As president, by October 1981 Reagan had already proposed a constitutional amendment to validate prayer in public schools, busted the air traffic controllers’ union, signed the Economic Recovery Tax Act (giving a 20% cut to the top marginal bracket), deployed the long-delayed MX missile (which he would christen the Peacekeeper) and began the massive growth in defense appropriations that would accumulate to a total real spending increase of 40% during his first term. On that October night in Frisco, Shatter sang, “I too have sung death’s praises…” The factories at Boeing and TRW were humming along, busily vibrating with their own hymns to Death. The system was grinding on. So was Flipper’s song. “Life” features an especially concentrated repetition—30 seconds in, it has established the tempo, bass line and ecstatic guitar riff that it will work insistently for the next seven minutes. But the key repetition is in the lyric: “Life is the only thing worth living for.” Shatter sings it, again and again and again. You can’t “get away” from this life. You can only live it. So he sings. There’s none of the possible irony you hear in “Working Hard, or Hardly Working?” None of the black comic silliness that’s essential to most Happy Flowers’ tracks. All of those songs are good, but they consign the listener to grim spaces. “Life” rocks hard. It’s exuberant. It’s freaked out. It’s not Art. It’s not Punk. Not just impulse or idea. It works through all of those things to make something better. It’s song.

*A huge amount of work has already been done on this subject. I don’t propose to improve on or engage that work, especially the excellent investigations of bands, artists and thinkers more urgently grounded in art historical and theoretical projects. Interested parties should seek out Greil Marcus’s Lipstick Traces for his insightful linking of English punk with dada, and all the work that V. Vale and his collaborators at RE/Search Publications have done on Throbbing Gristle, William S. Burroughs and the interview with Frank Discussion in Pranks.

Jonathan Shaw

#punk'd history #art punk #jonathan shaw #dusted magazine #flipper #dada #happy flowers #killdozer #dead kennedys

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haitilegends · 6 years ago

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JOYEUX ANNIVERSAIRE À MUSHY WIDMAER GOUSSE.

Légendaire pianiste, compositeur et arrangeur haïtien.

Mushy Widmaier is a "modern jazz" piano player, but one with a certain undertone of both Haitian folklore and European art music - but all of it as ingredients of a digested and unified whole sounding unmistakably as Him. Mushy is capable of fitting in with groups of almost any stylistic observance, and takes a most active and creative part in the proceedings. He seems to master a vast repertory, whether jazz standards, Haitian folk songs, popular dance music or originals.

Based mainly on a self thought theoretic knowledge Mushy may apply anything from slight harmonic embellishments to a complete reharmonization including all kinds of extensions, substitutions and passing chords following each other. He realizes the specific possibility of the keyboard, not only regarding harmony but the subtle percussive potential of the instruments is just as important. A significant characteristic of Mushy individual style is his ability to set moods, structuralize the solos, to built those improvisations on Harmony derived from the theme but most of the time not being a clear form of repetition of the theme framework. Sometimes even recreating original melody (in the interpretations of folk songs), sometimes surprising, sometimes witty, where, those lead to a complete remodeling beyond recognition that any song may undergo being exposed to his perception.

The attendant serenity and maturity during later years with no record productions of his own since his last album “KOTE’OU” are certainly not attempts of explaining away anything like artistic stagnation. On the contrary, Mushy continues to expand his musical language. He is not just staying on firm ground but is, as any creative musician taking risks every now and then. Important achievements as a composer and arranger have been music written for Ballets, Theatre Pieces, Poetries and Documentaries. These works are revealing more facets at each hearing.

Established as the enfant terrible of Haitian music, Mushy Widmaier embarked on a period of research into ways of writing music that would certainly shake the Haitian music tradition, the so-called “School of the New Generation” starting in 1982 , named after His Band Zekle was devoted to the ideals of changes and eradications that would emerge from any evoluting society. And most of all for him, it has been a main goal in his musical life to fight for the acceptance of all musical genres in Haiti as being theirs. As he concluded one of his lectures on “Haitian dance: history and tradition.”:

“Haitian Music is, Song, Classical, Root, Dance, Contemporary, Traditional, Jazz and all musical genres originated from the Haitian soul. This variety constitute the Opera of our History.”

Honors

Invited for the Jazz Workshop in Martinique “Fondation Culture Creation and the Centre Martiniquais d’action culturelle (1993)

Three times Jury Member of American Airlines Music Contest

Musical Composer Contest Award for the 150th Anniversary of Petion-Ville (Hymn) 1981

First Prize winner of International Contest “Phonurgia Nova” for Best Jingles, Best Radio Beds, Best News Themes 1997

Chosen by The Journalist & Critic Gerald Merceron (Jazz Mag) as being among the top 10 best Piano Player of the Caribbean

Associations

Founder of “La Societe Haitienne de Production “(Shap Music) – Haiti

Founder of “La Societe ZEKLE MUSIC “Haiti

Co-Founder of Metro-sound Co. / - Haiti

Co-Founder of Groups ZEKLE & LAKANSYEL – Haiti

Member of the “Societe des Auteurs et Compositeurs “– SACEM France

Founder and President of Fondation Musique & Art - 1997

Share Holder and Consultant of “Communication Professionals “(COMPRO)

Share Holder and Member of the Administration board of “Radio Metropole “(Port-au-Prince, Haiti)

Musicography

1. Gerard Charmier (La flute enchante) 1974

2. Ti Corn 1975

3. Gerald Merceron Energie Mysterieuse 1978 GM002

4. Scorpio Ansan'mAnsan'm 1979

5. Caribbean Sextet Joui la VI 1979 MRS 10596.

6. Gerald Merceron Haiti 2000(Tet San kò) 1980 GM

003

7. Skah Shah #1 1981

8. Baba Boogie Band 1981

9. Zekle Memories 1981

10. Claude Marcelin Boul Malachong 1981

11. Joel+Zekle Ce ou Men'm 1982 ZR701

12. Claude Marcelin Se Verite 1982

13. Gerald Merceron Bokassa 1982 GM004

14. Tuco Bouzi et les Freres Dejean 1982 Kala 1002

15. Zekle Pil ou Fas 1983 ZR 702

16. Simond Jurad 1983

17. Joel + zekle Repon Mwen 1983 WEA

18. Tuco Bouzi Joui La VI 1983 Makaya

19. Raoul Denis Jr Misikasyon 1985 K1003

20. Claude Marcelin 1985 K1007

21. Kajou Tet Chaje 1987 ZR 704

22. Alfred Varasse Ti Bonon'm 1987

23. Jean-Michel Daudier Soley La 1987 S1001

24. Emeline Michel Douvanjou Ka leve 1987

25. Carole Demesmin La Rouze 1987 S1003

26. Shap Vol 1 Zekle Pirogue Assali 1987 S1004

27. Jacques Fattier Haiti 86 1987

28. Zekle STOP 1987 Mad4010

29. KonKou Mizik 86 AA 9 Hans Peters 1987 (aak 1)

30. Vive Haiti Mario De Volcy 1987 Gero004

31. Emeline2 Emeline Michel 1988 S1005

32. Bernard Lavilliers IF 1988 BaryN/S33. Shap Vol 2 1989 S1006

34. Jacqueline +Zekle L'ordinacoeur 1989 S1007

35. Claude Marcelin Roule Tanbou 1989 S10083

36. 3eme Concours Mizik AA Jeannot Montes 1989

AAK3

37. Emeline Michel Flan'm 1989 Cobalt/

38. Yole Desroses Quand Mon Coeur… 1989 ADP002

39. Emeline Michel Tout Mon Temps 1991 Sony5525

40. Emeline Michel Pagenmanti nansa 1991 Geronimo

41. Zekle Best of Zekle 1991 Geronimo

42. Toto Bissainthe CODA 1996 R&B

43. Boukan Ginen 1996

44. Kote'ou Mushy & Lakansyel 1997

45. Zekle San Mele 1998 NG

46. Zenglen An nou Alez 1998

47. Matebis 2000

48. En plein coeur Herby Widmaier 2001

49. Lionel Benjamin Noel Kan Men'm 2001

50. Phillipe Guillaume Guy Durosier 2004

51. Matebis 2000

52. Documentary Faiseur de fanaux 2002

53. Ballet Soley Brule TiGa 2002 BFH

54. Documentary Casseuse de Pierre 2003

55. Documentary Kazale 2004

56. O Chan Pou Haiti Kolectif Non 2004

57. Luc Merville Ti Peyi Mwen 2005

58. Documentary Roussan Camille 2005

59. Documentary Albert Mangonez 2005

60. A Voix Basse 1 Pierrot Brisson 2005

61. My World Mushy Widmaier 2006

62. A Voix Basse 2 Pierrot Brisson 2006

#MushyWidmaerGousse

#HaitiLegends

#HugoValcin

#haiti legends #haitilegends #iamgabrisan #jazz #konpa #hugo valcin #haitian #music #Mushy Widmaier #Mushy Widmaier gousse

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theliberaltony · 6 years ago

Link

via Politics – FiveThirtyEight

How much can we learn from early primary polls? Back in 2011, FiveThirtyEight Editor-in-chief Nate Silver set out to answer this question and found that early national polling is at least somewhat predictive of who will win the nomination, especially when the results are adjusted for each candidate’s name recognition.

Now, eight years later, FiveThirtyEight has collected more polling data, plus there are two more presidential election cycles — 2012 and 2016 — to look at, so we felt it was time to update the series. In the first two installments, we’re just going to look at what the polls say for competitive presidential primaries for both parties, starting with early primary polls from 1972, which is widely thought of as the start of the modern primary era. This first installment runs through 1996 — analyzing primary polls for seven presidential elections is enough ground to cover in one article — and the next installment will start with the 2000 presidential primaries and run up through the 2016 presidential primaries.

As for how this series we will work, we took all surveys from the calendar year before each election — so for the 2016 presidential primaries, that means all polls from 2015 — and then split them by whether they occurred in the first half of the year (January through June) or the second half (July through December). In the 2011 version of this series, Nate only looked at polls from the first half of the year before the election, but we decided to include the second half of the year as well because this helped us capture how a candidate’s standing changed during the course of the year and let us include candidates who jumped into the race on the later side. We also included anyone we had polling data for, no matter how likely or unlikely they were to run or win.

Our tables in this series include two key metrics that help us better understand the primary field and how things changed throughout the year we’re examining. The first is an average of each candidate’s (or potential candidate’s) numbers in all the polls for that half of the year — candidates were counted as having zero percent support in any poll they did not appear in.1

The second is an average of each candidate’s standing in the polls that is adjusted for how well-known the person was at the time. To do this, we divided a candidate’s polling average by their level of name recognition, which helped us identify folks who might have had a small national profile but were doing relatively well among voters who knew about them.2 But because pollsters aren’t consistent, our methods of estimating name recognition had to be treated as rough estimates. To reflect that inherent imprecision, we sorted candidates onto a somewhat subjective five-tier scale to sum up their level of fame.3 We combined polling averages with a few educated guesses to produce the name-recognition scores. For example, a candidate like Hubert Humphrey in 1972, who had been the Democratic Party’s presidential nominee in 1968 while serving as vice president, would almost certainly be extremely well-known, while someone who had lost the nomination to Humphrey in ’68 might not be as well-known but would still be more widely recognized than someone bursting onto the national scene for the first time. These name-recognition scores are represented as five square boxes in the table below (more black boxes means higher levels of name recognition).

And it just so happens that in the first primary we’re looking at, the 1972 Democratic primary, we have an example of how our adjusted polling average can reveal a potential winner. Take Sen. George McGovern, who was polling at around 4 percent in the first half of 1971. He wasn’t very well-known, but he was polling relatively well among those who had heard of him, so his adjusted polling average for that same six-month period was 6 points higher, at 10 percent.

The 1972 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Ed Muskie 32.3% 24.5% 40.4% 30.6% Ted Kennedy 23.5 18.2 29.4 22.7 Hubert Humphrey 23.5 18.8 23.5 18.8 George McGovern 4.0 5.7 10.0 9.4 John Lindsay 4.4 6.7 7.3 8.3 Scoop Jackson 0.4 2.8 2.0 7.1 Eugene McCarthy 2.4 5.5 3.0 6.9 Birch Bayh 0.2 0.3 1.0 1.7 Harold Hughes 0.2 0.2 1.0 0.8 Samuel Yorty — — 0.3 — 0.6 Bill Proxmire 0.4 0.2 1.0 0.4 Wilbur Mills 0.2 0.2 0.5 0.4 J. William Fulbright 0.2 0.2 0.3 0.3

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

However, he trailed Sens. Humphrey, Ed Muskie and Ted Kennedy — the former two had made up the 1968 Democratic ticket, and the latter was … well, a Kennedy. But McGovern still managed to win the nomination — that’s why he’s bolded in the table above — in part because he had a good understanding of how the reformed nominating process worked. After all, he led the committee that wrote the new primary rules after the calamitous 1968 Democratic convention, where party bosses helped Humphrey get the nomination even though he had not contested any of the primaries. And even though McGovern was crushed by President Richard Nixon in the 1972 general election, Democrats kept their new primary rules. McGovern would not be the last Democrat to become the nominee despite low early polling numbers.

We’re skipping the 1972 GOP primaries because Nixon was running for re-election and faced no serious challenger from within his party — remember, we’re only interested in competitive nomination processes. So moving on to 1976, the Democratic field was comparable to 2020 in that it was crowded and support was fragmented. In the first and second halves of 1975, four or five potential Democratic candidates averaged 10 percent or more in our adjusted polling average. But three of them — Humphrey, Kennedy and Muskie — didn’t wind up running. Segregationist Alabama Gov. George Wallace was the nominal frontrunner in those early polls, but he was a divisive choice for obvious reasons, which left things wide open for a dark horse candidate. And in the end, one of the least-known candidates — former Georgia Gov. Jimmy Carter — claimed the nomination. The early primary polls don’t really capture Carter’s success, but he did set up shop in Iowa, which voted first, and his strong showing there gave his campaign a boost that helped him gain enough momentum to win the nomination. It also cemented Iowa as a premiere early state alongside New Hampshire.

The 1976 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd George Wallace 19.2% 20.0% 19.2% 20.0% Scoop Jackson 10.7 11.0 17.8 18.3 Hubert Humphrey 15.3 16.0 15.3 16.0 Ed Muskie 8.3 10.0 10.4 12.5 George McGovern 7.8 9.5 7.8 9.5 Birch Bayh 1.0 2.0 2.5 5.0 Lloyd Bentsen 2.0 0.8 10.0 3.8 Fred Harris 1.0 0.8 5.0 3.8 Jerry Brown 0.7 1.5 1.7 3.8 Jimmy Carter 0.8 0.5 4.2 2.5 Mo Udall 1.7 1.0 4.2 2.5 Frank Church 0.5 1.0 1.3 2.5 Sargent Shriver — — 1.5 — 1.9 Ted Kennedy — 10.3 — 12.9 — Julian Bond — 2.3 — 5.8 — John Glenn — 1.7 — 2.8 — John Lindsay — 1.7 — 2.8 — Adlai Stevenson III — 1.0 — 1.7 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

The 2020 Democratic race could be primed for a similar upset. The polls are currently split between two early frontrunners — still undeclared former Vice President Joe Biden and Sen. Bernie Sanders — and it’s not yet clear if they will continue to sit atop the leaderboard, effectively blocking lesser-known candidates, or if their lead over the rest of the field will shrink as other candidates garner support, which could make the Democratic field look as wide-open as it did in 1976.

As for the GOP in 1976, the party had two clear frontrunners from the start. President Gerald Ford and challenger Ronald Reagan battled all the way to the national GOP convention, where Ford narrowly edged out the former California governor. The 1976 Republican primary marked the start of a streak of early polling frontrunners winning the nomination.

The 1976 Republican primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Gerald Ford 36.5% 46.5% 36.5% 46.5% Ronald Reagan 21.9 34.7 27.3 43.3 Barry Goldwater 8.0 4.7 10.0 5.8 Nelson Rockefeller 8.3 3.0 8.3 3.0 Charles Percy 6.0 1.5 10.0 2.5 Mark Hatfield 1.4 0.8 3.4 2.1 Howard Baker 5.8 1.2 9.6 1.9 Elliot Richardson 3.5 1.0 5.8 1.7 James Buckley 0.5 0.7 1.3 1.7 John Connally 0.5 0.8 0.6 1.0 Edward Brooke — 1.0 — 2.5 — William Milliken — 0.5 — 2.5 — Bill Brock — 0.3 — 1.3 — Dan Evans — 0.3 — 1.3 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

Four years later in 1980, the early national surveys had the incumbent president, Democrat Jimmy Carter, trailing badly against Sen. Kennedy, who had finally decided to run. Based on our data, Kennedy holds the dubious distinction of being the candidate with the highest adjusted polling average to not win a presidential nomination, at least for the 1972 to 1996 period. In the end, Carter was renominated, but he lost the general to Reagan.

The 1980 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Ted Kennedy 46.8% 49.2% 46.8% 49.2% Jimmy Carter 31.7 36.2 31.7 36.2 Jerry Brown 14.1 7.9 23.6 13.2 George McGovern 0.6 0.3 0.7 0.4 Walter Mondale 0.3 0.4 0.3 0.4 Scoop Jackson 0.4 0.2 0.7 0.3 Frank Church 0.2 0.2 0.4 0.3 Daniel P. Moynihan 0.0 0.1 0.0 0.2 Mo Udall 0.1 0.0 0.2 0.1

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

Reagan’s nomination in 1980 marked another GOP contest won by the early frontrunner, but it also started a trend of the Republican runner-up winning the GOP nomination in the party’s next competitive primary cycle. His principal foe was former CIA Director George H.W. Bush, who was relatively unknown in the year prior to the primaries. Bush advanced from about 4 percent to 11 percent in our adjusted polling average from the first half to the second half of 1979, and even though he beat out Reagan to win the Iowa caucuses, Reagan went on to win the nomination (although it wasn’t entirely a bust for Bush, as Reagan did make him vice president).

The 1980 Republican primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Ronald Reagan 34.3% 37.3% 34.3% 37.3% Howard Baker 13.1 15.0 21.8 25.1 John Connally 10.2 12.8 12.7 16.0 Gerald Ford 19.3 12.3 19.3 12.3 George H.W. Bush 1.5 4.5 3.8 11.4 John Anderson 1.2 1.3 6.0 6.3 Phil Crane 1.0 1.0 5.0 5.2 Bob Dole 2.3 2.4 3.9 4.0 Charles Percy 1.2 0.9 3.0 2.3 James Thompson 0.3 0.4 1.4 2.1 Alexander Haig 0.4 0.8 1.1 2.1 Elliot Richardson 0.3 0.7 0.7 1.8 William Simon — — 0.3 — 1.7 Jesse Helms — — 0.3 — 1.3 Jack Kemp 0.7 0.2 3.6 0.8 Larry Pressler — — 0.2 — 0.8 Lowell Weicker — 0.9 — 4.3 — Robert Ray — 0.2 — 1.1 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

Reagan sought re-election in 1984, and to face him Democrats nominated their early polls leader — former Vice President Walter Mondale. This marked the only time between 1972 and 1996 that the Democrats nominated someone who led in the raw polling average a year before the primary, although he still had to sort things out at the convention against his main opponents, Sen. Gary Hart and civil rights leader Jesse Jackson.

The 1984 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Walter Mondale 33.8% 40.1% 33.8% 40.1% John Glenn 24.3 24.7 30.4 30.9 Alan Cranston 4.7 5.3 11.7 13.1 Reubin Askew 1.4 1.9 6.9 9.6 Jesse Jackson 4.0 7.6 5.0 9.5 Gary Hart 3.0 2.6 7.4 6.5 George McGovern — — 4.5 — 5.6 Ernest Hollings 0.9 1.0 4.6 5.1 Ted Kennedy 2.1 1.8 2.1 1.8 Bill Bradley — 0.7 — 1.7 — Daniel P. Moynihan — 0.3 — 0.8 — Mo Udall — 0.3 — 0.8 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

In 1988, Democrats returned to form by not nominating the early frontrunner, and instead picked Massachusetts Gov. Michael Dukakis. Yet our adjusted polling average indicated Dukakis was a lot stronger than early surveys suggested, as he enjoyed a fair bit of support while being relatively unknown. It didn’t hurt him that Hart, who was campaigning again and one of the early frontrunners, was undone by an extramarital affair. While Dukakis went on to clinch the Democratic nomination, he lost in the general election.

The 1988 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Michael Dukakis 7.5% 11.3% 37.6% 28.2% Jesse Jackson 14.5 18.0 18.1 22.5 Paul Simon 4.2 7.5 20.8 18.7 Al Gore 3.5 6.5 17.5 16.2 Gary Hart 14.3 12.7 17.8 12.7 Dick Gephardt 4.5 4.4 22.5 11.0 Bruce Babbitt 2.2 2.0 11.0 10.1 Mario Cuomo 6.1 3.5 15.3 8.8 Pat Schroeder 0.1 1.3 0.3 3.2 Joe Biden 2.4 1.3 11.8 3.1 Ted Kennedy — — 1.3 — 1.6 Sam Nunn 1.3 0.2 6.4 0.8 Bill Bradley 0.9 0.3 2.2 0.8 Bill Clinton — 0.4 — 2.0 — Chuck Robb — 0.4 — 2.0 — Dale Bumpers — 0.2 — 1.1 — Lee Iacocca — 0.8 — 0.9 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

Opposing Dukakis in 1988 was George H.W. Bush, who had served eight years as Reagan’s vice president — yet another GOP runner-up who went on to win the next open primary. Bush also led most early polling, with Sen. Bob Dole in second. And while Dole did win the Iowa caucuses, Bush recovered in New Hampshire and won most contests after that. But this wouldn’t be the last Republicans saw of Dole; he would get his shot at the presidency later on.

The 1988 Republican primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd George H.W. Bush 37.0% 42.9% 37.0% 42.9% Bob Dole 22.0 23.3 27.5 29.1 Jack Kemp 8.5 7.1 21.3 17.9 Pete du Pont 1.7 2.2 8.4 11.1 Pat Robertson 4.1 6.0 10.2 10.0 Alexander Haig 4.3 4.7 7.1 5.9 Paul Laxalt 1.6 0.1 7.8 0.7 Jeane Kirkpatrick 0.6 0.2 1.6 0.5 Howard Baker — 2.3 — 3.8 — Thomas Kean — 0.8 — 3.8 — Pat Buchanan — 0.1 — 0.2 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

In 1992, Bush became the third president to fend off a notable primary challenger since 1972. Initially, Bush’s approval rating had been high — close to 90 percent after the Gulf War. But a faltering economy and broken promise not to raise taxes weakened Bush and helped spur a challenge from the right in the form of pundit Pat Buchanan. We only have data for the second half of 1991 — at first it looked unlikely that Bush would face a serious challenge, so pollsters weren’t asking about the Republican primaries much — but we can see that despite Bush’s massive lead in the polls, Buchanan’s position was more robust than it looked. Even though his name recognition was low, those who did have an opinion of him seemed to support him. Bush won the nomination, but Buchanan embarrassed him by grabbing 37 percent of the vote in New Hampshire, and ultimately, Bush lost re-election.

The 1992 Republican primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd George H.W. Bush — — 59.4% — 59.4% Pat Buchanan — — 9.8 — 24.5 Howard Baker — — 3.6 — 6.0 Jack Kemp — — 3.2 — 5.3 David Duke — — 2.8 — 3.5 Dick Cheney — — 2.6 — 3.3 Dan Quayle — — 2.0 — 2.0 Phil Gramm — — 0.4 — 1.0 Pete Wilson — — 0.2 — 0.5

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

Facing Bush in the general election was Arkansas Gov. Bill Clinton, who was still not that well-known when he announced his run for president in October 1991. Nonetheless, Clinton’s adjusted polling average improved substantially in the year leading up to the primaries. He started at around 3 percent in the first six months of 1991 and jumped to about 19 percent in the second half of the year. New York Governor Mario Cuomo led the polls, but at the last minute decided against running, and Clinton went on to defeat former Sen. Paul Tsongas and former Gov. Jerry Brown for the nomination.

The 1992 Democratic primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Mario Cuomo 20.0% 22.7% 33.3% 37.8% Jerry Brown — — 13.0 — 21.7 Doug Wilder 2.5 7.8 6.3 19.5 Bill Clinton 1.3 7.4 3.1 18.6 Bob Kerrey 1.3 5.6 3.1 14.1 Tom Harkin 1.8 5.3 4.4 13.2 Paul Tsongas 0.8 3.5 3.8 8.8 Jesse Jackson 10.5 4.1 10.5 4.1 Al Gore 8.8 0.9 14.6 1.5 Dave McCurdy 0.0 0.3 0.0 1.3 Jay Rockefeller 1.3 0.6 2.1 1.0 Lloyd Bentsen 10.0 0.8 16.7 0.9 Eugene McCarthy — — 0.4 — 0.6 Larry Agran — — 0.0 — 0.2 Dick Gephardt — 6.5 — 10.8 — Sam Nunn — 5.3 — 8.8 — Bill Bradley — 3.3 — 5.4 — Chuck Robb — 1.0 — 2.5 — George McGovern — 2.0 — 2.5 — George Mitchell — 1.0 — 2.5 — Stephen Solarz — 0.3 — 1.3 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

In 1996, the GOP chose Dole to face off against Clinton during his re-election bid, making Dole the third runner-up since 1976 to win the GOP nomination at the next opportunity. Dole seemed to have an insurmountable edge in the Republican primary polls, but he still had a rough start — he barely defeated Buchanan in Iowa and then lost to him in New Hampshire before recovering to win most other contests. Dole went on to lose in the general against Clinton.

The 1996 Republican primary field

Candidates’ polling averages in the first half and second half of the year before the presidential primaries, plus an adjustment for name recognition

Name recognition Poll Avg. Adj. poll avg. Candidate 1st half 2nd half 1st 2nd 1st 2nd Bob Dole 46.2% 44.0% 57.8% 55.0% Phil Gramm 11.1 8.6 18.5 14.3 Colin Powell 5.2 8.6 6.5 10.7 Pat Buchanan 5.6 6.6 7.0 8.2 Lamar Alexander 3.1 2.9 7.7 7.4 Steve Forbes — — 2.7 — 6.6 Richard Lugar 1.8 2.1 4.6 5.3 Alan Keyes 0.6 1.0 3.1 5.2 Arlen Specter 1.8 2.0 4.4 5.1 Pete Wilson 4.5 2.7 7.5 4.5 Bob Dornan 0.8 0.8 3.8 4.2 Newt Gingrich 3.1 1.6 3.8 2.0 Jack Kemp 0.8 0.6 1.4 1.0 Dan Quayle 1.9 0.7 1.9 0.7 Dick Cheney 0.2 0.4 0.3 0.6 Ross Perot 0.0 0.6 0.0 0.6 Pat Robertson 0.2 0.2 0.3 0.4 Bill Weld — 0.1 — 0.3 — Bill Bennett — 0.1 — 0.2 — Howard Baker — 0.1 — 0.2 — George H.W. Bush — 0.0 — 0.0 —

We included everyone we had polling data for, no matter how likely or unlikely they were to run.

Source: Polls

And that’s a wrap for now. In Part II, we’ll look at early primary polls in contests from 2000 to 2016. And as we’ll see, Republicans broke with their habit of nominating the early polling leader, while Democrats nominated an early frontrunner twice, after doing so only once between 1972 and 1996.

Additional contributions by Laura Bronner.

#IFTTT #Politics – FiveThirtyEight #politics #538 #Geoffrey Skelley

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shirlleycoyle · 4 years ago

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Drug-Running Plane Seized by Feds Used to Spy on George Floyd Protests

A government-owned aircraft that circled the unrest in Minneapolis following the murder of George Floyd by Minneapolis Police originally belonged to Air America, an international drug smuggling front in the 1980s.

Documents obtained under the Freedom of Information Act show that the Minnesota Department of Natural Resources (DNR) aircraft N528NR was seized by the U.S. Marshals via asset forfeiture and later acquired by the DNR. The aircraft circled for hours over the protests and later riots on May 30th and 31st.

Prior to the surveillance flights in late May over Minneapolis, the Cessna T310R could typically be spotted flying over the forests of northern Minnesota. The stated objective of DNR aviation operations is to inventory and manage forestlands, provide wildfire reconnaissance and other ecological activities. The DNR has a law enforcement component, the role of which following the murder of George Floyd isn’t entirely clear yet. DNR internal documents, communications and other records are being sought to further understand the department’s place in the unprecedented law enforcement response to the protests and riots.

The plane, according to decades-old documents, is equipped with thermal imaging technology. Web searches for information about DNR forestry operations indicate the aircraft also uses what’s known as hyperspectral imaging, which is becoming fairly common in resource management. This powerful imaging technology uses lasers to collect “204 millions samples per second,” according to a 2018 forestry inventory webinar, in order to ascertain information about the plant life below. How this technology can be applied to police surveillance efforts such as the two protest overflights in late May is not fully understood at this time. The DNR is currently processing a public information request submitted by Motherboard for these and other details, and the department communicated it would begin handing over documents next week.

Federal Aviation Administration records obtained by Motherboard show a fascinating and wholly unexpected chain of custody for N528NR, from drug smuggling operation to government surveillance plane.

What these documents reveal is truly mind boggling: drug runners created a small fortune running cocaine into the United States using a Cessna plane. That aircraft ferries Congressmen and others around in between drug smuggling flights. The Marshals and their partners seize that property for their own purposes, including transporting prisoners from their war on drugs. Later on, that same Cessna plane is outfitted for surveillance, is flown over Americans engaged in protest and civil unrest.

The plane’s story begins with the investigation and trial of Frederick Luytjes (pronounced Lie-Chess), the convicted proprietor of Air America who pleaded guilty to flying 7.5 tons of cocaine into the United States from 1980 to 1984. “Flying out of the Wilkes-Barre/Scranton Airport, stripped down planes would leave for Colombia with $1 million stashed in duffel bags and return with 1,300 pounds of cocaine. Authorities estimated that Luytjes made $25 million in five years, laundering much of the profit through legitimate businesses. Authorities testified that Luytjes' employees at times took cardboard boxes filled with cash to local banks for deposit.”

Luytjes acquired a great deal of property and obviously cash from these exploits. His personal estate, according to the government agents who later seized it, amounted to the largest property forfeiture action to date. Prior to his downfall, “Luytjes raised money for local and national Republican political candidates, had his picture taken with President Gerald Ford, socialized with former Gov. William W. Scranton and often flew Rep. Joseph M. McDade to Washington on Air America planes.” This coziness, between the underworld and those occupying high offices, was surprising to many and prompted those officials to publicly disavow any knowledge of Luytjes’ dealings.

The name “Air America” may sound familiar, because it was the name of an airline secretly operated by the CIA from 1946 to 1976 and which contributed to the Vietnam War efforts. The Wikipedia entry explains, “Air America flew civilians, diplomats, spies, refugees, commandos, sabotage teams, doctors, war casualties, drug enforcement officers, and even visiting VIPs like Richard Nixon all over Southeast Asia.” Allegations of drug running have haunted the legacy of the CIA’s Air America since the airline folded in 1975.

In his book, The Politics of Heroin in Southeast Asia, Alfred McCoy argues illicit drugs including heroin were, “transported in the planes, vehicles, and other conveyances supplied by the United States. The profit from the trade has been going into the pockets of some of our best friends in Southeast Asia. The charge concludes with the statement that the traffic is being carried on with the indifference if not the closed-eye compliance of some American officials, and there is no likelihood of its being shut down in the foreseeable future.” During the Vietnam conflict, the majority of the global supply of heroin originated in the Golden Triangle, which remained true until it was surpassed by Afghanistan following the US invasion.

Investigators suspected that Luytjes chose the name “to create an impression he was connected with the Central Intelligence Agency,” the New York Times reported in 1986. Luytjes openly claimed to his South American business partners that he was working as a CIA informant. Apparently, his cohorts believed this would provide them some sort of cover for their operations.

“As part of his defense, Luytjes maintained he was an informant for the DEA and CIA. In one mission, he claimed, he had tried but failed to fly a general and gold out of Nicaragua… A DEA agent and a law enforcement official were among those called by Luytjes to confirm that he had assisted their agencies in investigations.” The Morning Call, a Pennsylvania newspaper, reported in 1986 that “after he was arrested… Luytjes again claimed he was on a ‘high government mission’ and really wasn't a drug smuggler.”

Just as appealing as this supposed cover were Luytjes’ professionalism and the quality of his planes. These highly modified aircraft were “guaranteed, in part, by state-of-the-art technology—custom-designed airborne radar detectors, for example, and computerized fuel management systems. In the course of about 40 missions over a four-year period, the ring never failed to make a delivery,” the New York Times reported in 1988. Luytjes used to boast that Air America's pilots could guarantee their arrival times within three minutes. “Nobody else can do that,' he claimed, 'not even Federal Express.’”

Luytjes was clearly at the pinnacle of the drug running world, largely due to his skills with aircraft acquisition and modification. This is evident by the fact that he sold the very C-123 aircraft that, upon being shot down over Nicaragua, began what’s now known as the Iran-Contra Affair.

In video from a 1988 Senate investigation Gary Betzner, another convicted drug pilot, admitted that he encountered the infamous Barry Seal at “an Air America facility in Pennsylvania.” Barry Seal was a military pilot turned drug smuggler turned informant who was ultimately gunned down by a cartel hitman.

Whether Luytjes was really involved with the CIA or not will probably never be truly settled, but regardless, the drug smuggling Cessna T310R’s strange journey was not finished.

After Air America was shut down and its assets seized by the state, it became a bonanza among government agencies to try and absorb the plentiful yield of drug money and assets. “The Deputy Attorney General presented an Equitable Sharing award in the amount of $1.1 million to the Attorney General of Pennsylvania… The US Customs Service … request[ed] office machines/equipment, furniture, conveyances, and some items of shop equipment.” The memo goes on to explain that the DEA was also preparing a list of asset requests but the Marshal’s were unaware of what that list would include at that time.

According to one document obtained by Motherboard, the U.S. Marshals wanted to use the Air America facility to “support air operations of the National Prisoner Transportation System (NPTS) throughout the Mid-Atlantic and New England regional areas.” The document goes on to explain how use of this facility and the seized aircraft could save a lot of money for their prisoner transportation operations.

The Marshals noted that their agency was the only one asking specifically for the facilities and aircraft. “The assets sought for official use by the Marshals Service… consist of a five-building complex… two aircraft [and] two motor vehicles…” On June 2nd, 1987 the Marshals received notice that the Deputy Attorney General approved the transfer of the seized Air America assets.

At the time of the property transfer from Air America to the Marshal’s Service, the aircraft now operated by the Minnesota DNR had logged nearly 1,000 hours. That total would increase for a few years in service of the Marshal’s Air Operations Division and then even further under the Minnesota DNR. Upon last check of flight history via ADSB Exchange, a flight tracker, the DNR did not operate extensively this summer after circling the George Floyd protests.

Prior to the adoption of the aircraft by the Forestry wing, the DNR housed the aircraft in their Division of Enforcement, a registration more in line with the previous history of the aircraft. The DNR entered into an agreement with the General Services Administration (GSA) in late 1994 requesting the aircraft for their own purposes. The GSA brokered the deal on behalf of the U.S. Marshals, which made use of the aircraft until it was no longer required. The deal was notarized in 1996.

It appears efforts have been undertaken to keep the plane shrouded in some degree of mystery.

In 2017, an official within the DNR’s Forestry division requested a change in tail-numbers, from N37250 to the current sequence. In doing so, the old registration information would not be as easily linked to this specific aircraft and the true history of its origins would remain largely unknown to most observers. Interestingly, the old tail number N37250 currently appears in the FAA civil registry under completely unrelated and deregistered status. The years of operation under the Air America status are simply absent from the registry.

Drug-Running Plane Seized by Feds Used to Spy on George Floyd Protests syndicated from https://triviaqaweb.wordpress.com/feed/

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blackkudos · 7 years ago

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Keith Sweat

Keith Douglas Sweat (born July 22, 1961) is an American R&B and soul, singer-songwriter, record producer, actor, radio personality, and an innovator of new jack swing.

Early life

Keith Sweat was born in Harlem, New York to Juanita Thompson, a hairdresser, and Charles Sweat (died 1973), a factory worker. Juanita raised their five children alone after Charles Sweat's death. He worked as a night stock boy at Macy's and then a mailroom clerk at Paine Webber. In just four years he worked his way up to a lucrative brokerage assistant job on the floor of the New York Stock Exchange. Sweat worked as a supervisor for the New York Mercantile Exchange.

Career

1975–84: Career beginnings with Jamilah

Sweat started his musical career as a member of a Harlem band called Jamilah in 1975. With the help of Jamilah, Sweat was able to hone his craft as a lead singer by performing regionally throughout the tri-State area of New York, New Jersey and Connecticut. The group was started by bassist Larry Peoples, guitarist Michael Samuels, and drummer Walter Bradley. Additional members of the group included Peter DaCosta (vocals), Joseph McGeachy (sax), Dwight Banks (trumpet), and Kenneth Varner (keyboards).

After leaving the group in 1984 to begin a solo career, he sang at nightclubs throughout New York City and landed a chance to record for the independent label, Stadium Records. Sweat recorded only one tune for Stadium called "My Mind Is Made Up", which was their third ever release, but on Stadium's first release, he is credited as co-writer and co-producer of "You Are The One For Me", the last recording ever made by the group GQ. One of GQ's original members is his uncle, Keith "Sabu" Crier.

1987–93: Make It Last Forever, I'll Give All My Love to You and Keep It Comin

Later in 1987, Keith Sweat was discovered by Vincent Davis and offered a recording contract with his label, Vintertainment Records, which was founded in 1983 on the foundations of early Hip-Hop and otherwise best known for releasing Joeski Love's "Pee Wee Dance" in 1985. Vintertainment was distributed by Elektra Records from 1985 until it ceased operations in 1990, at which point Elektra opted to buy Keith's contract outright and have him record directly for the label.. On November 25, 1987, Sweat released his debut solo studio album Make It Last Forever, which sold three million copies. The biggest hit from this album was the song that inaugurated the new jack swing era "I Want Her" (#1 R&B/#5 Pop), which was nominated for the 1989 Soul Train Best R&B/Urban Contemporary Song of the Year award, while the title track from the album hit #2 on the R&B charts. Sweat reached the charts again with his second album I'll Give All My Love to You (1990) which hit #6 on the Billboard 200 chart. He released his third album, Keep It Comin' in 1991, which debuted in the top 20 of the album chart. Sweat then moved from New York to Atlanta, where he founded the Keia Records label that would feature Silk & Kut Klose.

1994–2001: Get Up on It, Keith Sweat, Still in the Game and Didn't See Me Coming

In 1992, Sweat discovered the group Silk, and helped craft their debut album, Lose Control, which hit #7 on the Billboard 200 album chart. The album's single "Freak Me" hit #1 on the Billboard Hot 100 on May 1, 1993. In 1993, Sweat discovered the Atlanta-based female R&B group Kut Klose. Sweat also produced the group's debut album Surrender, which produced their biggest hit single "I Like", peaking to #8 on the Hot R&B/Hip-Hop Singles & Tracks chart.

Sweat released his fourth album Get Up on It in the summer of 1994, and his self-titled fifth album in 1996. Both albums reached the top ten on the Billboard 200. The single co/produced and written by Eric McCaine "Twisted" featuring R&B group Kut Klose hit #2 on the Billboard Hot 100 and "Nobody" hit #3, which made them Sweat's biggest hits to date. The song "Just A Touch", with Traci Hale providing background vocals, has earned a regular spot on radio playlists. "Just A Touch" was a cover of the 1979 song "Just a Touch of Love" by Slave. In the fall of 1997, Sweat discovered the group Ol' Skool and helped with their self-titled debut. He was on their biggest single, "Am I Dreaming," which featured R&B group Xscape. Sweat also formed the R&B supergroup LSG with Gerald Levert and Johnny Gill, and released their self-titled debut Levert.Sweat.Gill in 1997. That album featured "My Body", which became a hit single. The album was certified double platinum and reached #4 on the U.S. Billboard 200.

Sweat's sixth album, Still in the Game was released in 1998, hitting #6 on the Billboard 200, and #2 on the R&B/Hip Hop albums chart. It featured the singles "Come and Get With Me" (which featured Snoop Dogg) (#12 Hot 100) and "I'm Not Ready" (#16 Hot 100). Sweat's success on the charts started to diminish in 2000, when he released the album Didn't See Me Coming. None of the singles from the album reached the top forty. They were moderate hits on the Hot R&B/Hip-Hop Singles & Tracks chart.

2002–present: Rebirth, Just Me, Ridin Solo and Til the Morning

On August 13, 2002, Keith Sweat released his eighth album, Rebirth. The single "One on One" reached #75 on the Billboard Hot 100 and #44 on the Hot R&B/Hip-Hop Singles & Tracks chart. His 2008 album Just Me fared better with its first single, "Love U Better (featuring Keyshia Cole)" being played on Urban radio stations for about a year before the album's release. Sweat is currently signed to Kedar Records and released his tenth studio album entitled Ridin' Solo on June 22, 2010. The lead single taken from the album is "Test Drive" and featured label-mate Joe. Since 2007, Sweat has been the host of a nationally syndicated radio program based upon the Quiet storm format. The Keith Sweat Hotel (known as The Quiet Storm with Keith Sweat on WBLS in New York City) is syndicated through Premiere Radio Networks.

Personal life

He has two sons and three daughters. He named his record label, Keia Entertainment, after his younger daughter and has Briana Johnson, one daughter by Tracy J. From 1992 until 2002, he was married to The Real Housewives of Atlanta co-star Lisa Wu Hartwell. With her, he had two sons, Jordan (b. 1995) and Justin (b. 1998).

Discography

Make It Last Forever (1987)

I'll Give All My Love to You (1990)

Keep It Comin' (1991)

Get Up on It (1994)

Keith Sweat (1996)

Still in the Game (1998)

Didn't See Me Coming (2000)

Rebirth (2002)

Just Me (2008)

Ridin' Solo (2010)

Til the Morning (2011)

Dress to Impress (2016)

Awards and nominations

American Music Awards

1991, Favorite R&B/Soul Male Artist (Nominated)

1997, Favorite Male R&B/Soul Artist (Winner)

1997, Favorite R&B/Soul Album: Keith Sweat (Nominated)

1998, Favorite Male R&B/Soul Artist (Nominated)

2013, Soultrain Lifetime Achievement Award

Wikipedia

#Keith Sweat #07-22

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haitilegends · 6 years ago

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JOYEUX ANNIVERSAIRE À MUSHY WIDMAER GOUSSE.

Légendaire pianiste, compositeur et arrangeur haïtien.

“Haitian Music is, Song, Classical, Root, Dance, Contemporary, Traditional, Jazz and all musical genres originated from the Haitian soul. This variety constitute the Opera of our History.”

Honors

Invited for the Jazz Workshop in Martinique “Fondation Culture Creation and the Centre Martiniquais d’action culturelle (1993)

Three times Jury Member of American Airlines Music Contest

Musical Composer Contest Award for the 150th Anniversary of Petion-Ville (Hymn) 1981

First Prize winner of International Contest “Phonurgia Nova” for Best Jingles, Best Radio Beds, Best News Themes 1997

Chosen by The Journalist & Critic Gerald Merceron (Jazz Mag) as being among the top 10 best Piano Player of the Caribbean

Associations

Founder of “La Societe Haitienne de Production “(Shap Music) – Haiti

Founder of “La Societe ZEKLE MUSIC “Haiti

Co-Founder of Metro-sound Co. / - Haiti

Co-Founder of Groups ZEKLE & LAKANSYEL – Haiti

Member of the “Societe des Auteurs et Compositeurs “– SACEM France

Founder and President of Fondation Musique & Art - 1997

Share Holder and Consultant of “Communication Professionals “(COMPRO)

Share Holder and Member of the Administration board of “Radio Metropole “(Port-au-Prince, Haiti)

Musicography

1. Gerard Charmier (La flute enchante) 1974

2. Ti Corn 1975

3. Gerald Merceron Energie Mysterieuse 1978 GM002

4. Scorpio Ansan'mAnsan'm 1979

5. Caribbean Sextet Joui la VI 1979 MRS 10596.

6. Gerald Merceron Haiti 2000(Tet San kò) 1980 GM

003

7. Skah Shah #1 1981

8. Baba Boogie Band 1981

9. Zekle Memories 1981

10. Claude Marcelin Boul Malachong 1981

11. Joel+Zekle Ce ou Men'm 1982 ZR701

12. Claude Marcelin Se Verite 1982

13. Gerald Merceron Bokassa 1982 GM004

14. Tuco Bouzi et les Freres Dejean 1982 Kala 1002

15. Zekle Pil ou Fas 1983 ZR 702

16. Simond Jurad 1983

17. Joel + zekle Repon Mwen 1983 WEA

18. Tuco Bouzi Joui La VI 1983 Makaya

19. Raoul Denis Jr Misikasyon 1985 K1003

20. Claude Marcelin 1985 K1007

21. Kajou Tet Chaje 1987 ZR 704

22. Alfred Varasse Ti Bonon'm 1987

23. Jean-Michel Daudier Soley La 1987 S1001

24. Emeline Michel Douvanjou Ka leve 1987

25. Carole Demesmin La Rouze 1987 S1003

26. Shap Vol 1 Zekle Pirogue Assali 1987 S1004

27. Jacques Fattier Haiti 86 1987

28. Zekle STOP 1987 Mad4010

29. KonKou Mizik 86 AA 9 Hans Peters 1987 (aak 1)

30. Vive Haiti Mario De Volcy 1987 Gero004

31. Emeline2 Emeline Michel 1988 S1005

32. Bernard Lavilliers IF 1988 BaryN/S33. Shap Vol 2 1989 S1006

34. Jacqueline +Zekle L'ordinacoeur 1989 S1007

35. Claude Marcelin Roule Tanbou 1989 S10083

36. 3eme Concours Mizik AA Jeannot Montes 1989

AAK3

37. Emeline Michel Flan'm 1989 Cobalt/

38. Yole Desroses Quand Mon Coeur… 1989 ADP002

39. Emeline Michel Tout Mon Temps 1991 Sony5525

40. Emeline Michel Pagenmanti nansa 1991 Geronimo

41. Zekle Best of Zekle 1991 Geronimo

42. Toto Bissainthe CODA 1996 R&B

43. Boukan Ginen 1996

44. Kote'ou Mushy & Lakansyel 1997

45. Zekle San Mele 1998 NG

46. Zenglen An nou Alez 1998

47. Matebis 2000

48. En plein coeur Herby Widmaier 2001

49. Lionel Benjamin Noel Kan Men'm 2001

50. Phillipe Guillaume Guy Durosier 2004

51. Matebis 2000

52. Documentary Faiseur de fanaux 2002

53. Ballet Soley Brule TiGa 2002 BFH

54. Documentary Casseuse de Pierre 2003

55. Documentary Kazale 2004

56. O Chan Pou Haiti Kolectif Non 2004

57. Luc Merville Ti Peyi Mwen 2005

58. Documentary Roussan Camille 2005

59. Documentary Albert Mangonez 2005

60. A Voix Basse 1 Pierrot Brisson 2005

61. My World Mushy Widmaier 2006

62. A Voix Basse 2 Pierrot Brisson 2006

#MushyWidmaerGousse

#HaitiLegends

#HugoValcin

#haiti legends #haitilegends #Mushy Widmaiër #Mushy Widmaier #Pianist #Composer #Jazz #jazzmasters #jazz music #jazzfans #jazz

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louisdungo · 5 years ago

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FILM BLOG

...

Here are eight (8) films I have recently watched...

...

Maynila sa mga Kuko ng Liwanag (1975)

This film is directed by Lino Brocka and stars Bembol Rocco, Linda Koronel, and Tommy Yap. The film revolves around Julio Madiaga (played by Bembol Rocco), a young adult from the province who went to Manila to find a job and eventually found himself into a society in which he becomes hopeless while learning that his old flame, Ligaya Paraiso (played by Linda Koronel), is also within the city. The movie as a whole was engaging right from the start until the end and it is really a must-watch. I, for one, started to appreciate more of the local films after watching this movie, even the vintage ones before my time like the film Batch 81 by Mike de Leon. I think its good to see such original narratives from local films nowadays, considering the amount of film festivals that we have as of now -- but if you would think about it, there's no local film like any other when compared with Maynila. There were actually no characters from the film that you would not be interested in. I symphatized with the main characters especially with Julio, since every situation he comes across in the film was very harsh that he can't seem to do anything about them but instead, he would often run from it. The main protagonist, Ah Tek (played by Tommy Yap), was very subtle throughout the film because you wouldnt expect him to have such a big turning point to the story and for Julio as a character later in the final act of the film. I saw the film only with its restored version which was made possible by Mike de Leon, who is also the cinematographer of this film, and they did a pretty good job on remastering its cinematography. The audio was a little blown out even with its restored version but I was able to understand most of the dialogue anyway. Overall, Maynila sa mga Kuko ng Liwanag gets more and more intense every after scene and I think it deserves to be recognized by everyone.

The Birth of a Nation (1915)

This film is directed by D. W. Griffith and stars Henry B. Walthall, Lillian Gish, and Ralph Lewis. The film is centered around a family from the north and south of america during the civil war period and how they eventually became at war with each other that results with the birth of a racist and aggressive nation, hence the title of the film. This is an important part of the history of film since it is the very first feature length film with a narrative. However, the film was unessecarily three hours long, at least for me, and it is also a silent film as a whole in which I wouldnt blame the filmmakers for it, given the time it was made. The film eventually shows the main protagonist's descent into madness as is explicitly shows how the birth of the Ku Klux Klan came to be. I think it's not that controversial enough, based from some people who have watched the film, since it is somehow for the viewers to be aware not only of the history of the KKK but also to be aware of the impact on racism and how it is still relevant until now. The final act might be the most brutal part of the film since it shows how we, humans, can do something unimaginable. I think The Birth of a Nation, as a whole, doesnt fear to show the dark truth in which the society could possess towards people of color and it would be rather recommended for people who are interested in what the first feature film was like.

The Jazz Singer (1927)

This film is directed by Alan Crosland and stars Al Jolson, May McAvoy, and Yossele Rosenblatt. The story revolves around a boy named Jackie Rabinowitz who is interested in jazz and wants to become a jazz singer but his father (played by Yossele Rosenblatt) whom, is a cantor, is keeping him from doing so since tradition must be passed on to him. Years later, Jackie (played by Al Jolson) grew up and was able to follow his passion whilst finding love along the way and must decide whether to keep on being a singer or to stick with his tradition and stay with his father. The Jazz Singer is known as the first "talkie" film in which dialogue can be heard in the film, except there wasnt much scenes with actual speaking voice on it and can only be heard whenever there are scenes in which Jackie is finished singing. What I like about this film is the narrative and the acting. The story was simple yet well executed as a drama movie and Al Jolson steals every scene that he is on. The final act might be my favorite part of the film because it was riveting and sad at the same time which ended on a perfect note. In Jazz Singer, I learned how you can follow your passion wherever you see yourself fit despite what others tell you to be what they want you to be, and there's nothing wrong about it.

Citizen Kane (1941)

This film is directed and written by Orson Welles and stars also himself as the lead role, along with Joseph Cotten and Dorothy Comingore. The film focuses on the mysterious death of Charles Foster Kane (played by Orson Welles) in which a reporter is assigned to unravel the truth behind Kane's mystifying last words. I have to say, this film is far ahead of its time when referring to itsediting and cinematography. The story and especially its atmosphere is what I liked the most since I am more into the noir type of films, like Sunset Boulevard (1952). Every scene gets more engaging as you progress through its narrative. All the actors who took part did a brilliant job, but Welles made himself stand out among the rest of the cast. His portrayal of a man who was able to get everything he wanted, and wasnt really satisfied after all -- is beyond phenomenal.

Pink Floyd: The Wall (1982)

This film is directed by Alan Parker and Gerald Scafe and was written by one of the band members of Pink Floyd itself, Roger Waters. It stars Bob Geldof and it is a visual representation of the band's album of the same name. The story revolves around a man named Pink, a musician scarred for life who pondered on his childhood memories inside a hotel room and isolating himself from the society in which he symbolizes as a wall. This is actually the first album I have heard from the band and I started to appreciate more of their songs after watching the movie. It was captivating until the end since it is visually hypnotizing with all its twisted animations throughout the film, all thanks to Scafe's vision of the album. The way I see it, I think it shows how some people who happen to have a depressing upbringing could actually be forced into isolation and absolute madness all because of its noxious society that's surrounding them.

Hugo (2011)

This film is directed by Martin Scorsese and stars Asa Butterfield, Chloe Graze Moretz, Sasha Baron Cohen, with Ben Kingsley. The film is centered around an orphan named Hugo Cabret (Asa Butterfield) who is living inside a clock beyond the walls of the train station, and yet no one had any knowledge of who he is and where he lives. Hugo constantly works on an automaton in which his late father (played by Jude Law) had left him, not knowing that there is a secret message hidden within the automaton. Out of all the films Scorsese had made, this might be the only light-hearted one since most of his works are brooding and grounded. The film, as a whole, is well-directed. The story, the cinematography, the editing, every element evokes a youthful bliss. Hugo’s connection with the other characters is what simply made the film entertaining. The film also pays tribute to the first pioneers of film which can be quite educational in some way. I think every aspiring filmmakers should witness one of Scorsese’s masterpiece since it will make them appreciate and learn more of the filmmaking industry. Perhaps this film might be one of those reasons why I love filmmaking.

YIELD (2018)

This documentary is directed by Toshihiko Uriu and Victor Tagaro. It mainly documents the lives of nine (9) children namely Essam, Jason, Omar, Alex, Edralen, Glady Mae, Rommel, Ariel, and April as they endure child labor under the third-world conditions. Yield was somehow sad to watch since we get to witness some of the children’s deprivation of dignity which harms both their physical and mental state. This was not one of those typical documentary films since it is more observational – immersive, and no interview of some kind. Despite their hardships in life, some of them never yielded until they have reached their goals and some of them unfortunately never made it along the way. Yield was interestingly made in a span of five (5) years. I never really was interested in watching documentaries and maybe it depends on the subject matter, but this made me appreciate more of the alternative styles or modes in documentary filmmaking.

Batch 81 (1982)

This film is directed by Mike de Leon and stars Mark Gil as Sid Lucero in a brutal and grounded depiction of what newfound members of a fraternity has to undergo in order to become one of them. Basically the whole story revolves around Sid Lucero with six (6) of his other friends that decided to join a fraternity called the Alpha Kappa Omega (AKΩ) since they find it advantageous throughout their lives. As the film progresses, it gets more and more intense since their fate and friendship is immensely tested as there’s no turning back when joining the said fraternity. This is also one of the many Mike de Leon films in which it deals with the psyche of the Filipino people during the Martial Law years. It may not feel like a blockbuster-budget film but the story was powerful, all throughout. Batch 81 showcases how fascism has affected our human nature and captures our hunger for power wherein some people would tend to see themselves above everything else, and in that, it was a strong movie as a whole.

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