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Cherry Poppin' Daddies

The Cherry Poppin' Daddies are an American swing and ska band established in Eugene, Oregon, in 1989. Formed by singer-songwriter Steve Perry and bassist Dan Schmid, the band has experienced numerous personnel changes over the course of its 30-year history, with only Perry, Schmid and trumpeter Dana Heitman currently remaining from the original founding lineup.

The Daddies' music is primarily a mix of swing and ska, contrastingly encompassing both traditional jazz-influenced variations of the genres as well as contemporary rock and punk hybrids, characterized by a prominent horn section and Perry's acerbic and innuendo-laced lyricism often concerning dark or political subject matter. While the band's earliest releases were mostly grounded in punk and funk rock, their later studio albums have since incorporated elements from many diverse genres of popular music and Americana into their sound, including rockabilly, rhythm and blues, soul and world music.

Initially drawing both acclaim and controversy as a preeminent regional band, the Daddies gained wider recognition touring nationally within the American ska scene before ultimately breaking into the musical mainstream with their 1997 swing compilation Zoot Suit Riot. Released at the peak of the 1990s swing revival, Zoot Suit Riot sold over two million copies in the United States while its eponymous single became a radio hit, launching the Daddies to the forefront of the neo-swing movement. By the end of the decade, however, interest in the swing revival had swiftly declined, along with the band's commercial popularity. The resultant failure of their subsequent album Soul Caddy contributed to an abrupt hiatus in 2000.

The Daddies officially regrouped in 2002 to resume part-time touring, eventually returning to recording with the independently released Susquehanna in 2008. Their eleventh album, the punk and ska-influenced Bigger Life, was released in June 2019.

Formation
Following his high school graduation in 1981, Steve Perry left his hometown of Binghamton, New York, for Eugene, Oregon, to pursue track and field and a chemistry degree at the University of Oregon. A punk rock devotee since adolescence, Perry soon became engrossed in Eugene's underground music scene, where he eventually met and befriended musician and fellow University student Dan Schmid. Sharing similar musical ambitions and a mutual disinterest in school, the pair agreed to drop out of college together and start a band, forming the punk trio The Jazz Greats in 1983, which evolved into the Paisley Underground-styled garage rock group Saint Huck, which lasted from 1984 to 1987.

As the rise of grunge began to phase punk and hardcore out of the Northwest underground by the late 1980s, Perry set out to start a band that stood in defiant contrast to the shoegazing attitude of alternative rock, showcasing high energy dance music and Zappa-esque theatricality in an attempt to create something that an audience would react to viscerally instead of passively. Recruiting a horn section led by alto saxophonist Brooks Brown, Perry and Schmid formed their latest band Mr. Wiggles – named so after a Parliament song – in November 1988, playing their first show in Springfield as part of a benefit concert for workers of the Nicolai door manufacturing plant, who were then engaged in a union strike.

"My conception of punk", Perry told The Rocket, "was doing whatever the hell you wanted as long as it had vitality and wasn't overly stupid ... something exploratory and experimental", citing influence from genre-bending bands such as The Clash and the Meat Puppets. In their earliest incarnation, Mr. Wiggles played punk-inflected funk and soul music, though Perry's songwriting soon grew to draw heavily from a newfound interest in jazz, swing and rhythm and blues, combining punk rock and jazz arrangements in what Perry described was a desire to contemporize American roots music by infusing it with punk energy and using modernist, socially aware lyricism.

Early years (1989–1993)
In 1989, the title of Mr. Wiggles was retired when the band switched to a new name, "Cherry Poppin' Daddies", derived from jive slang the members had overheard on a vintage race record. The band played their first show as the Cherry Poppin' Daddies at the W.O.W. Hall in Eugene on March 31.

The Daddies sought to differentiate themselves from other Northwest rock bands of the era by having a horn section, featuring outlandish stage theatrics, and encouraging their audiences to dance. As Perry spoke of the Daddies' ideology, "It was our way of saying 'screw you' [to alternative rock 'phoniness'] ... we wanted to have fun, outrageously have a good blast without even thinking about it". Nonetheless, by the end of 1989, the Daddies had built a strong and loyal following within Eugene's counterculture, frequently selling out show and gathering critical acclaim."

The Daddies recorded their first demo cassette 4 From On High in July 1989, which included four tracks of funk rock and punk-influenced swing. The cassette sold over 1,000 copies in the Eugene and Portland areas, enabling the band to self-produce their debut LP Ferociously Stoned, released the following year. Fusing punk rock and jazz horns with funk grooves, Ferociously Stoned drew favorable critical comparisons to contemporaries Faith No More and the Red Hot Chili Peppers while also becoming a regional best seller. The album set a record for advance sales in Eugene's record stores and remained for over a year on The Rocket's Northwest Top Twenty list. The album helped expand the Daddies' Northwestern touring reach to as far as Alaska and Los Angeles by 1992.

Controversies and censorship
Cherry Poppin' Daddies' early performances often included flamboyant costumes, go-go dancers, phallic stage scenery, prop-heavy skits, or choreographed dance numbers. Perry—then performing under his mad scientist stage persona of "MC Large Drink" —would regularly engage in absurdist shock rock stunts, such as mock crucifixion and flag burning. One of the band's stage props was known as the "Dildorado" or "The Dildozer", a riding lawnmower modified to look like a human penis that mimicked ejaculation by shooting colorful fluids from its tip. The band attracted controversy from Feminist groups, who condemned the band's performances as pornographic, citing their name and sexually charged lyricism as a promotion of sexism and misogyny. Perry disputed such claims, defending the controversial elements as misinterpreted satire. In what Eugene Weekly called "the most hotly discussed topic in the local music scene" and "the Eugene flash point for the growing national debate on censorship [and] free speech", the Daddies experienced controversy which nearly ended their burgeoning career. Vigilante protest groups habitually tore down or defaced the band's posters and sought boycotts against venues that would book the group and even newspapers which gave them a positive review. The Daddies' concerts routinely became sites of organized picketing and, on one occasion, a bomb threat. The band members themselves were frequent recipients of hate mail, threats and physical harassment: once, Perry claimed, an irate protester threw a cup of hot coffee in his face as he was walking down the street.

The Daddies initially refused to change their name on the grounds of artistic freedom, but a number of venues refused to book them due to the negative publicity. The band was temporarily banned from the W.O.W. Hall, where they had previously served as house band. The group later bowed to community pressure, and performed under the name "The Daddies", "The Bad Daddies," and similar variations within Eugene, but performed under their original name while touring elsewhere. As the Daddies retired the theatrical elements from their later live shows, the controversies surrounding the band waned and they returned to using their full name everywhere. Some minor complaints resurfaced during their mainstream success in the late 1990s.

National touring and independent success (1994–1996)
Throughout the early 1990s, the Daddies continued to remain a reliably popular and profitable draw in the Pacific Northwest and Northern California club circuit. Despite earning critical accolades from the local music press, including winning SF Weekly's title of "Best Unsigned Band" in 1994, the Daddies struggled to achieve wider recognition and distribution. Following a number of changes in their member and managerial lineups, the group embarked on their first national tour in the fall of 1994, which was highlighted by a set at the CMJ Music Marathon festival and convention in New York City. Upon returning to Eugene without any advantageous deals, the Daddies instead bought and constructed their own independent record label and recording studio, Space Age Bachelor Pad Records, where they self-produced and self-recorded their second studio album, Rapid City Muscle Car, which was released in December 1994. Described by Perry as "an idea album" and "very psychedelic", Rapid City Muscle Car was a distinct departure from the upbeat dance music vibe of Ferociously Stoned, showcasing a diverse range of disparate genres including ska punk, psychedelic rock, country, rockabilly, big band, hard rock and lounge. While Perry has retrospectively cited Rapid City Muscle Car as his personal favorite Daddies album, he revealed in a 1995 interview with the Los Angeles Times that the album sold "okay" but ultimately didn't surpass sales of Ferociously Stoned.

The Daddies began dedicating themselves to full-time touring in 1995, playing over 200 shows across two or three national tours per year, including spots at prominent music festivals such as South by Southwest in Austin, Texas. As the band gradually built fanbases and markets around the country, they began attracting interest from several high-profile record labels, among which reportedly included Hollywood Records and producers including Roy Thomas Baker and Terry Ellis. However, when the suggestion or stipulation was made that the Daddies stick to one genre, Perry invariably rejected these offers, not wanting any outside influences controlling the band's sound. In a similar mindset, not wishing to be pigeon-holed into any specific scene or genre, Perry at first refused to tour with ska bands, though after a highly successful and well-received tour with Fresno ska band Let's Go Bowling, he acquiesced, and the Daddies eventually carved out a lucrative niche within the national ska scene, forming regular touring partnerships with the likes of The Mighty Mighty Bosstones, Reel Big Fish and Less Than Jake.

While the mainstream's growing focus on punk and ska by the mid-1990s presented the Daddies with further commercial opportunities, Perry still insisted foremost on maintaining complete creative control of the band. In February 1996, the Daddies released their third self-produced studio album on Space Age Bachelor Pad, Kids on the Street. Another musical departure from their previous record, Kids on the Street was mostly a reflection of the band's growing punk and ska influences, eschewing the Daddies' trademark brassy funk and swing in favor of guitar-driven rock, punk and ska, as well as stylistic detours into jazz and country. Distributed by noted indie label Caroline Records, Kids on the Street wound up becoming the Daddies' most successful release at the time, staying on The Rockets Retail Sales Top Twenty for over seven months and even working its way onto Rolling Stones Alternative Charts.

Zoot Suit Riot and major label years (1997–1999)
By late 1996, ska had broken through into the American mainstream as one of the most popular forms of alternative music, catapulting such major label bands as Reel Big Fish and The Mighty Mighty Bosstones into the national spotlight. The Daddies, however, without the support of a record label, were ultimately left on the fringes of commercial visibility. Although Kids on the Street had sold well for an independent release, the band had continuing difficulty securing press and distribution outside of the Northwest, while the pressure of full-time touring was inevitably becoming both a personal and financial strain on the members. The Daddies experienced at least fifteen lineup changes from 1996 to 1997, including the departure of original keyboardist Chris Azorr and co-founder Dan Schmid, leaving only Perry and trumpeter Dana Heitman as the sole remnants of the original lineup. Feeling they had finally hit a glass ceiling as an independent band, Perry said the Daddies were left with one of two options at this time: either sign to a label or break up.

Despite primarily playing ska tours during this turbulent period of their career, the Daddies suddenly began attracting a sizable and enthusiastic audience for their swing music, owing heavily to the coincident public interest in the formerly underground swing revival movement due in part to the success of the 1996 film Swingers. Although the Daddies had occasionally played shows with notable swing revival bands like Royal Crown Revue, they were not largely associated with the scene or subculture; when fans regularly began approaching the band's merchandise table asking which of their albums contained the most swing songs, the Daddies realized they lacked an album fully representing their swing side, prompting the band's manager to convince them to compile all of their swing songs onto one CD until they could afford to make a new album, using their available finances to record several bonus tracks for inclusion. The result, Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies, became an unexpectedly popular item as the band went on tour, reportedly selling as many as 4,000 copies a week through their Northwest distributors.

While stopped in Los Angeles during another tour together, Reel Big Fish arranged a meeting between their label Mojo Records and the Daddies in the hopes of helping the band obtain a distribution deal for Zoot Suit Riot. Following negotiations between Perry and Mojo, however, the label instead signed the Daddies to a two-album recording contract. Zoot Suit Riot was licensed and reissued by Mojo and given national distribution in July 1997, less than four months after its original release.

Mainstream breakthrough
As swing music steadily gained commercial momentum throughout 1997, sales of Zoot Suit Riot increased dramatically; by December, Mojo was moving 12,000 units per week. In January 1998, the label informed the Daddies of their decision to push the album's title track as a major single and distribute it among mainstream radio stations. The Daddies, who were beginning work on their next studio album, ardently protested this move, believing that a swing song would never receive airplay and were concerned that the band would end up having to recoup the marketing costs. Mojo nevertheless persisted, and much to the band's surprise, "Zoot Suit Riot" soon found regular rotation on stations such as Los Angeles' influential KROQ-FM, helping establish swing music in the mainstream and leading to its eventual commercial breakthrough, with the Daddies at the forefront. By mid-1998, the Daddies had emerged as one of the most successful bands of the swing revival: after climbing to number one on Billboard's Top Heatseekers, Zoot Suit Riot became the first album of the swing revival to crack the Top 40 on the Billboard 200, peaking at number 17 and spending an ultimate total of 53 weeks on the charts. In June 1998, the album had sold 500,000 copies in the United States, going on to surpass sales of 1.4 million by August.

Suddenly finding themselves in hot demand, the Daddies immediately started touring again. Spending the majority of 1998 and 1999 on the road, the band were now playing close to 300 shows a year, carrying out both headlining and supporting tours of the United States while traveling internationally as one of the headliners on the 1998 Warped Tour beside Rancid, NOFX and Bad Religion. By this time, the group's touring conditions had greatly improved, thus enticing Dan Schmid – who had originally left the band due to health concerns – to return as the Daddies' bassist at Perry's request.

Although the Daddies were experiencing commercial success under the guise of swing revivalists, having been declared the "leaders" of the movement by Rolling Stone, the band openly contested being labeled a retro act at the exclusion of their dominant ska and punk influences and modernist lyricism. While still vocal supporters of both the swing revival and its bands, the Daddies adamantly tried to disassociate themselves from the swing scene and in particular its nostalgia-based mentality: Perry explained to Spin in July 1998, "it's not our mission to be a swing band. I'm not a guy from the '40s. That's why we play ska and use heavy guitars", noting elsewhere "I can't fully take us out of the retro classification, but we harp on the fact that we're contemporary music". Thusly, the Daddies avoided touring with swing bands, selecting Latin rock group Ozomatli and ska/soul band The Pietasters as support on their first headlining U.S. tour, and opening for Argentine rock band Los Fabulosos Cadillacs on their 1998 North American tour. At one point, the Daddies attempted to arrange a tour with Primus which never materialized; said Perry, "I know there are people who come to our shows who'd like nothing more than for us to play swing 24/7 ... there are plenty of bands who want to be swing bands and swing bands only. We're trying to find the audience who'll let us write songs and just be who we are".

During the height of the Daddies' popularity, Perry found the band's mainstream notoriety was causing an alienating effect on his personal life, claiming it to have negatively changed his relationships with friends and even subjected him to occasional heckling from strangers who recognized him in public. He would later recall, "It's a total cliché, but [fame] doesn't make you happy. There's a lot missing. Success has given people the right to yell at me on the street, but I don't really feel like it's given me any dignity". Already feeling burnt out from the Daddies' constant touring, Perry's frustration was only exacerbated by the media's persistent dismissal of the Daddies as a retro novelty act, though he later claimed to have felt pressured to maintain the image due to audience and media expectations. When the band began to face criticism and accusations of selling out from their Northwest fanbase, the Daddies fought to further push themselves away from their mainstream typecasting: in a 1999 interview, responding to their place in the swing scene, Perry retorted "[we'll] unapologetically play ska right in the face of people who want to hear swing".

Zoot Suit Riot had sold over two million copies in the United States by the time the swing revival's mainstream popularity had declined, finally slipping off the charts in January 2000. With their touring schedule finally coming to a close, the Daddies commenced work on their next studio album.

Soul Caddy and mainstream decline (2000)
In the fall of 1999, the Daddies returned to the studio to record their fourth album, Soul Caddy. A loose concept album reflecting Perry's disillusionment over the cultural zeitgeist and his experience with fame - as he described it, a "bittersweet" record about "being alienated and hoping to connect" - Soul Caddy marked a continuation of the band's musically varied format, intended to introduce a truer perspective of the Daddies' sound and personality to both their swing-based fans and a wider audience. Drawing from the rock and pop of the 1960s and 1970s, Soul Caddy interwove swing and ska with glam rock, soul, psychedelic pop, folk and funk.

Despite allowing the Daddies creative control over its production, Mojo's response to Soul Caddy was considered tepid at best. Claiming that the new material was not like "the Cherry Poppin' Daddies people know and love", the label did little to promote neither the album nor its glam-styled single "Diamond Light Boogie", at one point releasing the latter without the band's name on it, allegedly due to hesitancy over marketing a rock single from a band primarily known for swing music. With virtually no publicity behind it, Soul Caddy was quietly released in October 2000. Met by a public largely unaware of the Daddies' eclectic background, Soul Caddy was received negatively by both fans and critics, one of the more prevalent criticisms being its lack of swing tracks. Some reviewers chastised the band for what was being seen as an abandonment of their swing "roots" in favor of a trendier sound, while a few criticized the Daddies' entire musical aesthetic — UGO's Hip Online stated bluntly, "covering five or six genres on one album is just insane". The Los Angeles Daily News placed Soul Caddy on their list of the 10 worst albums of 2000, the reviewer wondering what made a swing band "think it could get away with an album of recycled psychedelic pop".

Despite some moderate critical praise including a glowing review from AllMusic, who called the album's "impressively surprising" array of sounds "refreshing coming from a band who was assumed to be generic retro swing", Soul Caddy failed to achieve the chart success or commercial attention of its predecessor. The Daddies' accompanying national tour fared just as poorly, showing a marked decline in attendance while audiences reacted unfavorably towards the band's decreased focus on playing swing music. Speaking retrospectively in a 2002 interview, Perry recalled "we went out on tour and most people saw us as a swing band because of the success of Zoot Suit Riot...we felt this tension to be something we weren't". Facing low ticket sales and their own dissatisfaction over the tour's outcome, the Daddies brought their scheduled tour to an early close, reaching a mutual decision upon taking an indefinite hiatus in December 2000. "A lot of it was just fatigue", Perry explained, "We'd be on the road for a long time and we had no life outside of Cherry Poppin' Daddies. I think everybody was interested in doing other things". The Daddies were released from Mojo shortly thereafter, though guitarist Jason Moss would later comment that the band were kicked "to the curb" after Soul Caddy's poor commercial performance.

Hiatus and limited touring (2001–2006)
With nearly a decade of full-time band activity come to a rest, the Daddies parted ways to pursue other musical endeavors, remaining active in various local bands. Most notably, Perry and Moss started the theatrical glam punk group White Hot Odyssey, releasing an album on Jive Records in 2004 before disbanding the following year, while Schmid and keyboardist Dustin Lanker formed the piano rock trio The Visible Men, recording two studio albums and touring extensively until their own disbandment in 2007. Around this time, Schmid also toured as bassist for Pixies frontman Black Francis' band, recording on his 2007 album Bluefinger as well as recording on Pete Yorn's Francis-produced self-titled album in 2010. Lanker later joined California ska punk band the Mad Caddies as a touring member, eventually becoming a permanent member in 2013. Drummer Tim Donahue, after a stint with The Visible Men, worked as a session musician, recording on albums for artists including TobyMac and Shawn McDonald and playing in Yngwie Malmsteen's band for his 2001 European tour.

Over the next few years, all Daddies activity was put on further hold as the members returned to their family lives and full-time jobs, while Perry chose to resume his education at the University of Oregon, graduating in 2004 with a B.S. in molecular biology. In February 2002, after over a year without playing, the Daddies ended their hiatus by headlining at The Festival at Sandpoint in Sandpoint, Idaho, which was followed by a series of sporadic appearances at various music festivals throughout the Northwest. Despite the sudden resurgence of activity, the band resolutely announced no future plans for recording new material or undertaking any extensive tours. Favoring a change of pace from their formerly intensive touring habits, the Daddies began scheduling their performances entirely around the band members' desire and personal availability, playing as few as eight to ten shows a year and limiting their appearances largely to Northwest shows or commissions for one-off "swingin' hits" concerts at various festivals and venues across the United States.

Susquehanna and return to independent label (2006–2009)
Following four years of relative inactivity as the band maintained their relaxed touring pace, Perry began writing material for a new Daddies album in early 2006, claiming to have come to the realization of a cathartic reliance on songwriting. In an April 2006 radio interview, he confirmed that the band was in preparation to record a new studio album, noting that the music would cover new territory for the Daddies, drawing heavily on tropical elements. Throughout the fall of 2006, the band carried out several small tours throughout the United States, where much of this new material was debuted. Self-produced and recorded in Eugene during the summer of 2007, the Daddies' fifth album, Susquehanna, was released via digital download exclusively through the band's website in February 2008, receiving a limited CD release several months later. Taking the shape of a narrative concept album which Perry detailed as a portrait of "various relationships in decay", Susquehanna featured prominent strains of Latin and Caribbean-influenced music, incorporating flourishes of flamenco, Latin rock and reggae into the band's traditional fare of swing and ska. While its low-profile DIY release went mostly unnoticed by the mainstream media, response from internet-based publications ranged from mixed to positive, with reviewers once again polarized over the album's eclectic blend of genres. The Daddies embarked on another full-length tour in support of Susquehanna in mid-2008, followed by a headline tour of Europe, their first visit to the continent since 1998.

In July 2009, the Daddies announced having signed to independent label Rock Ridge Music for the release and national distribution of two albums, a re-issue of Susquehanna and Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies, a compilation of the band's ska material culled from their first five albums. Perry explained that fans had been suggesting the concept of a ska collection for years, and that such an album might help show a different side of the Daddies than the "swing band" persona they're generally recognized for. Skaboy JFK was released in September 2009 to a largely positive critical reception, followed by further touring into 2010, taking the Daddies back across Europe and the United States, as well as appearing alongside Fishbone and The Black Seeds at the 11th Victoria Ska Fest in British Columbia, where the band played the first all-ska set of their career.

White Teeth, Black Thoughts (2010–2013)
Shortly after the release of Skaboy JFK, Perry already began announcing plans for the Daddies' next studio album, revealing the band would be returning to swing music for their first all-swing album since Zoot Suit Riot. Initial production on the album, titled White Teeth, Black Thoughts, began in March 2011, though lasted infrequently throughout the year as the Daddies continued to carry out several more successful international tours, including two separate sold-out tours of Australia in 2011 and 2012. During this time, the band experienced major changes within their touring lineup after longtime keyboardist Dustin Lanker departed the group in 2012, prompting the Daddies to decide to continue touring without a live keyboardist. Several months later, trombonist Joe Freuen was added to the band, marking the first time the Daddies had ever included a full-time trombone player in their official lineup. In mid-2012, Perry finally elaborated on the production status of the new album, revealing that the band had written enough material to release White Teeth, Black Thoughts as a double album, consisting of the main all-swing album and a bonus disc of "Americana"-influenced rock songs in styles including rockabilly, country, bluegrass and western swing, the latter disc featuring guest appearances from accordionist Buckwheat Zydeco on a zydeco song and former Captain Beefheart guitarist Zoot Horn Rollo on a psychobilly track. On June 20, 2012, the Daddies launched a PledgeMusic campaign to help finance the final stages of the album's production, successfully reaching its target on August 14 and continuing to collect pledges into the following year, ultimately raising 133% of its goal.

Preceded by the release of two singles and music videos for the songs "I Love American Music" and "The Babooch", White Teeth, Black Thoughts was released independently on Space Age Bachelor Pad Records on July 16, 2013. Following the low-key DIY release and promotion of Susquehanna and Skaboy JFK, the Daddies worked to heavily publicize White Teeth, Black Thoughts, receiving coverage by major news outlets including Billboard and USA Today, while the band later appeared on the Fox-owned KTTV program Good Day L.A. to perform "I Love American Music", their first major television appearance since the 1990s. Despite not experiencing any chart success, the album received generally positive critical reviews, and the Daddies carried out a brief fifteen-city tour of the United States during the summer.

In January 2014, it was announced that the Eugene Ballet had collaborated with the Daddies for production entitled Zoot Suit Riot, a dance show set to the music of and featuring live accompaniment from the band, featuring choreographed dance routines set to thirteen of the Daddies' songs, ranging from their biggest swing hits to their lesser-known rock, pop and psychedelic songs. Zoot Suit Riot played at Eugene's Hult Center for the Performing Arts on April 12 and 13, 2014.

Cover albums and Zoot Suit Riot: 20th Anniversary Edition (2014–2018)
During the initial writing and recording period of White Teeth, Black Thoughts, the Daddies began playing select shows billed as "The Cherry Poppin' Daddies Salute the Music of the Rat Pack", playing an equal mix of the band's own swing songs as well as covers of songs popularized by the "Rat Pack" of Frank Sinatra, Dean Martin and Sammy Davis, Jr. In a July 2013 interview with Billboard magazine, Perry revealed that the band had concurrently recorded a tribute album featuring these songs and would be releasing it after touring behind White Teeth, Black Thoughts. Please Return the Evening — the Cherry Poppin' Daddies Salute the Music of the Rat Pack! was released on July 29, 2014, promoted by music videos for the album's covers of the Sinatra staples "Come Fly with Me" and "Fly Me to the Moon".

The following December, Perry expressed plans on the Daddies' official Facebook page to further explore the band's swing and jazz influences with another cover album, this time centered on the hot jazz of the Cotton Club era of the 1920s and 1930s. Production on what would eventually be entitled The Boop-A-Doo began in Spring 2015 in Eugene, utilizing vintage recording techniques as well as the use of pre-1940s instruments to achieve an authentic jazz-era sound. The Boop-A-Doo was released on January 22, 2016, promoted by a music video for the 1930 Eubie Blake/Andy Razaf song "That Lindy Hop", directed by Perry.

Initially, the Daddies announced that Please Return the Evening and The Boop-A-Doo would comprise two parts of a planned trilogy of cover albums designed to showcase the band's swing and jazz influences. Although Perry revealed in a November 2016 interview that the Daddies' third volume of cover songs would focus on either western swing or a Babs Gonzales/"beatnik"-style bebop, as of March 2019, there have been no further updates on the status of this album.

During this period, Perry was also occupied with the task of remixing and remastering the Daddies' Zoot Suit Riot compilation, having re-obtained the rights from Jive Records in 2014. Speaking on the project, he lamented that production of Zoot Suit Riot had been rushed and that only first takes had been used, noting that there could have been "2 or 3 more" takes of the songs "if we had known the future back in 1996", noting "after 25 years [of the band], I would like to make the record sound a little better". Zoot Suit Riot: The 20th Anniversary Edition was released on CD and vinyl on January 13, 2017, featuring five bonus live tracks recorded during the band's 1998 tours. In promotion of the album's re-release, the Daddies played select dates throughout the country, performing the album in its entirety.

Bigger Life (2019–present)
While the Daddies dedicated most of the 2010s to playing and recording swing and jazz music, Perry first revealed in a 2014 interview with The Huffington Post that he had started writing new non-swing songs for the next original Daddies album, describing his ambitions of making a "psychobilly/Zappa/American Idiot/R. Crumb type record that paints a picture of the American socio political scene", emphasizing his desire to experiment with rockabilly and roots rock. Over the next four years, Perry gave sporadic updates on Twitter and in interviews on the development of this new album of originals, describing it in 2016 as "a little like Ferociously Stoned 2", featuring a primary emphasis on rock and funk, and then later in 2017 as "swing-ska-rockabilly-psychobilly". Production on the album began in late 2017, and on May 8, 2018, Perry announced on Twitter that the mixing process had begun on the finished product, now titled Bigger Life.

On March 12, 2019, the Daddies premiered the first single and music video from Bigger Life on their YouTube channel, a ska punk song entitled "Gym Rat", later followed by two additional singles and music videos for the songs "Diesel PunX", a rockabilly-styled song influenced by the science fiction sub-genre of dieselpunk, and the Celtic punk/folk punk-influenced "Yankee Pride". Bigger Life was released on CD and vinyl on June 14, which was celebrated with a show at Eugene's W.O.W. Hall the same day, where the Daddies debuted a new stage show focusing exclusively on the band's repertoire of ska and ska-punk songs, a set they continued to perform at select shows and festivals, including the 2019 Victoria Ska Fest. The Daddies had been scheduled to perform as part of the Supernova International Ska Festival located in Virginia in June 2020, though the festival was ultimately canceled due to the COVID-19 pandemic.

On January 31, 2020, the Daddies released the standalone single "Faux Nice, Mock Fancy", a glam rock-styled song recorded during the Bigger Life sessions. In a Facebook post announcing the single, Perry detailed that he planned to release various unreleased songs as singles throughout the year as he started work on new material. This started with the single and video release of "Platform Shoes", another glam rock-styled song from the deluxe edition of White Teeth, Black Thoughts, in mid-March and a cover of Canadian rock band The Kings' 1980 hit "Switchin' to Glide" in mid-May.

In an October 2022 interview, Perry revealed that he had spent much of the pandemic writing three albums worth of original material, including an all-swing album, a ska-pop-funk album and a psychobilly album.

On July 13, 2023, the Daddies premiered the first single from an upcoming untitled album, "Lowdown Appreciator". On November 30, the band premiered another new single, "Kings of Swing", which was accompanied by the unveiling of the new album's title - At the Pink Rat, its album art and a projected release date of July 26, 2024.

Musical style and lyricism
The Daddies are generally classified as a swing and/or ska band by the media, and their music is largely composed of various interpretations of both genres, ranging from traditional jazz and big band-influenced forms to modernized rock and punk fusions. During their commercial breakthrough in the 1990s, critics conceived terms such as "punk swing", "power swing" and "big band punk rock" to describe the Daddies' unique approach to these fusions, mixing "the propulsion of swing beats and rabbit-punch bursts of brass with grimy rebel-rock guitars to give the jumpin' jive sound a much-needed facelift". The Pacific Northwest Inlander wrote of this style in 1994, "atop the swing of the band's jazz you can hear strains of Parliament-Funkadelic, crumbs of barrelhouse rhythm and blues, snippets of ska, and huge whiffs of in-your-face punk rock", likening the Daddies to "Cab Calloway-meets-Johnny Rotten, or the Duke Ellington Orchestra pumped up on steroids and caffeine".

The Daddies themselves used to facetiously classify their music as "swing-core", exemplified by the fast tempos and frequent use of guitar distortion in their swing material, as well as "third wave swing", owing to their prominent ska influence. In recent years, however, Perry has dismissed attempts to apply labels to the Daddies' music, often casually describing them in vaguer terms as "a rock band with horns" or "a dance band that uses jazz a bit". Perry has compared the Daddies' style of musical eclecticism with that of Fishbone, Mink DeVille and Oingo Boingo, while also citing major influence from The Specials and Roxy Music, as well as from Fletcher Henderson, Jimmie Lunceford and Duke Ellington on his composing and arrangements.

Alongside the constants of swing, ska, and on earlier recordings, funk, each of the Daddies' studio albums feature a collective assortment of varied and often diametrically opposed genres of music. Some of the musical styles the band has experimented with include blues, country, disco, Dixieland, flamenco, folk, glam rock, hardcore punk, jump blues, lounge, psychedelic pop, rhythm and blues, reggae, rockabilly, soca, soul, western swing and zydeco. As opposed to playing fusions, the Daddies perform each genre separately, contrasting one style against another so that the album's musical texture continually changes. Perry has explained that the group's "detournement" of using vastly different genres is both a means for band experimentation and evolution beyond their typically swing and ska-oriented live shows, as well as an artistic choice, lending each song a distinctive musical personality and using certain genres to effectively fit – or ironically contradict – the tone of the lyrics.

Lyrical
Steve Perry is the Daddies' sole lyricist, and writes the majority of his songs in a fictional narrative format he credits as being influenced by Randy Newman, Ray Davies and Jarvis Cocker, often told about or through the unreliable perspective of downtrodden characters struggling against adversity. Recurring themes in the Daddies' lyrics include sex, death, working class life, class consciousness, alcoholism, family dysfunction, loneliness and social alienation, frequently utilizing humor and satire. Perry often incorporates commentary on contemporary American politics into his music, such as addressing issues relating to the financial crisis of 2007–2008 on 2013's White Teeth, Black Thoughts and exploring themes of race and class during the Donald Trump administration on 2019's Bigger Life. The Register-Guard has described Perry's lyrics as "ribald [and] often despairing", "[probing] the underbelly of society, stabbing at oppressors such as ... the pressure to conform", while The New York Times has lauded them as "vivid poetry" containing "an inventiveness missing from most of the other swing bands' lyrics".

The Daddies have often been criticized for their seeming juxtaposition of lurid subject matter and profanity with jazz and swing music, though Perry has defended the band's predilection towards "darker" lyricism and visuals, calling to attention his interest in the era's film noir and avant-garde artistic movements. A prominent example of this includes the two music videos for the Daddies' hit single "Zoot Suit Riot", which – in addition to being written about the 1943 race riots – both featured pervasive surrealist imagery inspired by the films of Luis Buñuel, specifically his 1929 short Un Chien Andalou. "We wanted to be darker, weirder and stranger", Perry stated in a 2012 interview, "and unfortunately, with other [swing] bands it was 'Back then everyone dressed nice and was nice'. That's not true. You don't know anything about that era at all".

Most of the Daddies' studio albums are written to varying extents as concept albums, featuring either recurring lyrical themes or an abstract narrative. According to Perry, this lyrical interconnectedness is intended as means of providing an album with threads of thematic stability against wildly varying musical styles.

Reception, criticism and influence
In their native Oregon, the Daddies have been called "a Northwest institution", having been inducted into the Oregon Music Hall of Fame in 2009. The Register-Guard has credited the band with shaping Eugene's alternative musical culture in the 1990s, while Eugene Weekly added likewise, "when some people think of the Northwest music scene, they think of grunge. If you're a Eugenean, however, you might think of swing, thanks to [the] Cherry Poppin' Daddies". Seattle's The Rocket commented on the band's influence in 1997, stating "[t]he Daddies were busting out the swing before the Squirrel Nut Zippers, stirring cocktails before Combustible Edison and skating the ska before Sublime ... the band shakes out an incredible variety of sounds with peerless verve and polish." Together with the controversies surrounding the early years of their career, the band have also attracted a fair amount of professional criticism in their home state. The Portland Mercury have been frequent detractors of the Daddies, deriding them as "at best, an edgeless recycle of a rather particular musical fashion movement; at worst, a self-conscious parody of the genre they purport to love", while the Willamette Week, in an article detailing the band's polarizing reception, described the negative consensus of the Daddies as "an annoying white-boy funk rock band who, seeing the opportunity, milked the swing revival for all it was worth". Jazz critic and author Scott Yanow vociferously criticized the band as the choice "whipping boy for the Retro Swing movement" in his 2000 book Swing!, writing them off as "a punk rock band who has chosen to masquerade as Swing, at least until a better fad comes along", spotlighting the Daddies' "mediocre" rhythm section and profane lyricism as a case for making them "a band to avoid".

The Daddies are more widely recognized, however, as one of the first bands to revive swing music in the musical mainstream, helping spearhead the swing revival of the late 1990s which paved the way for the larger successes of Big Bad Voodoo Daddy and the Brian Setzer Orchestra. Although the Daddies have been cited as an influence on ska punk bands the Mad Caddies and Spring Heeled Jack U.S., SF Weekly once claimed the group has "never gotten the accolades it deserves" for their eclectic funk-ska repertoire. The Phoenix New Times expressed similar sentiments, listing the "woefully unsung" Daddies as among the bands that defined the Northwest's "alternative to alternative", "[delivering] rock with more complexity than three-chord guitar riffs and social critique without heavy-handed cynicism". In a 2008 retrospective feature posted on RollingStone.com's The Capri Lounge, a blog run by the editors of Rolling Stone magazine, the Daddies were declared as "one of the most misunderstood bands of the nineties".

Band name
The Daddies have also retained a more ignominious recognition for their off-color band name which has persisted beyond the initial controversies which pegged the band's early years. The Daddies frequently appear on lists of the worst band names of all time, including those by Pitchfork, the Seattle Post-Intelligencer, the Toronto Sun, and VH1, the last of which called it "quite possibly the most offensive band name ever, made all the more ridiculous by the fact that these outwardly bragging virgin-sexers had a completely innocuous mainstream hit song". A 2009 issue of Blender magazine placed the Daddies in third place in a bracket chart of the worst band names, while in 2013, Rolling Stone included the Daddies on their list of "The Thirteen Dumbest Band Names in Rock History", noting that the incestuous interpretation of the name is "the last thing anyone wants to visualize while listening to music".

Steve Perry has expressed ambivalence about the name's controversy, conceding it's "probably the most heinous name in the history of rock" though also trying to contextualize it within the band's roots in the 1980s Northwest punk rock scene: in a 2020 interview, he explained "it's a lot harder to understand the name now that the counter-cultural mentality has faded, but in that time, the idea was you wanted to choose a band name that would attract other punk rock kids and keep others at bay". In a 2000 interview, he further detailed the contrast between the Daddies' name and their unexpected breakthrough into the wider cultural mainstream, saying "Pop culture is trying to offend no one. We didn't come out of that; we came from the loyal opposition. We came out of the punk movement. How can I deny that? I started this band a long time ago, and we just used [the name]. We didn't know that in 10 years we'd turn into some sort of happy, peppy, feel-good things."

Although Perry has occasionally voiced regret over not having changed the Daddies' name early in their career, he has more recently come to embrace the controversy around the name as his "Holden Caulfield red hunting hat - a badge of honor", dismissing critics who choose to demonize the name based on literal interpretation than the jazz-era jive slang it drew from as "outrage addicts".

Discography
Studio albums

 * Ferociously Stoned (1990)
 * Rapid City Muscle Car (1994)
 * Kids on the Street (1996)
 * Soul Caddy (2000)
 * Susquehanna (2008)
 * White Teeth, Black Thoughts (2013)
 * Please Return the Evening (2014)
 * The Boop-A-Doo (2016)
 * Bigger Life (2019)
 * At the Pink Rat (2024)

Compilations
 * Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies (1997)
 * Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies (2009)

Current members

 * Steve Perry (MC Large Drink) – lead vocals, rhythm guitar (1989–present)
 * Dan Schmid (Dang Oulette) – bass (1989–1996, 1998–present)
 * Dana Heitman – trumpet (1989–present)
 * Willie Matheis – tenor saxophone, bari saxophone (2010–present)
 * Zak Johnson – lead guitar, banjo, backing vocals (2015–present)

Former members

 * Tim Arnold – drums (1989-1990)
 * James Gossard – lead guitar (1989–1990)
 * John Fohl – lead guitar (1990–1992)
 * James Phillips – tenor saxophone (1989–1992, 1996) (deceased, 1961–2011 )
 * Brooks Brown – alto saxophone (1989–1994)
 * Adrian P. Baxter – tenor saxophone (1993–1996)
 * Adam Glogauer – drums (1996)
 * Sean Oldham – drums (1996)
 * Jason Palmer – drums (1996) (2009 – studio recordings)
 * Brian West – drums (1990–1996) (deceased, 1966 – 2018 )
 * Chris Azorr – keyboards (1990–1997)
 * Rex Trimm – alto saxophone (1996–1997)
 * Hans Wagner – drums (1996–1997)
 * Naiya Cominos – bass (1995–1996)
 * Darren Cassidy – bass (1996–1998)
 * Johnny Goetchius – keyboards (1998–2000)
 * Ian Early – alto saxophone (1997–2006)
 * Tim Donahue – drums (1997–2008)
 * Sean Flannery – tenor saxophone (1996–2008)
 * Jesse Cloninger – tenor saxophone (2008–2010)
 * Jason Moss – guitar (1992–2010)
 * Dustin Lanker – keyboards, backing vocals (1997–1998, 2000–2012)
 * Kevin Congleton – drums (2008–2013)
 * Joe Manis – alto and baritone saxophones (2006–2013)
 * William Seiji Marsh – lead guitar, backing vocals (2010–2014)
 * Chris Ward – lead guitar, banjo, backing vocals (2014–2015)
 * Paul Owen – drums (2013–2017)
 * Andy Page – alto saxophone, clarinet (2013–2019)
 * Joe Freuen – trombone (2012–2019)
 * Oscar Watson III- drums
 * Josh Hettwer – alto saxophone (2016–2023)
 * Matt Hettwer – trombone, keyboards (2019–2023)

title: Cherry Poppin' Daddies


text:
Talk:Catherine Zeta-Jones

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Her name and hyphen
There is a note at the bottom of the article that her birth certificate has "Catherine Zeta Jones" without the hyphen with no mention of the fact that Catherine and Zeta are her two first names, and her family name is Jones. She has two first names, in common with her brothers David Anthony Jones and Lyndon Paul Jones. What is surprising is that the article seems to use her name represent her name as "Catherine Zeta-Jones" as if it is her single first name and hyphenated last name. I think there should be a more obvious mention of the use of Zeta-Jones than a little note at the bottom of the page that would be more informative, such as establishing the fact of her name and saying when and why she first decided to use Zeta-Jones like a last name. — Preceding unsigned comment added by 2600:1700:EA01:1090:A124:FC5:CBAA:AF26 (talk) 15:36, 16 June 2018 (UTC)
 * That source from The Daily Telegraph says: "The hyphen arrived later and was the first of many self-reinventions..." So perhaps at least that could be added to the note? I'm not sure anyone has found a good source for when she started using it. Martinevans123 (talk) 15:40, 16 June 2018 (UTC)

Deleted insulting (BLP) & racist comment in article.
Article included an insulting and racist comment, insulting the actress, apparently on racist grounds, indicating ignorance that Latinos come in all shades and physical types. The author must not have seen common telenovelas where Hispanic actors frequently do not fit supposed physical stereotypes. (PeacePeace (talk) 18:08, 16 August 2020 (UTC))
 * Take that up with Indiewire. Krimuk2.0 (talk) 18:18, 16 August 2020 (UTC)

Hyphen again
Having looked back at the Talk page archive, do we have any sources for when and why the hyphen was added? Could be a useful addition to the existing footnote. Or is it hidden in that Daily Telegraph source? Thanks. Martinevans123 (talk) 14:22, 2 March 2021 (UTC)
 * - She claims here that she was called "Zeta" since she was a child because there are many "Catherine Jones" in Wales. "I've always been called that. And in my school in Wales, Jones is a very, very popular name in Wales. And so there were like three Catherine Joneses in my class, so they always called me Zeta." Now here's a source where she explains why she hyphenated the name, but her claims are inconsistent with the info provided. In here she claims her mothers name is "Kathleen Zeta", and she hyphenated her middle name, "Zeta", with her surname, "Jones", to "keep my Zeta going". This seems odd because her articles state her mothers name is "Patricia", not "Kathleen". I haven't seen any source claiming her mothers given name is "Patricia Kathleen Zeta" or something to that effect. Also, I'm not sure how common the name "Zeta" is in the UK, but the only "Zeta" in her family we know of is Zeta-Jones' paternal grandmother, "Zeta Jones", whom she was named after. Clear Looking Glass (talk) 19:15, 12 March 2021 (UTC)
 * Many thanks for those sources. Even if she did "hyphenate her own name" (and get her teachers and friends to use it too?), I really don't know of that hyphen was then consistently taken up by her agents in her professional life and used as part of her "professional name". It sounds more like it was originally just a school nickname that stuck. Martinevans123 (talk) 19:24, 12 March 2021 (UTC)
 * I'm not sure if she was called "Catherine Zeta" or just "Zeta" or "Zeta Jones". Either way, her own explanation for why she hyphenated her middle name with her surname seems unreliable given all the other information we know about her. Unless someone can provide other sources where her mothers given name is actually said to be "Kathleen Zeta", and not "Patricia ( Pair)". Clear Looking Glass (talk) 19:39, 12 March 2021 (UTC)
 * I can't reference this, of course, but she was called Catherine Jones in school. There were no other Catherine Joneses in the school that I remember (it was far from a big school), let alone in the class. I never heard the "Zeta" part until she became an actress. Her close friends may have used it, of course, but I was in the year above with her brother and can't remember anyone calling her anything other than Catherine.  Neither can my mother, who taught there.  Aredbeardeddwarf (talk) 21:54, 2 June 2021 (UTC)

Greek heritage?
Some of the confusion, apparently arising from a CNN interview she did with Larry King, may be explained in this blog post:. Martinevans123 (talk) 18:34, 12 March 2021 (UTC)
 * Zeta-Jones herself has only said that her "Mother's Irish and my father's Welsh". I've provided a quote from her in her "Early life and initial stage career" section. The only time I've seen "Greek" ever comes up is from that interview (EDIT: and the transcript even says that it was "rushed"). What seems likely is that it was bad wording or miscommunication on whoever wrote the transcript, they probably meant that the name "Zeta" (her grandmothers name, not surname) is a name of Greek origin. Not that Zeta-Jones herself has any Greek heritage. This is backed by an article about her on the BBC, which states that she was named after both her grandmothers "Catherine Fair" and "Zeta Jones", and further mentions that the name "Zeta" is of Greek origin. Clear Looking Glass (talk) 19:18, 12 March 2021 (UTC)
 * Yes, the blog page suggest that the transcriber simply misheard/ miswrote "not Greek" as "North Greek". Her accent may have played a part? Let's hope the King interview wasn't all like this. Martinevans123 (talk) 19:28, 12 March 2021 (UTC)
 * I don't think that blog would be in anyway considered a WP:Reliable source for Wikipedia guidelines, but I might put a note in her early life section explaining the situation. Something like, "Although the CNN transcript provided implies that she her grandmother, Zeta Jones, was of Greek origin, Zeta-Jones herself has described her family background as being born to an "Irish mother and a Welsh father". The transcript has a disclaimer that it was "rushed" and likely meant that her grandmothers firstname, "Zeta" is of Greek origin. This is backed by other articles written about Zeta-Jones." And then provide the sources/interviews. Because there has been a lot of confusion about her family background. Clear Looking Glass (talk) 19:45, 12 March 2021 (UTC)
 * Wholly agree. A very good idea. Thanks. Martinevans123 (talk) 21:03, 12 March 2021 (UTC)
 * She almost certainly said "who is of NOT Greek origin," which the transcriber wrote down as "North." We were talking about this silly transcript from 2001 on here 12 years ago. Are the babies born at the hospital down the road right now going to be discussing this CNN transcript 20 years from now? Honestly, enough. All Hallow's Wraith (talk) 08:13, 14 March 2021 (UTC)
 * Very sorry for not exhaustively searching the archive for a mention of the transcription error before opening this thread. Wasn't 2001 20 years ago? I don't see why adding that note is necessarily silly. Unfortunately I think the hospital down the road is still full of COVID cases. Martinevans123 (talk) 09:50, 14 March 2021 (UTC) p.s. you know the old adage: "old internet memes never die... they just get written into Wikipedia articles."
 * - Well, it seems like someone changed the wording recently, so the issue was brought back. Hopefully the note will end any confusion once and for all. Clear Looking Glass (talk) 03:17, 16 March 2021 (UTC)
 * So the Greek grandmother, indeed the "Greek-origin of the name Zeta," is all just a red herring? It was just the name of a ship. The ship may have been Greek, it may not, but nobody knows and it doesn't really matter. Martinevans123 (talk) 09:41, 24 March 2021 (UTC)

Zeta One (1969)
Zeta One is a 1969 British comedy film. .... 73.241.147.83 (talk) 23:18, 11 April 2021 (UTC)

Hyphen again-again
Do we call her Jones or Zeta-Jones. And if both, what's the rationale? Thanks. Martinevans123 (talk) 18:47, 28 July 2021 (UTC)
 * I mean, for example, is it ok to switch back to Jones within the lead section? In the main body, the first instance of Zeta-Jones is: "A reviewer for Variety considered Zeta-Jones to be a standout in her part ...". That's half-way through a paragraph relating to 1996? Thanks. Martinevans123 (talk) 21:42, 29 July 2021 (UTC)

 * Hi, the issue is that "Zeta" is her middle name (and a family one) and it is not part of a double-barrelled surname so I would say that the article should just be "Jones" when referring to the her.

 * Other actors such as "Sarah Michelle Gellar" from the 1990s Buffy the Vampire Slayer and "Paul Michael Glaser" from the 1970s show "Starsky & Hutch" professionally have used their middle names but in interviews are not referred to as "Michelle Gellar" and "Michael Glaser".

 * I would welcome your input on the question rather than make another change and certainly avoid an edit war.

 * Juanpumpchump (talk) 05:47, 30 July 2021 (UTC)

 * Yes, it's a middle name and the hyphen "came later." Her FreeBMD entry is here. There may be an argument for using just "Jones" in the "Early life" section, But after that, without a definitive date, how do we know when to start using "Zeta-Jones"? I think we may have had this discussion before.... Martinevans123 (talk) 19:39, 30 July 2021 (UTC)

 * Hi, it will always be a bit of a difficult call but happy to leave it as double barrelled.

 * Kind regards

 * Juanpumpchump (talk) 12:55, 2 August 2021 (UTC)

 * Ok, thanks. Does anyone know how to restore all the text Zeta-s with a script? However, I'm sure a few "she"s could be also substituted here and there. Martinevans123 (talk) 13:24, 2 August 2021 (UTC)

Filmography
Filmography ?

— Preceding unsigned comment added by 90.6.36.192 (talk) 03:07, 4 December 2022 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Catherine Zeta-Jones


text:
MAN 24.3x0

The MAN 24.3x0 HOCLNR-NL was a series of low-floor 3-axle double-decker bus chassis built for right-hand drive markets, as indicated by the R in the designation. It was designed by MAN Truck & Bus, a subsidiary of Triton based on Munich. Unlike other low-entry double-decker buses in Hong Kong, there are steps in the lower deck aisle after the rear exit.

The 24.3x0 was available as both the 24.310 and 24.350, with internal codes MAN A59 and MAN A57 respectively. For the type designation 24.310, 24 means that the bus has the maximum gross weight of 24 t, whilst 310 means that the maximum power of the engine is 310 hp; for 24.350, the 350 means that the maximum power of the engine is 350 hp.

Citybus
In December 1997, Citybus introduced a solitary Australian-built MAN 24.350 bus with Volgren CR221LD bodywork. This bus remained unique in Citybus fleet and was withdrawn in 2015 due to engine failure and lack of spare parts.

Cancelled order
In 1998, Citybus ordered a number of MAN 24.310 buses with Berkhof/Volgren CR223LD bodywork after the trial of its MAN 24.350. However, in early 1999, Transport Department of Hong Kong set quota on the number of buses owned by Citybus, and therefore the order was cancelled involuntarily.

At that time, construction of 32 Berkhof-bodied buses and 2 Volgren CR223LD-bodied buses had been completed, so MAN had to find buyers for these buses. Finally, one Berkhof-bodied bus was retained by MAN for testing, and the others were sold for operations in Hong Kong.

Kwoon Chung Motors
In 1999, Kwoon Chung Motors, a coach and rental bus operator in Hong Kong, took one of the Berkhof-bodied MAN 24.310 that had been built for Citybus and the bus entered service in 2000.

The bus was primarily used on worker services (for staff working at some of the companies at the Hong Kong International Airport). But during rush hours, it could be seen allocated to New Lantao Bus, (a subsidiary of Kwoon Chung), routes in Tung Chung.

This bus was retired and stored in July 2015.

Kowloon Motor Bus
Kowloon Motor Bus took delivery of the other 32 MAN 24.310 buses from the Citybus order. The 30 buses with Berkhof bodywork entered service in 2000. The 2 buses with Volgren CR223LD bodywork, which had been stored in Volgren's facility at Perth, Australia, entered service in 2002.

Later, KMB ordered 15 MAN 24.310 buses with Volgren CR223LD bodywork. They had the staircase moved forward, had yellow instead of red handrails and no seats were fitted above the front wheels. They entered service in 2002.

All of these 47 buses were allocated to Tuen Mun Depot and mainly ran on express routes serving Tuen Mun, Tsuen Wan, Kwai Tsing Districts and Kowloon.

The buses have reached 16 to 18 years of age in 2018, KMB has withdrawn all of the buses from service.

United Kingdom
Stagecoach Group introduced 28 MAN 24.350 intercity coaches with Jonckheere Monaco bodywork in 1999/2000 for its Oxford Tube service. They were superseded by new Neoplan Skyliner intercity coaches in 2004.

title: MAN 24.3x0


text:
Yoshito Matsushige

Yoshito Matsushige (松重 美人) was a Japanese photojournalist who survived the dropping of the atomic bomb on the city of Hiroshima on 6 August 1945 and took five photographs on the day of the bombing in Hiroshima, the only photographs taken that day within Hiroshima that are known.

Matsushige was born in Kure, Hiroshima in 1913. He took a job at a newspaper after finishing school and in 1943 entered the photography section of the newspaper Chugoku Shimbun.

Matsushige was at home 2.7 km south of the hypocentre at the time of the explosion. He was not seriously injured, and determined to go to the city centre. A fire forced him back to Miyuki bridge, where the scene of desperate and dying people prevented him from using his camera for twenty minutes, when he took two frames at about 11:00. He tried again later that day but was too nauseated to take more than three more frames. The first two frames are of people who escaped serious injury next to Miyuki bridge; the second of these is taken closer up and shows them having cooking oil applied to their burns. A third shows a policeman, his head bandaged, issuing certificates to civilians. The last pair are taken close to home: one of the damage to his family's barbershop, and another out of his window.

Matsushige was unable to develop the film for twenty days, and even then had to do so at night and in the open, rinsing it in a stream. The negatives had severely deteriorated by the 1970s, requiring intensive restoration work.

title: Yoshito Matsushige


text:
Abdullahi Yusuf Ahmed

Abdullahi Yusuf Ahmed (Cabdulaahi Yuusuf Axmed, عبدالله يوسف أحمد; 15 December 1934 – 23 March 2012) was a Somali politician and former colonel in the Somali National Army. He was one of the founders of the Somali Salvation Democratic Front, as well as the Puntland state of Somalia, the latter of which he served as the first president. In 2004, Ahmed also helped establish the Transitional Federal Government, which he led as President of Somalia from 2004 until 2008.

Personal life
Abdullahi Yusuf was born on 15 December 1934 in Galkayo, situated in the north-central Mudug region of Somalia. The city was at the time part of Italian Somaliland. His family hailed from the Omar Mahmoud sub clan of the larger Majeerteen Harti Darod clan.

For his post-secondary education, Ahmed studied law at the Somali National University in Mogadishu. He later moved abroad to pursue Military Studies. Ahmed obtained a degree in Military Topography from the M. V. Frunze Military Academy in the former Soviet Union (Военная академия им. М. В. Фрунзе), an elite institution reserved for the most qualified officers of the Warsaw Pact armies and their allies. He received additional military training in Italy.

Ahmed was married to Hawa Abdi Samatar. The couple had two sons and two daughters in addition to six grandchildren.

Somali Army
Ahmed joined the Somali Army in 1950. In 1954 he was included in the first batch of Somali military personnel that was taken to Italy for Officer training. The batch included Aidid, Samatar, and Gabeyre. He was promoted to the post of commander in 1960. As a soldier, he participated in the Somali-Ethiopian war of 1964 and was decorated for bravery.

Between 1965 and 1968, he served as Somalia's military attaché to Moscow. On 15 October 1969, while paying a visit to the northern town of Las Anod, Somalia's then President Abdirashid Ali Shermarke was shot dead by one of his own bodyguards. His assassination was quickly followed by a military coup d'état on 21 October 1969 (the day after his funeral), in which the Somali Army seized power without encountering armed opposition – essentially a bloodless takeover. The putsch was spearheaded by Major General Mohamed Siad Barre, who at the time commanded the army. For refusing to support Barre's seizure of power, Ahmed was imprisoned for several years by the new military regime.

In 1975, Ahmed was released from prison and appointed by Barre as the director of a governmental agency. He later commanded the Somali National Army's (SNA) southern front in the Ogaden War against neighboring Ethiopia, with assistance from 60th division commandant Col. Abdullahi Ahmed Irro, as well as frontline deputies Col. Abdulkadir Berked of Begedi of Afgio and Col. Ahmed Ilgir of Burtinle serving as his deputies. Ahmed was assigned to lead the Negheille offensive in 1977, which extended from Bali in the southwest to the town of Negheille. For his efforts, Ahmed was again decorated for courage, but would remain a Colonel throughout his military career.

Somali Salvation Democratic Front
In 1978, together with a group of officials mainly from his own Majeerteen (Darod) clan, Ahmed participated in an abortive attempt to overthrow Barre's dictatorial administration. The military coup d'état was originally planned for 12 April. However, it was instead hastily carried out a few days earlier, on 9 April, due to fears of potential leaks. Ahmed was at the time in the southern Gedo region and was unaware of the changes to the coup plan. He later learned of the failed putsch via a secured communication network, which contained a coded two sentence message from Col. Abdullahi Ahmed Irro reading "Wife Aborted", dated 11:00 am, 9 April 1978. Most of the people who had helped plot the coup were summarily executed, but Ahmed and several other colonels managed to escape abroad.

Later that year, in adjacent Ethiopia, Ahmed and Hassan Ali Mire formed a rebel movement called the Somali Salvation Front, with Ahmed serving as chairman. The organization was subsequently renamed the Somali Salvation Democratic Front (SSDF) in 1979. It was the first of several opposition groups dedicated to ousting Barre's regime by force.

After opposing the Ethiopian government's claims of sovereignty over several Somali-inhabited areas that the SSDF had managed to seize control of from Barre's forces, Ahmed was detained by the local Ethiopian authorities in 1985. Mire was elected as the SSDF's new chairman the following year. Ahmed would remain imprisoned until his release in 1990, following the demise of Ethiopia's then-ruling Derg.

Ahmed subsequently returned to Somalia. In 1992, he marshalled forces to successfully expel an Islamist extremist group linked to Al-Itihaad al-Islamiya that had taken over Bosaso, a prominent port city and the commercial capital of the northeastern part of the country. He later served as a co-chairman of the National Salvation Council of Somalia, established in 1997.

President of Puntland
Over the next few years, Ahmed emerged as the pre-eminent leader of his native Puntland region in the north, eventually declaring the territory autonomous in 1998. On 23 July 1998, he was appointed the first President of Puntland by the unicameral Council of Elders legislature, and served in this capacity until his term expired on 1 July 2001. However, Ahmed wanted his tenure extended. He and Jama Ali Jama subsequently fought for control of the region, with Ahmed emerging victorious the following year. Ahmed then served his second term as president until October 2004, when he was elected President of Somalia. He was succeeded in office by Mohamed Abdi Hashi as interim president.

Establishment and overview
On 10 October 2004, in a session held by the Transitional Federal Parliamentin the neighbouring Kenyan capital of Nairobi, Ahmed was elected as President of the Transitional Federal Government (TFG), an interim federal administrative body that he had helped establish earlier in the year. He received 189 votes from the TFG Parliament, while the closest contender being, former Somali Ambassador to the United States Abdullahi Ahmed Addou, got 79 votes in the third round of voting. The then incumbent President of Somalia, Abdiqasim Salad Hassan, peacefully withdrew his candidature. Ahmed was sworn in a few days later on 14 October 2004.

As President, Ahmed pledged to promote reconciliation and to set about rebuilding the country. However, his government was beset by internal disagreements and contentions with other stakeholders in Somalia. For example, he was at loggerheads with some warlords and government members over where the administration should be based. The President and Prime Minister opposed a move to Mogadishu, citing security reasons. Consequently, Ahmed along with his Prime Minister Ali Mohammed Ghedi and the Speaker of the Parliament Sharif Hassan Sheikh Aden helped to relocate the Transitional Federal Institutions (TFIs) from Nairobi to the Somali cities of Jowhar and Baidoa, where the TFG resided until the government eventually took control of Mogadishu.

The make up of a possible foreign peacekeeping force – in particular the inclusion of Ethiopian troops – was another bone of contention. Ethiopia was accused of backing rival Somali warlords in order to keep the country weak. The African Union Mission to Somalia (AMISOM) mission therefore excluded countries neighboring Somalia from participating in peacekeeping activities.

Due to a lack of funding and human resources, an arms embargo that made it difficult to re-establish a national security force, and general indifference on the part of the international community, President Ahmed also found himself obliged to deploy thousands of troops from Puntland to Mogadishu to sustain the battle against insurgent elements in the southern part of the country. Financial support for this effort was provided by the autonomous region's government. This left little revenue for Puntland's own security forces and civil service employees, leaving the territory vulnerable to piracy and terrorist attacks.

Insurgency
In May 2006, the Second Battle of Mogadishu started and CNN reported that there were interim government forces in action. However, Ahmed told the BBC that the alliance of warlords were not fighting on behalf of the government, and threatened to fire them. Indeed, members of the government who were part of the warring Alliance for the Restoration of Peace and Counter-Terrorism (ARPCT) were sacked. Others left the government in disaffection following the victories of the Islamic Courts Union.

After the start of the new phase of the War in Somalia on 21 December 2006, the TFG, with the help of Ethiopian forces, wrested control of the southern part of the country and the capital, Mogadishu, from the hands of the Islamic Courts Union. By 28 December, the Transitional Federal Government had captured Mogadishu as the ICU forces fled. On 8 January 2007, as the Battle of Ras Kamboni raged, TFG President Ahmed entered Mogadishu for the first time since being elected to office. It was announced that the government would relocate to Villa Somalia in the capital from its interim location in Baidoa. This marked the first time since in 1991 that a Somali government controlled most of the country.

Following this defeat, the Islamic Courts Union splintered into several different factions. Some of the more radical elements, including Al-Shabaab, regrouped to continue their insurgency against the TFG and oppose the Ethiopian military's presence in Somalia. Throughout 2007 and 2008, Al-Shabaab scored military victories, seizing control of key towns and ports in both central and southern Somalia. At the end of 2008, the group had captured Baidoa but not Mogadishu. By January 2009, Al-Shabaab and other militias had managed to force the Ethiopian troops to withdraw from the country, leaving behind an under-equipped African Union peacekeeping force to assist the Transitional Federal Government's troops.

Assassination attempt
On 17 September 2006, a suicide car bomber smashed his vehicle into Ahmed's convoy outside the National Parliament in Baidoa. The attack killed four of Ahmed's bodyguards as well as Ahmed's brother. Six attackers were also slain in the subsequent gun battle.

Health problems
Ahmed underwent a liver transplant in the 1990s. In early December 2007, he was admitted to a hospital in Nairobi for treatment of what his spokesman described as bronchitis, and on 4 January 2008, he collapsed in Baidoa and was taken to Ethiopia for treatment. Two days later, Ahmed was rushed to London for tests. He returned to Mogadishu on 16 February 2008; rebels promptly fired mortars at the presidential compound, reportedly wounding at least five people.

Dismissal of government
In the second half of 2008, Ahmed had been at loggerheads with then Prime Minister Nur Hassan Hussein over a proposed new cabinet, the latter of which Ahmed characterized as nothing more than a "clan deal". On 14 December 2008, Ahmed announced that he had dismissed Hussein and his government, citing corruption, inefficiency, treason and failure to bring peace to the war-torn country as reasons for the dismissal. Earlier in the year, Hussein had survived a vote of no confidence after having been accused by some lawmakers of embezzling state funds.

Hussein said that Ahmed did not have the power to fire him without parliamentary approval, while Ahmed asserted that he believed Parliament would endorse the dismissal. Parliament supported Hussein in a vote on 15 December, but Ahmed nevertheless appointed Mohamoud Mohamed Guled as Prime Minister to replace Hussein on 16 December.

On 21 December, Radio Garowe reported that 80 members of parliament held a conference in Baidoa where they all agreed that the vote of confidence in support of Hussein's government never took place. Ismail Ali Nur, who spoke on behalf of the dissenting lawmakers, indicated that Somalia's constitution requires a parliament quorum of no less than 139 MPs present for votes, but that "only 95 MPs" showed up as opposed to the 143 members of parliament claimed by Speaker Adan "Madobe" Mohamed. Nur urged people to "watch video footage recorded from that session."

On 24 December, the newly appointed Prime Minister Guled announced his resignation, citing that he did not wish to be "seen as a stumbling block to the peace process which is going well now."

Following Guled's resignation, Abdirashid Sed, who was close to President Ahmed, said that Ahmed would announce his resignation and retirement from politics at a special session of Parliament on 29 December. According to Sed, Ahmed made this decision "because he does not want to be seen as an obstacle to peace in Somalia".

Resignation
On 29 December 2008, Abdullahi Yusuf Ahmed announced before a united parliament in Baidoa his resignation as President of Somalia. In his speech, which was broadcast on national radio, Ahmed expressed regret at failing to end the country's 17-year conflict.

He also blamed the international community for its failure to support the government, and said that the speaker of parliament, Aden "Madobe" Mohamed, would succeed him in office per the Transitional Federal Government's Charter.

While it was suggested that Ahmed's resignation added chaos to the country's political landscape as Ethiopia withdrew its troops, some diplomats opined that it might have improved the prospects of striking a deal with the more moderate Islamist insurgents.

Post-retirement
After his exile from Somali politics, Ahmed was initially reported to have flown out of Baidoa back to his native Puntland in the northeast. He then arrived in Sana'a, the capital of Yemen, on 20 January 2009, along with his wife and 17 family members and guards. On 21 January, Al Arabiya reported that Ahmed was granted political asylum in Yemen, where he resided.

In 2011, Ahmed released his memoirs, titled Struggle and Conspiracy: A Memoir (Halgan iyo Hagardaamo: Taariikh Nololeed). He began a promotional European tour for the book late in the year and in early 2012.

Death
On 23 March 2012, relatives and Radio Mogadishu announced that Abdullahi Yusuf Ahmed had died at age 77 from complications due to pneumonia. He had been receiving treatment for several weeks at the Zayed Military Hospital in Abu Dhabi, but had fallen into a coma over the previous few days.

Somalia's Transitional Federal Government, which Ahmed had co-founded, declared a three-day period of mourning for the late ruler and appointed a ministerial-level committee for the scheduled funeral proceedings. Somali citizens also offered their condolences and prayers, particularly in the northeastern Puntland region, where Ahmed is regarded as a founding father. Upon learning of Ahmed's death, Puntland Minister of State for Planning and International Cooperation, Abdulkadir Hashi, tweeted that "President Yusuf's death marks a huge loss for the Somali people and especially for Puntlanders. He was a great patriot & friend". Ahmed was flown to the Aden Adde International Airport in Mogadishu, where the Bombay army band conducted a military funeral service in his honor and a Janaza prayer was dedicated to him. On 25 March 2012, the former president was then taken to his hometown of Galkacyo for a state burial. A 22-gun salute was fired upon his arrival, and the ensuing funeral ceremony was attended by over two thousand people. Numerous government officials and religious and clan leaders came to pay their last respects, including incumbent Puntland president Abdirahman Mohamud Farole, former Puntland president Mohamud Muse Hersi, TFG president Sharif Sheikh Ahmed, and Prime Minister of Somalia Abdiweli Mohamed Ali. International delegations from Djibouti, Ethiopia, Sudan and Yemen, among many others, also attended the interment. President Farole gave a brief speech noting that "Abdullahi was a patriotic man whose dedication and rigidness will inspire many to come."

In commemoration of the late leader, the Galkayo Airport was officially renamed as the Abdullahi Yusuf International Airport.

title: Abdullahi Yusuf Ahmed


text:
Abaka

Abaka may refer to:
 * Abaqa Khan (1234–1282), ruler of the Mongol Ilkhanate, based in Persia
 * Abacá, a Philippine species of banana
 * Edmund Abaka, photographer and historian of Africa
 * K. Abaka-Quansah, Ghanaian politician
 * Abaka Bay, Haiti, a tourist resort on Île-à-Vache

title: Abaka


text: User talk:80.58.6.170

title: User talk:80.58.6.170


text:
Edmond Jabès

Edmond Jabès (إدمون جابيس; Cairo, April 14, 1912 – Paris, January 2, 1991) was a French writer and poet of Egyptian origin, and one of the best known literary figures writing in French after World War II. The work he produced when living in France in the late 1950s until his death in 1991 is highly original in form and breadth.

Life
The son of a prominent Jewish family in Egypt going back to the 19th century, he was born and brought up in Cairo where he received a classical French education. He began publishing in French and writing for the theater at an early age. From the 1930s on, he was active in Cairo's artistic and literary avant-garde culture, while also nurturing relationships with poets and publishers in France. He was made a Knight of the Legion of Honor in 1952 for his literary accomplishments.

When Egypt expelled most of its Jewish population (Suez Crisis), Jabès fled to Paris in 1957. There he was welcomed by the literary community as a Surrealist-influenced poet, but a confrontation with French anti-semitism and the shadow of the Shoah prompted him to make a radical change in his writing, resulting in the multi-volume "Book of Questions." His work after exile from Egypt reflects a consciousness deeply troubled by the brutal reality of Auschwitz. His work exhibits a profound sense of melancholy and an acute sense that the Jew is constituted and always remains in exile. It also highlights the importance of offering welcome to foreigners, a central theme in his last book, "The Book of Hospitality." He became a French citizen in 1967; the same year he received the honor of being one of four French writers (alongside Sartre, Camus, and Lévi-Strauss) to present his works at the World Exposition in Montréal. Further accolades followed—the Prix des Critiques in 1972, and a commission as an officer in the Legion of Honor in 1986. In 1987, he received France's Grand National Prize for Poetry (Grand Prix national de la poésie). Jabès's cremation ceremony took place at Père Lachaise Cemetery a few days after his death; he was the victim of a heart attack in his apartment on the rue de l'Épée-de-Bois, dying at age 78.

Works
Jabès is best remembered for his books of poetry, often published in multi-volume cycles, at least fourteen volumes have been translated by Rosmarie Waldrop – Jabès's primary English translator. They often featured references to Jewish mysticism and kabbalah.

In English (trans. Rosmarie Waldrop)

 * The Book of Questions, Wesleyan University Press, 1976–1984
 * I. The Book of Questions, 1976
 * II / III. The Book of Yukel / Return to the Book, 1977
 * IV / V / VI. Yaël, Elya, Aely, 1983
 * VII. El, or the Last Book, 1984

 * The Book of Dialogue, Wesleyan University Press, 1987
 * The Book of Shares, Chicago UP, 1989
 * The Book of Resemblances, Wesleyan University Press, 1990
 * I. The Book of Resemblances, 1990
 * II. Intimations The Desert, 1991
 * III. The Ineffaceable The Unperceived, 1992

 * From the Book to the Book [A Jabès Reader], Wesleyan UP, 1991
 * A Foreigner Carrying in the Crook of His Arm a Tiny Book, Wesleyan UP, 1993
 * The Book of Margins, Chicago UP, 1993
 * The Little Book of Unsuspected Subversion, Stanford University Press, 1996
 * Desire for a Beginning Dread of One Single End, Granary Books, 2001

In English (by other translators)

 * A Share of Ink, [Selected Short Poems] trans. Anthony Rudolf, Menard Press, 1979
 * If There Were Anywhere But Desert; Selected Poems, trans. Keith Waldrop; "Introduction" by Paul Auster, "Afterword" by Robert Duncan, Station Hill Press, 1988
 * From the Desert to the Book: Dialogues with Marcel Cohen, trans. Pierre Joris, Station Hill, 1990

Selected works on Jabès (in English)

 * Paul Auster, "Interview with Edmond Jabès", Montemora, #6 (1979), reprinted in The Sin of the Book
 * —, "Book of the Dead", (1976), essay, published in The Art of Hunger
 * Jacques Derrida, "Edmond Jabès and the Question of the Book", essay, published in Writing and Difference, Routledge, 2002
 * Eric Gould, ed., The Sin of the Book: Edmond Jabès, University of Nebraska Press, 1985
 * —, Studies in 20th Century Literature, 12, No.1: Edmond Jabès Issue (Fall 1987)
 * Steven Jaron, Edmond Jabès: The Hazard of Exile (Oxford: Legenda, 2003)
 * Warren Motte Jr., Questioning Edmond Jabès, University of Nebraska Press, 1990
 * Rosmarie Waldrop, Lavish Absence: Recalling and Rereading Edmond Jabès, Wesleyan University Press, 2002
 * Jason Weiss, Writing at Risk: Interviews in Paris with Uncommon Writers, University of Iowa Press, 1991
 * Mark Rudman, "Questions about Questions", Diverse Voices, Story Line Press, 1992
 * Gary D. Mole, "Lévinas, Blanchot, Jabès: Figures of Estrangement", University Press of Florida Press, 1997
 * Aimée Israel-Pelletier, "Edmond Jabès, Jacques Hassoun, and Melancholy: The Second Exodus in the Shadow of the Holocaust" in MLN French Issue, 2008

title: Edmond Jabès


text:
Chicken Soup for the Soul

Chicken Soup for the Soul Entertainment, Inc. was an American self-help, consumer goods and media company based in Cos Cob, Connecticut. It is known for the Chicken Soup for the Soul book series. The first book, like most subsequent titles in the series, consisted of inspirational true stories about ordinary people's lives. The books are widely varied, each with a different theme. Chicken Soup for the Soul Publishing, LLC continued to publish about twelve new books per year.

The company has branched out into other categories such as food, pet food, and television programming.

Books
Motivational speakers Jack Canfield and Mark Victor Hansen collaborated on the first Chicken Soup for the Soul book, compiling inspirational, true stories they had heard from their audience members. Many of the stories came from members of the audience of their inspirational talks. The book was rejected by major publishers in New York but accepted by a small, self-help publisher in Florida called HCI.

After the success of the first book, Canfield and Hansen, with HCI, published additional, similar Chicken Soup for the Soul titles. Later, they published Chicken Soup for the Soul books for specific demographics, such as Chicken Soup for the Teenage Soul, which came out in 1997 and was a major best-seller. New Chicken Soup for the Soul titles and sequels to existing books have been published on a regular basis since the first book came out in 1993. In 2009, author Adeline Lee Zhia Ern was found to have plagiarized the story "Happiness" by Sarah Provençal from Jack Canfield's Chicken Soup for the Teenage Soul IV.

A 19-episode anthology series made up of stories from the series was produced and aired in the 1999–2000 television season by PAX TV, the current-day Ion Television.

Expansion from books
In 2008, the founders, Jack Canfield and Mark Victor Hansen, sold the company to a new ownership group led by William J. Rouhana and Robert D. Jacobs. Since then all new titles have been published by Chicken Soup for the Soul Publishing, LLC and distributed by Simon & Schuster.

Under the new ownership group, Chicken Soup for the Soul has expanded into other products besides books. The company markets pet foods under the brand Chicken Soup for the Pet Lover's Soul and a line of soups, sauces and other prepared foods under the brand Chicken Soup for the Soul.

Entertainment expansion
In 2013, the company announced plans to produce a television series and a film with Alcon Entertainment. Chicken Soup for the Soul has produced television programming with other partners, including PBS. In 2016, Chicken Soup for the Soul acquired a majority stake in the website A Plus.

Chicken Soup for the Soul Entertainment went public in 2017. In November 2017, it acquired Screen Media Ventures, LLC, an independent television and film distribution company, which included Popcornflix, an ad-based online video service.

On March 28, 2019, it was announced that Sony Pictures Television would sell a majority stake of Sony Crackle to Chicken Soup for the Soul Entertainment, after which the service would revert to the "Crackle" name.

On November 5, 2019, it was announced that the Chicken Soup for the Soul Entertainment division would purchase foreign sales company Foresight Unlimited for the new Screen Media division.

On December 15, 2020, Sony traded its remaining shares in Crackle for a yet to be disclosed preferential stake in Chicken Soup for the Soul Entertainment, giving them full control of the ad-supported streaming service. As of 2020, the Chicken Soup for the Soul series included more than 250 titles.

In April 2021, Chicken Soup for the Soul acquired the film and television catalogue of Sonar Entertainment. In return, Sonar will hold a 5 percent stake in a new AVOD network featuring its library. Through the acquisition, Chicken Soup now currently owns the North American rights to a majority of the Laurel & Hardy films and shorts, and most of the Our Gang library, as well as the holdings of the former RHI/Hallmark/Cabin Fever/Sonar outputs, and a majority of the Hal Roach library, all via their Halcyon Studios division.

On March 2, 2022, Chicken Soup for the Soul announced its acquisition of specialty film distributor, 1091 Pictures, for $15.55 million, in a mix of cash ($8 million) and stock (newly issued Series A preferred stock and Class A common stock). The deal included an estimated 4,000 movies and TV series from the 1091 catalog, as well as its portfolio of free, ad-supported networks and channels.

On May 11, 2022, Chicken Soup for the Soul announced its intention to acquire Redbox for $357 million ($36 million in stock and $321 million in assumed debt). The acquisition closed on August 11, 2022.

Post-sale, bankruptcy and liquidation
On April 1, 2024, Chicken Soup for the Soul received a delisting notice from Nasdaq, informing that the company's stock would be delisted from the Nasdaq after it had 180 days to return to compliance.

On April 23, 2024, Chicken Soup for the Soul announced a $636.6 million loss in 2023, and warned that without any options to generate additional financing, the company may be forced to liquidate or pause operations, and seek a potential Chapter 11 bankruptcy protection filing. In June 2024, chairman and CEO Bill Rouhana removed the company's board of directors. On June 29, the company filed for Chapter 11 bankruptcy protection after cutting benefits in May, missing a week of paying its employees, and failing to secure financing.

On July 1, 2024, former federal prosecutor Bart Schwartz replaced Rouhana as CEO, and a new board of directors was installed. On July 5, the company was able to secure funding to restore payroll and benefits.

On July 10, 2024, a bankruptcy judge ordered to convert Chicken Soup for the Soul's Chapter 11 bankruptcy into a Chapter 7 bankruptcy liquidation after accusing the company's previous CEO of misusing the business and failing to pay employees or support healthcare. With the Chapter 7 conversion, the company's assets will be liquidated, resulting in the cessation of its subsidiaries, including Crackle, Popcornflix and Redbox. In addition, over 1,000 employees will be laid off and over 26,000 Redbox kiosks will shut down permanently.

Awards
The original series held a spot on the New York Times Best Seller list continuously from 1994 to 1998.

Chicken Soup for the Soul: What I Learned From the Dog was named "Best Anthology" of 2010 by the Dog Writers Association of America.

title: Chicken Soup for the Soul