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MuzikMafia

The MuzikMafia was an informal collection of American country music artists, founded in October 2001 in Nashville, Tennessee by Big Kenny and John Rich (who compose the duo Big & Rich ), along with Jon Nicholson and Cory Gierman. They have been the subject of a six-episode television series on the network Country Music Television, entitled MuzikMafia TV, which followed the Muzik Mafia on their first stadium tour, the American Revolution Tour.

The original MuzikMafia was born from an open mic night in Nashville. While they aren't official members, people who have performed at the MuzikMafia jams include Kid Rock, 3 Doors Down, Velvet Revolver, Bon Jovi, Stephen Cochran, Jewel, Bobby Brown, Sisqo, and Saliva.

Founding of the MuzikMafia
The Muzik Mafia, (Musically Artistic Friends In Alliance) was a ragtag collection of unique and talented musician friends and collaborators. It is most responsible for the birth and early feeding of country acts like Big & Rich, and Gretchen Wilson. It was the creative brainstorm of four friends known affectionately as the original founding “Godfathers,” Big Kenny, John Rich (of Big & Rich), R&B/rock/country singer-songwriter Jon Nicholson, and music publisher/executive Cory Gierman. All four were steeped in the same eclectic musical mix. Together they decided to get together periodically in one place and play together. They made an informal pact – no competition, only cooperation and mutual support. Mixing styles and genres, gatherings could go from a rock & country sound to a bluegrass riff to a reggae swag. It was a tribe of serious, and seriously open-minded musicians.

The godfathers founded MuzikMafia with an ideology of anti-commercialism—a response to Music Row’s commercial hegemony in Nashville. One of MuzikMafia’s numerous connections to these earlier phenomena is that each contributes to the idea of artistic events as spectacles. For MuzikMafia members, culture was primarily “lived” through experience rather than emphasized on, a reflection of, or adherence to industry norms of how commercial musicians should look or sound. Their original intention was to create a weekly jam session in which like-minded individuals could enjoy a variety of styles in an informal setting.

The first “official Muzik Mafia” was born from an open mic night at the Pub of Love, Nashville, TN on October 23, 2001. They held shows intentionally late each Tuesday evening because Tuesdays were, according to the godfathers, “the worst night of the week." and to avoid the club crowd that frequented weekend Nashville locales. Focusing more on those who were dedicated to an intensely intimate and social musical experience at an inconvenient time and day of the week. Each performance was free-of-charge and featured musicians from diverse genres, spoken-word artists, a juggler, a fire-breather, and a painter.

Everything was acoustic and usually performed on guitar accompanied by a percussionist who played a set of older conga drums with drumsticks. Regardless of age, ethnicity, sex, gender, financial status, social ranking, or belief system welcoming everyone at performances, promoting an atmosphere of acceptance. Tuesday shows were an opportunity for MuzikMafia musicians and audience members to be themselves, rather than representations of socially accepted norms.

National recognition
The fact that the MuzikMafia did not promote a single musical idiom might seem like a disqualifying factor in the industry. Their unifying trait was its diversity. The roster included artists who specialized in blues, rock, pop, rap, country, bluegrass, gospel, R&B, and soul that, collectively, are representative of Nashville’s rich history of musical diversity and the city’s current identification as “Music City, U.S.A.” The rapid growth in popularity of the MuzikMafia was the result of its two breakout acts, Big & Rich and Gretchen Wilson, who celebrated combined record sales of approximately five million units just from May through December 2004.

Kid Rock invited the MuzikMafia to perform with him on several tour dates in February and March 2004. The first took place on February 12, 2004 in Chattanooga, Tennessee. Similar MuzikMafia performances with Kid Rock took place in Memphis on 6 March and in Detroit on 20 March that year.

MuzikMafia received massive public exposure in 2004. From The Wall Street Journal, Rolling Stone, the Los Angeles Times, USA Today, Entertainment Weekly, The Tennessean, Country Music Today, Billboard Magazine, The Washington Post, Blender Magazine, Country Weekly, and The New York Times. Magazine covers such as Country Weekly and Entertainment Weekly were shouting, “ The Muzik Mafia wants you!”

MuzikMafia TV
MuzikMafia TV was both a television documentary and a reality show. The six-episode series included behind-the-scenes footage of life on the road during their first stadium tour, The American Revolution Tour (Sponsored by Chevrolet). Documenting the community’s rise to national prominence the show became an instant hit. Ivan Dudynsky (producer of MuzikMafia TV) of Live Animals Productions approached the godfathers in late summer 2004 with the idea of producing something on the MuzikMafia for CMT. The first episode of MuzikMafia TV premiered on 15 January 2005 on CMT.

Last performance
By the summer of 2002 it was evident that the MuzikMafia was a significant part of the Nashville music scene. The Pub of Love’s performance area was small; barely 12’ X 20’, and the building was in disrepair, including an upstairs ceiling that was sagging in several places. The Pub was incapable of accommodating the rapidly growing fan base, several weeks in the summer of 2002, the MuzikMafia performed outside in the adjacent parking lot. Unable to contain their Tuesday night fans, 2002 to 2007 MuzikMafia moved to larger clubs: Tin Roof, 12th & Porter, Mercy Lounge & Fuel. Occasionally, when there was not a weekly show, some of the members would show up to play on Tuesday & Thursday nights at Dan McGuinness, where there was another weekly show called "Dirt Pharm" formed by musicians associated with the MuzikMafia. The final MuzikMafia show was held in January 2008 at the Sam Phillips Music Celebration, in Muscle Shoals Alabama, after a disagreement between members.

List of MuzikMafia members
The core membership of the MuzikMafia was small—less than twenty individuals. Separately, they are artists, each of whom has experienced relative degrees of success and failure, respectively, in their personal and professional lives. Together, they contributed to significant change in the commercial music industry and beyond.

Godfathers and godmother

 * Cory Gierman
 * Big Kenny
 * Jon Nicholson
 * John Rich
 * Gretchen Wilson

Family members

 * James Otto (Musician)
 * Cowboy Troy (Musician)
 * Damien Horne-Pop/Rock Artist
 * Rachel Kice (Painter)
 * Shannon Lawson (Musician)
 * Two-Foot Fred (Business Man, Comedian)
 * Shanna Crooks (Musician)
 * Spoken Word Jen "SWJ" (Poet)
 * John Anderson (Musician) - Honorary Member

Pit bosses

 * Max Abrams (aka "Max on Sax")
 * Pino Squillace
 * The Reverend Elijah D.D. Holt
 * Jerry Navarro
 * Adam Shoenfeld
 * Sean Smith

Visiting relatives

 * Kid Rock
 * 3 Doors Down
 * Velvet Revolver
 * Bon Jovi
 * Jewel
 * Bobby Brown
 * Sisqo
 * Saliva
 * Wynonna Judd
 * Hank Williams Jr
 * Darryl McDaniels (Run DMC)
 * Peter Wolf (J. Geils Band)
 * George Clinton
 * Angie Aparo
 * Martina McBride
 * Keith Urban
 * Toby Keith
 * Richie Sambora
 * James Hetfield
 * Buzz M. Kiefer
 * Scott Sanford

Former members

 * Dean Hall (Resigned from the Mafia in December 2005)
 * Chance (Hit in February 2007)

Panelists
In October 2005, Muzikmafia members were receiving their booking engagements through William Morris Agency. The early panelists include
 * Cory Gierman
 * Big Kenny
 * Jon Nicholson
 * John Rich
 * Bill Moore
 * Cowboy Troy (Musician)
 * Shannon Lawson (Musician)
 * Rachel Kice (Painter)

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

title: MuzikMafia


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User talk:Nikejulia

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! — Brim 20:51, Feb 8, 2005 (UTC)
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title: User talk:Nikejulia


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Benjamin Urrutia

Benjamin Urrutia (born January 24, 1950) is an author and scholar. With Guy Davenport, Urrutia edited The Logia of Yeshua, which collected what Urrutia and Davenport consider to be Jesus' authentic sayings from a variety of canonical and non-canonical sources. Urrutia interprets Jesus' mission as a leadership role in the "Israelite nonviolent resistance to Roman oppression".

Biography
Urrutia was born in Guayaquil, Ecuador. He lived in Ecuador until 1968, and has since been a resident of the United States of America, except for the period from May 1974 to July 1977, when he lived in Israel. At Brigham Young University, he studied under Hugh Nibley. Learning from Nibley that the Book of Mormon names Shiblon and Shiblom may be derived from the Arabic root shibl, "lion cub," Urrutia connected this to the "Jaguar Cub" imagery of the Olmec people.

Urrutia has also elaborated on Nibley's argument that the word Makhshava, usually translated as "thought," is more correctly translated as "plan." Urrutia has made some contributions to the study of Egyptian Names in the Book of Mormon.

Over the years, Urrutia has written and published a number of articles, letters, poems and reviews on matters related to the work of J. R. R. Tolkien.

Benjamin Urrutia contributed stories to every volume of the LDSF series – anthologies of Science Fiction with LDS themes. He edited the second and third volumes of the series.

Urrutia has been a book reviewer since 1970 and a film critic since 1981. As of 2017, he is a book reviewer and the principal film critic for The Peaceable Table. He is a strong advocate of Christian vegetarianism.

New Testament and Talmud
Urrutia contends that Rabbi Yeshua Bar Abba was the historical Jesus of Nazareth and was the leader of the successful nonviolent Jewish resistance to Pontius Pilate's attempt to place Roman eagles – symbols of the worship of Jupiter – on Jerusalem's Temple Mount. Josephus, who relates this episode, does not say who the leader of this resistance was, but shortly afterwards states that Pilate had Jesus crucified. (Many scholars believe this passage of Josephus may have been slightly but significantly altered by later editors.)

The Gospel of the Hebrews says that the suggestion to be baptized by John came from the mother and brothers of Jesus, and Jesus himself agreed only reluctantly. Contrary to the common opinion, Benjamin Urrutia insists that this version must be the authentic one, because: 1) It is strongly supported by the Criterion of Embarrassment: Jesus changes his mind, and agrees to somebody else's idea. 2) This Gospel was produced by the community that included the Family of Jesus, and therefore is the most likely to include authentic family traditions.

A Talmudic legend has a Rabbi meeting the Messiah at the gates of Rome, where he is binding his wounds among the homeless poor. Asked when he will be coming, the Anointed One replies: "Today!" Perhaps this means: You need not expect a future coming of the Messiah. He is here today. Look for him among the homeless, the wounded, the hungry and oppressed.

In Chapter 8 of the Gospel of John, "the Jews who believed in Jesus" affirm that, being Children of Abraham, they have never been slaves. However, Jews observing the mainstream rabbinic tradition recite prayers at Passover, every Shabbath, and throughout the year, evoking the memory of their ancestors having been slaves in Egypt as told in the biblical Book of Exodus. This portion of John is likely the fictional creation of an editor who was unaware of Jewish culture and religion. (Note: John 8:33 They answered Him, “We are Abraham’s descendants and have never yet been enslaved to anyone;…” does not belong to the phrase/category of Jesus' comments to the Jews who believed. (30 As He spoke these things, many came to believe in Him. 31 So Jesus was saying to those Jews who had believed Him, “If you continue in My word, then you are truly disciples of Mine; 32 and you will know the truth, and the truth will make you free.”) Rather, "They answered him" should be read as the ongoing oppositional faction of Jewish leadership (The Jews who believed, in John 8:31, rightly follows the previous verse, whereas verse 33 continues the context of Jesus' conflict with the unbelieving Jews… (the edit of John 8 by some uninformed redaction is extremely unlikely and the effort to reconcile this is simple, parse verses 31-32 with 29, then continue 33 with the rest of the narrative of Jesus' conversation/conflict with… John 8:3 The scribes and the Pharisees brought a woman… a simpler reading and not requiring later assumptions of redaction.)

Hebrew Bible/ Old Testament
Urrutia applied the Structuralist theories of Claude Lévi-Strauss to the first chapter of the Bible in the article "The Structure of Genesis, Chapter One."

Accepting Jeff Popick's theory that the Forbidden Fruit is a symbolic reference to animal flesh, Benjamin offered an additional argument in favor of this exegesis: "Whether the serpent ... is the 'most subtle' of beasts or not, he certainly is a most carnivorous one. If Mr. Serpent taught our ancestors to eat forbidden food, he taught it by example. And nothing he eats is vegan or kosher."

Urrutia found intriguing connections between the Israelite hero Joseph and the Greek hero Theseus. These include carnivorous cattle and the number seven.

Urrutia found and pointed out some interesting similarities between Nimrod and pharaoh Amenhotep III (known as Nimmuria in the Amarna Letters).

Urrutia examined Kabbalistic and other sources and found evidence Yahweh was anciently considered the Son of El.

Urrutia pointed out parallels between the relationship of the Nuer to the Dinka with that of the Israelites to the Canaanites, and suggested a glottochronological approach.

Urrutia wrote a brief article on the Egyptian religious ritual of the Opening of the Mouth. In it, he traces common themes between the Opening of the Mouth and Psalm 51, such as opening the mouth (or of the lips, in Psalm 51), healing of broken bones, and washing the inner organs with special cleansing spices.

Urrutia pointed out that there are hints in the Bible that the Biblical authors may have known that not all the sons of Zedekiah perished in the Chaldean invasion.

Ancient languages
The name Mormon is explained by Urrutia as derived from the Egyptian words Mor ("love") and Mon ("firmly established").

In 1984, Urrutia produced the first translation ever of the 'Spangler Nodule', an iron nodule allegedly found in Ohio in 1800 with an inscription carved on it. According to Urrutia, the text says YHWWY (which, Urrutia suggests, may be a variant of the Tetragrammaton).

Contemporary issues
Urrutia was influenced by the Structuralism of Claude Lévi-Strauss, but took exception to the French anthropologist's too-easy acceptance of anti-Mormon slanders.

In a review of a book that presents cases of children who have made substantial and even complete recovery from Autism with a dairy-free diet, Benjamin Urrutia avers that considering 1) that most humans cannot digest cow's milk, and 2) that "an ounce of prevention is worth a ton of cure," "all parents should cease and desist from feeding cow's milk to their infants and children before they develop autism (not to mention childhood-onset diabetes)."

Reception
A reviewer in The Washington Post wrote: "In general, Davenport and scholar Benjamin Urrutia translate as plainly as possible, often giving familiar phrases a contemporary lilt: 'No one can work for two bosses...' Throughout, The Logia of Yeshua freshens familiar New Testament injunctions, encouraging us to think anew about their meanings."

Robert Jonas wrote in the Shambhala Sun: "Davenport and Urrutia must be applauded for their desire to awaken the reader by offering these new, bare translations of Jesus' sayings."

Professor Raphael Patai responded to Urrutia's ideas, and the two scholars had a lively dialogue for two issues of American Anthropologist.

Publications

 * The Logia of Yeshua: The Sayings of Jesus. Translated and edited in collaboration with Guy Davenport (1996). ISBN 1-887178-70-8

title: Benjamin Urrutia


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Wikipedia:Articles for deletion/Mindgate

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. dbenbenn | talk 06:45, 14 Feb 2005 (UTC)

Mindgate
Tagged for speedy deletion, but not really a speedy candidate. Looks like vanity for a Polish band (which is actually called "Mind Gate") too new to be really notable yet. (The Polish Wikipedia has no article.) -Aranel (" Sarah ") 20:51, 8 Feb 2005 (UTC)
 * Delete, not notable - less than 60 Google hits (Mindgate/Mind Gate + variations), band vanity. Megan1967 01:54, 9 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User talk:83.135.133.98

title: User talk:83.135.133.98


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Talk:Khaydarin Crystal

The better Wikipedia title is Khaydarin crystal. --Wetman 20:52, 8 Feb 2005 (UTC)

title: Talk:Khaydarin Crystal


text:
Mission Reds

The Mission Reds were a minor league baseball team located in San Francisco, California, that played in the Pacific Coast League (PCL) from 1926 through 1937.

First Missions team
In early September of 1914, the failed Sacramento Solons team moved to San Francisco and renamed itself "Mission", in reference to San Francisco's Mission District. San Francisco newspapers had dubbed the Sacramento team the "Wolves", in reference to manager Harry Wolverton. The "Wolves" nickname followed them to San Francisco.

The Mission club continued to play the Sacramento schedule for the final seven weeks of the 200-plus games season. They staged their home games at Ewing Field (the 1914 season's regular home of the San Francisco Seals); and at Oaks Park (regular home of the Oakland Oaks), often playing their Sunday doubleheaders one game on each side of the Bay. The Missions' last home games came on Sunday, October 25, with the morning game in San Francisco and the afternoon game in Oakland.

There was newspaper chatter about the Missions moving to Recreation Park for 1915, but by then they had moved to Salt Lake City, where they became the Salt Lake Bees.

Origins in Los Angeles
The Mission Reds were born in Los Angeles in 1909, where they played under the name the Vernon Tigers. The team won two Pacific Coast League pennants during its 18-year stay in Southern California. Declining attendance forced owner Edward Maier to put the team up for sale after the 1925 season. A group of San Francisco businessmen led by Herbert Fleishhacker purchased the Tigers, moved the team to San Francisco for the 1926 season, and called the team the Mission Reds.

History in San Francisco
San Francisco's second baseball team during this time period, the Mission Reds, were rivals to the well-established San Francisco Seals. Fans seldom referred to the team by its full name "Mission Reds," preferring instead "the Missions." More often than not, the PCL standings in newspapers listed the team as the "Missions" or "Mission." The terms "Reds" and "Missions" were used synonymously in game reports.

Like its short-lived predecessor, the Mission Reds were supposed to represent San Francisco's Mission District. From 1926 to 1930, the team played home games at Recreation Park, also home to the Seals. When the Seals moved to their own ballpark, Seals Stadium (at 16th and Potrero Streets), in 1931, the Missions followed suit.

The Mission Reds were unable to establish a fan base during their 12-year stay in San Francisco, nor was the team able to replace the Oakland Oaks as the Seals' main rival. To most San Francisco baseball fans, the Missions were the team to watch only when the Seals were on the road.

The Missions finished first in the Pacific Coast League just once, in 1929; they lost the post-season series to the Hollywood Stars. The team had a 1,088-1,117 (.480) overall record. In 1935, Reds manager Gabby Street was suspended from the Pacific Coast League indefinitely for assaulting an umpire.

In 1938, two years after the Hollywood Stars moved to San Diego, owner Fleischaker, facing mounting losses on the field and at the gate, moved the Mission Reds back to Los Angeles. He renamed the team the Hollywood Stars.

title: Mission Reds


text: User talk:216.198.104.253

title: User talk:216.198.104.253


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Louise Beavers

Louise Beavers (March 8, 1900 – October 26, 1962) was an American film and television actress who appeared in dozens of films and two hit television shows from the 1920s to 1960. She played a prominent role in advancing the lives of Black Americans through her work and collaborated with fellow advocates to improve the social standing and media image of the Black population.

Early life
Beavers was born in Cincinnati, Ohio to school teacher Ernestine (Monroe) Beavers and William M. Beavers, who was originally from Georgia. Her mother's illness caused the family to move to Pasadena, California.

In Pasadena, she attended school and engaged in several after-school activities, such as basketball and church choir. Her mother also worked as a voice teacher and taught her how to sing. In 1920, Beavers graduated from Pasadena High School. She then worked as a dressing-room attendant for a photographer and served as a personal maid to film star Leatrice Joy.

Career
Beavers' acting career began as a member of the Lady Minstrels, a group of young women who staged amateur productions and appeared on stage at the Loews State Theatre. Charles Butler, an agent for African-American actors, saw one of her early performances and recommended that she audition for a film role.

Beavers was initially hesitant to audition for film roles because of the negative portrayal of blacks in film. She once said, "In all the pictures I had seen… they never used colored people for anything except savages." However, she won a role in the film Uncle Tom’s Cabin (1927) and went on to play stereotypical black roles such as those of a slave, a mother figure, a maid or domestic servant. After playing the role of Julia, the maid and mother figure to a young white woman, in Coquette (1929), Beavers gained more attention for her work and was able to transition to less stereotypical roles. Beavers played Delilah in Imitation of Life (1934), again in the role of a housekeeper, but instead of the usual stereotypical comedic or purely functional role, Delilah's storyline constitutes a secondary parallel plot in which her problems are given considerable emotional gravity. Some in the media recognized the unfairness of Hollywood's double standard regarding race. A contributor to California Graphic Magazine wrote: "the Academy could not recognize Miss Beavers. She is black!"

Beavers played the lead role in the film Reform School (1939), once thought to be a lost film, as a forward-thinking probation officer who becomes the superintendent of a reform school and implements major changes.

In the film Holiday Inn (1942), Beavers performed a song during a minstrel show number celebrating Abraham Lincoln's birthday. Because the number features Bing Crosby and others in blackface, some consider it racially offensive and it is often excised from television screenings of the film. Beavers was one of three actresses (including Hattie McDaniel and Ethel Waters) to portray housekeeper Beulah on the Beulah television show, the first television sitcom to star a black person. She also played a maid for the first two seasons of The Danny Thomas Show (1953–1955).

In addition to her film work, Beavers conducted theater tours as long as 20 weeks each year.

As Beavers' career grew, some criticized her for the roles that she accepted, alleging that such roles institutionalized the view that blacks were subservient to whites. Beavers dismissed the criticism, acknowledging the limited opportunities available but saying: "I am only playing the parts. I don't live them." As she became more widely known, Beavers began to speak against Hollywood's portrayal and treatment of African Americans, both during production and after promoting the films. Beavers became active in public life, seeking to help support African Americans. She endorsed Robert S. Abbott, the editor of The Chicago Defender, who fought for African-Americans' civil rights. She supported Richard Nixon, who she believed would help black Americans in the struggle for civil rights.

Personal life
Beavers' cousin George Beavers, Jr. was a cofounder of the Golden State Mutual Life Insurance Company.

She became a prominent and active member of the black community in Los Angeles. She was involved in community functions, including those at the People’s Independent Church, where she helped develop the theater program of the Young People’s Lyceum. She was also involved in the 1939 public ceremonies celebrating development of the all-black resort Val Verde County Park.

In 1936, Beavers married Robert Clark, who later became her manager. Beavers and Clark later divorced and remarried.

In 1952, Beavers married Leroy Moore, with whom she remained until her death in 1962. She had no children.

In later life, Beavers was plagued by health issues, including diabetes. She died on October 26, 1962, at the age of 62, following a heart attack, at Cedars of Lebanon Hospital in Los Angeles.

Honors
Beavers was inducted into the Black Filmmakers Hall of Fame in 1976.

She was an honorary member of the Sigma Gamma Rho sorority, one of the four African-American sororities.

Filmography

 * Features

 * Uncle Tom's Cabin (1927) as Slave at Wedding (uncredited)
 * Coquette (1929) as Julia
 * Glad Rag Doll (1929) as Hannah
 * Gold Diggers of Broadway (1929) as Sadie, the Maid
 * Barnum Was Right (1929) as Maid (uncredited)
 * Wall Street (1929) as Magnolia
 * Nix on Dames (1929) as Magnolia
 * Second Choice (1930) as Maid (uncredited)
 * Wide Open (1930) as Easter
 * She Couldn't Say No (1930) as Cora
 * Honey (1930) as Black Revivalist (uncredited)
 * True to the Navy (1930) as Maid (uncredited)
 * Safety in Numbers (1930) as Messalina
 * Back Pay (1930) as Nellie, Hester's Maid (uncredited)
 * Recaptured Love (1930) as Maid (uncredited)
 * Our Blushing Brides (1930) as Amelia, the Mannequins' Maid (uncredited)
 * Manslaughter (1930) as Rose (prison inmate) (uncredited)
 * Outside the Law (1930) as Judy the Maid (uncredited)
 * Bright Lights (1930) as Angela - the Maid (uncredited)
 * Paid (1930) as Black Convict (uncredited)
 * Scandal Sheet (1931)
 * Millie (1931) as Maid (uncredited)
 * Don't Bet on Women (1931) as Maid (uncredited)
 * Six Cylinder Love (1931, uncredited)
 * Party Husband (1931) as Laura's Maid (uncredited)
 * Annabelle's Affairs (1931) as Ruby
 * Sundown Trail (1931) as Auntie Jenny
 * Reckless Living (1931) as Maid
 * Girls About Town (1931) as Hattie
 * Good Sport (1931) as September
 * Ladies of the Big House (1931) as Ivory
 * The Greeks Had a Word for Them (1932) as Beautician (uncredited)
 * The Expert (1932) as Lulu
 * It's Tough to Be Famous (1932) as Ada, Janet's Maid
 * Young America (1932) as Maid (uncredited)
 * Night World (1932) as Maid (uncredited)
 * The Strange Love of Molly Louvain (1932) as Washroom Attendant (uncredited)
 * Street of Women (1932) as Mattie, Natalie's maid
 * The Dark Horse (1932) as Levinnia, Kay's Maid (uncredited)
 * What Price Hollywood? (1932) as The Maid
 * Unashamed (1932) as Amanda Jones
 * Divorce in the Family (1932) as Rosetta
 * Hell's Highway (1932) as Rascal's Sweetheart at Visitor's Center (uncredited)
 * Wild Girl (1932) as Mammy Lou (uncredited)
 * Too Busy to Work (1932) as Mammy
 * She Done Him Wrong (1933) as Pearl
 * Her Splendid Folly (1933) as Anastasia
 * 42nd Street (1933) as Pansy, Dorothy's Maid (uncredited)
 * Girl Missing (1933) as Julie - Daisy's Maid (uncredited)
 * The Phantom Broadcast (1933) as Penny (uncredited)
 * Pick-Up (1933) as Magnolia (uncredited)
 * Central Airport (1933) as Hotel Maid (uncredited)
 * The Big Cage (1933) as Mandy (uncredited)
 * The Story of Temple Drake (1933) as Minnie
 * What Price Innocence? (1933) as Hannah
 * Hold Your Man (1933) as Elite Club Attendant (uncredited)
 * Midnight Mary (1933) as Anna, Mary's Maid (uncredited)
 * Her Bodyguard (1933) as Margot's Maid
 * A Shriek in the Night (1933) as Maid
 * Notorious But Nice (1933) as Ophelia (uncredited)
 * Bombshell (1933) as Loretta
 * Only Yesterday (1933) as Abby, the Emerson's Maid (uncredited)
 * In the Money (1933) as Lily
 * Jimmy and Sally (1933) as Maid (uncredited)
 * Palooka (1934) as Crystal
 * Bedside (1934) as Pansy
 * I've Got Your Number (1934) as Crystal
 * Gambling Lady (1934) as Suzy - Peter's Cook (uncredited)
 * A Modern Hero (1934) as Azais' Maid (uncredited)
 * The Woman Condemned (1934) as Sally - Jane's Maid
 * Registered Nurse (1934) as Flo, Sadie's Maid (uncredited)
 * Glamour (1934) as Millie
 * I Believed in You (1934) as Prisoner (uncredited)
 * Merry Wives of Reno (1934) as Derwent's Client, Black Mother of 12 Wanting a Divorce (uncredited)
 * Cheaters (1934) as Lily
 * The Merry Frinks (1934) as Camille, Hattie's Maid
 * Dr. Monica (1934) as Sarah - Mary's Maid (uncredited)
 * I Give My Love (1934) as Maid
 * Beggar's Holiday (1934) as Heliotrope
 * Imitation of Life (1934) as Delilah Johnson
 * West of the Pecos (1934) as Mauree
 * Million Dollar Baby (1934) as Black Mother
 * Annapolis Farewell (1935) as Miranda
 * Bullets or Ballots (1936) as Nellie LaFleur
 * Wives Never Know (1936) as Florabelle
 * General Spanky (1936) as Cornelia
 * Rainbow on the River (1936) as Toinette
 * Make Way for Tomorrow (1937) as Mamie
 * Wings Over Honolulu (1937) as Mammy
 * Love in a Bungalow (1937) as Millie
 * The Last Gangster (1937) as Gloria
 * Scandal Street (1938) as Clairce
 * Life Goes On (1938) as Sally Weston
 * Brother Rat (1938) as Jenny
 * The Headleys at Home (1938) as Hyacinth
 * Peck's Bad Boy with the Circus (1938) as Cassey
 * Made for Each Other (1939) as Lily, Cook #3 (uncredited)
 * The Lady's from Kentucky (1939) as Aunt Tina
 * Reform School (1939) as Mother Barton
 * Parole Fixer (1940) as Aunt Lindy
 * Women Without Names (1940) as Ivory
 * Primrose Path (1940) as Woman Talking to Police (uncredited)
 * I Want a Divorce (1940) as Celestine
 * No Time for Comedy (1940) as Clementine
 * Virginia (1941) as Ophelia
 * Sign of the Wolf (1941) as Beulah
 * Kisses for Breakfast (1941) as Clotilda
 * Belle Starr (1941) as Mammy Lou
 * Shadow of the Thin Man (1941) as Stella
 * The Vanishing Virginian (1942) as Aunt Emmeline
 * Young America (1942) as Pansy
 * Reap the Wild Wind (1942) as Maum Maria
 * Holiday Inn (1942) as Mamie
 * The Big Street (1942) as Ruby - Gloria's Maid (uncredited)
 * Seven Sweethearts (1942) as Petunia, the Maid
 * Tennessee Johnson (1942) as Addie (uncredited)
 * Good Morning, Judge (1943) as Cleo
 * DuBarry Was a Lady (1943) as Niagara
 * All by Myself (1943) as Willie
 * Top Man (1943) as Cleo - the Warrens' Maid
 * Jack London (1943) as Mammy Jenny
 * There's Something About a Soldier (1943) as Birdie (uncredited)
 * Follow the Boys (1944) as Louise Beavers (uncredited)
 * South of Dixie (1944) as Magnolia Brown / Chloe
 * Dixie Jamboree (1944) as Opal
 * Barbary Coast Gent (1944) as Bedelia
 * Delightfully Dangerous (1945) as Hannah
 * Young Widow (1946) as Rosie, the Cook (uncredited)
 * Lover Come Back (1946) as Martha, Kay's Maid
 * Banjo (1947) as Lindy
 * Mr. Blandings Builds His Dream House (1948) as Gussie
 * A Southern Yankee (1948) as Laundry Woman (uncredited)
 * For the Love of Mary (1948) as Bertha
 * Good Sam (1948) as Chloe
 * Tell It to the Judge (1949) as Cleo, Marsha's Maid (uncredited)
 * Girls' School (1950) as Hattie
 * The Jackie Robinson Story (1950) as Jackie's Mother
 * My Blue Heaven (1950) as Selma
 * Colorado Sundown (1952) as Mattie - Jackie's Maid
 * I Dream of Jeanie (1952) as Mammy
 * Never Wave at a WAC (1953) as Artamesa, Jo's Maid
 * Good-bye, My Lady (1956) as Bonnie Drew
 * You Can't Run Away from It (1956) as Maid
 * Teenage Rebel (1956) as Willamay
 * Tammy and the Bachelor (1957) as Osia
 * The Goddess (1958) as The Cook
 * All the Fine Young Cannibals (1960) as Rose
 * The Facts of Life (1960) as Gussie

 * Short subjects
 * Oriental Hugs (1928)
 * Election Day (1929) as Farina's Mother
 * Knights Before Christmas (1930)
 * You're Telling Me (1932) as The Maid (uncredited)
 * Hesitating Love (1932)
 * The Midnight Patrol (1933) (scenes deleted)
 * Grin and Bear It (1933)

title: Louise Beavers


text:
User talk:RyMcQ

JFW | T@lk  20:56, 8 Feb 2005 (UTC)

title: User talk:RyMcQ


text:
Bootham

Bootham is a street in the city of York, in England, leading north out of the city centre. It is also the name of the small district surrounding the street.

History
The street runs along a ridge of slightly higher ground east of the River Ouse. It follows the line of Dere Street, the main Roman road from Eboracum to Cataractonium. Many Roman remains have been found in the area, which was principally used for burials. The street's name probably derives from the Norse for "the place of the booths", referring to the poor huts in the area. From the Roman period, an alternative route from the bridge over the Ouse ran a short distance west of Bootham, and in the Saxon and Viking Jorvik periods, that was the main road to the north-west. However, after St Mary's Abbey was constructed in this area, that road was blocked, and Bootham became the principal route. In 1260, the abbey was given permission to construct a wall, part of which runs immediately west of the southern part of Bootham. Disputes between the abbey and the city led to conflict in 1262, with several houses on the street being burned down. Shortly after 1326 the Bootham Hoard of silver coins was deposited at the site which would become Bootham School. The first documentary evidence of buildings on Bootham is from the 12th century, and by 1282, there were 19 properties on the street, most opposite the abbey wall, with some further out. The city received complaints that, by the end of the century, the road's paving was broken up, there was a stench of pigsties in the area, and that the street was often blocked by loose pigs. In 1308, the abbey was given permission to hold a market and fair on the street, and although this was later revoked, there is evidence of a market being held until at least 1448. In 1354, the abbey finally agreed that Bootham should fall within the city's jurisdiction. In 1497, St Margaret's Arch was built through part of the wall at the southern end of Bootham, providing access to what is now King's Manor.

By 1610, most of the street was built up, other than the area in front of the abbey walls, but the area was devastated in the 1644 Siege of York. Almost all the buildings now date from after the siege, many from the Georgian period, and the redevelopment included new buildings in front of the abbey wall. A cock pit was established near where the road currently has its junction with St Mary's, with an attached bowling green. In 1846, Bootham School moved to the street, and it has gradually expanded into several buildings.

York City Council describes the street as "the finest of approaches to the city bars", and mention the trees and cobbled margins along the street, which replaced former grass verges, used for grazing animals. The street is now lined with expensive houses, hotels, and prestigious offices.

Layout and architecture
Bootham is the main route out of York city centre to the north-west, and it forms part of the A19 road. It continues the line of High Petergate, the via principalis of Roman Eboracum, from Bootham Bar in the York city walls. It follows the main Roman road from York to Catterick. It runs north-west, over the York-Scarborough railway line, ending at a junction with Bootham Crescent and Queen Anne's Road, beyond which its route become Clifton. On the south-west side, it has junctions with St Leonard's Place, Marygate, St Mary's and Bootham Terrace, while on the north-east side, it meets Gillygate, Bootham Row, and Grosvenor Terrace. Notable buildings on its south-west side include the walls surrounding St Mary's Abbey, with Queen Margaret's Arch and St Mary's Tower; Ingram House, almshouses built about 1632, one of the few survivors of the siege; 8–10 Bootham, built in the 18th century; and 54 Bootham, and Bootham Lodge, large houses built about 1840. On the north-east side lie most of the Georgian buildings: 15–17, 19, 25, 33, 39–45, 47 (designed by John Carr), 51, 53 and 55, 57, 59, 61, and 75–77 Bootham are all large houses, dating from the 18th century. 21–23, 35, and 49 Bootham are slightly older, with 17th-century origins. Other notable buildings include Wandesford House, almshouses opened in 1743; and The Churchill Hotel, built about 1827. The main entrance to Bootham Park Hospital, built in 1777 as one of the first asylums in the UK, is up a long drive from the street.

title: Bootham


text: Category:Justices of the Supreme Court of New Jersey


text: User talk:194.83.71.244

title: User talk:194.83.71.244


text:
Inchon (film)

Inchon (also stylized as Inchon!) is a 1981 war film about the Battle of Inchon, considered to be the turning point of the Korean War. Directed by Terence Young and financed by Unification movement founder Sun Myung Moon, the film stars Laurence Olivier as General Douglas MacArthur, who led the United States' surprise amphibious landing at Incheon, South Korea in 1950, with Jacqueline Bisset, Ben Gazzara, Toshiro Mifune and Richard Roundtree.

Inchon's plot includes both military action and human drama. Characters face danger and are involved in various personal and dramatic situations. The film concludes with the American victory over North Korean forces in the Battle of Inchon, which is considered to have saved South Korea. Produced on $46 million with filming taking place in South Korea, California, Italy, Ireland and Japan, it encountered many problems during production, including a typhoon and the death of a cast member. Both the Unification movement and the United States military provided personnel as extras during the filming.

After premiering in May 1981, the film was released theatrically in the United States and Canada in September 1982, before being quickly withdrawn due to critical and financial failure. Never receiving a home video release, it has occasionally been broadcast on television. It was the largest financial loss in film of 1982, earning less than $2 million against its lofty budget and resulting in losses of around $41 million. Reviewers at the time gave it consistently negative reviews and later commentators including Newsweek, TV Guide and Canadian Press have classed Inchon among the worst films of all time.

Plot
The film depicts the Battle of Inchon during the Korean War, which took place September 15–19, 1950, and is considered the turning point of the war. The protagonist of the film is General Douglas MacArthur, who led the United States surprise amphibious landing at Incheon in 1950. A subplot in the film involves an American couple who encounter difficulties in their relationship because of the ongoing war.

Inchon begins with North Korean soldiers moving past the 38th parallel north into South Korea in June 1950. People flee to Seoul. One of the displaced people is Barbara Hallsworth, a U.S. Army major's wife who lives in a village on the 38th parallel. She is chauffeured to Seoul in a limousine, picking up five South Korean children along the way. After her chauffeur is killed, she drives them to a safe location called the Inn of the Sixth Happiness. Along the way, she shoots a North Korean soldier.

Meanwhile, her husband, Frank Hallsworth, is attempting to break off an affair with a young South Korean woman, Lim. Her father Saito is aware of his daughter's affair with Frank and does not disapprove. Frank receives word of the invasion by the North Koreans, and he travels north in an attempt to locate Barbara with the assistance of army sergeant August Henderson. August encounters Barbara and fixes her vehicle's battery, and then reunites her with Frank.

Journalists David Feld, Park, and Longfellow are attending a press conference held by MacArthur in Tokyo. MacArthur, however, does not show. He agrees with his wife Jean that he is the only person who can rescue South Korea from the invasion by the North Koreans.

Hallsworth and his former lover succeed in turning on a lighthouse to signal 261 U.S. ships, and the South Korean woman's father activates mines in the channel. She dies during the ensuing battle. The U.S. troops drive out the North Korean forces and the cheering people wave South Korean and American flags. The film proper ends with MacArthur reciting the Lord's Prayer; after this scene, a newsreel of MacArthur is shown.

Cast

 * Laurence Olivier as General Douglas MacArthur
 * Jacqueline Bisset as Barbara Hallsworth
 * Ben Gazzara as Major Frank Hallsworth
 * Toshiro Mifune as Saito
 * Richard Roundtree as Sergeant Augustus Henderson
 * David Janssen as David Feld
 * Namkoong Won as Park
 * Karen Kahn as Lim
 * Rex Reed as Longfellow
 * Gabriele Ferzetti as Turkish Brigadier
 * Sabine Sun as Marguerite
 * Dorothy James as Jean MacArthur

Financing
Sun Myung Moon formed One Way Productions in 1974, with Japanese newspaper publisher Mitsuharu Ishii as its head. Before deciding on making a war film, Moon and Ishii considered making biopics of Jesus or Elvis Presley. In 1978, psychic Jeane Dixon was consulted to communicate with the spirit of General MacArthur, and Dixon said that MacArthur's spirit endorsed the production of the film. Dixon also helped choose Terence Young, known for the James Bond films Dr. No, Thunderball, and From Russia with Love, to direct the film.

Inchon was financed by Moon and Ishii. Moon was involved with the film's production from the very beginning. Ishii, a member of the Unification movement in Japan and a friend of Moon, served as the film's producer; and Moon, although credited as "Special Advisor on Korean Matters", contributed $30 million to One Way Productions. Moon initially did not want the public to know that he was behind the financing of the film and its production; however, upon the film's U.S. release, Moon was identified in newspaper ads as the film's "special advisor". Ishii said he was instructed by God to make the film. Additional funding was provided by Robert Standard, the associate producer and a member of the Unification Church of the United States.

Ishii said he was a member of the Unification movement "just like a Catholic is a member of the Catholic Church and I believe Rev. Moon is very sincere about doing the Lord's work". Ishii was president of the World Daily News, which is published by Moon's media conglomerate News World Communications which also published other newspapers, including The Washington Times in the United States.

Inchon was initially budgeted at $18 million, but cost $46 million to produce. Attempts to solicit funding from Japanese banks fell through, and so the entire project was funded by Moon and the Unification Church.

In his book Encyclopedic Handbook of Cults in America, author and scholar of religion J. Gordon Melton noted that "Moon has attempted to project his ideas into all areas of American society" and cited Inchon as an example. Moon later said in a talk to movement members: "Why did we put so much effort into the movie Inchon? No matter what the result the motivation was for people to understand about MacArthur. I wanted to show how MacArthur loved God and loved people. MacArthur came to Japan after World War II and put the nation back together. He really respected and loved the people. He also loved God very much and fought with great strength against tyranny and communism. That is what I want the people to understand."

Writing
Ishii was inspired to write a film with an international cast after watching a South Korean dramatization of the war. He wanted the film to be an "entertaining action film", but also said he was "very interested in depicting MacArthur as a human being and I want the world to know how miserable the war was for the Korean people."

Moore commented on the writing process: "The theme I had to deal with in Inchon was too big for a movie that was less than two hours. When Toho was originally involved, they wanted a love story between an American boy and a Korean girl. My technique is to research and then fictionalize, a technique I used successfully in French Connection. But I had to fictionalize the real landing at Inchon, making it seem that a lighthouse was a pivotal factor when in fact it wasn't. I couldn't do that, which is why other writers were brought in."

Ishii instructed Moore to include an emphasis on General MacArthur's spiritualism and faith in divine guidance. He told Moore to include three separate love stories in the film, "one between two Americans, one between two Koreans, and one between an American and a Korean". Moore explained that "the love stories were supposed to tell the story of the tragedy of Korea, the tragedy of the Korean War". Ishii stated to Moore that he did not wish for the movie to turn into an "anti-Communist tract". Before the completion of the film's screenplay, the film's producers encountered difficulties obtaining an affiliation with a movie studio. Ishii said that North Korea placed pressure on Toho Studios through labor unions in Japan, requesting that the studio pulled out of its affiliation with Inchon. The labor unions criticized the film's production, saying that it was influenced by Moon and his Unification movement, in addition to the Korean CIA and was part of an effort to support the president of South Korea. Because of this criticism, Toho Studios canceled its participation in the Inchon project.

Casting
Laurence Olivier was paid $1 million to play General Douglas MacArthur in the film. He was contracted for six weeks of filming, and received a payment of $250,000 upon signing the contract and the remainder was given in four subsequent installments. His salary came out to $50,000 per day. In addition to this fee, Olivier also received $2,500 per week for his expenses. Olivier was interviewed during the film's production and explained why he agreed to be part of its cast: "People ask me why I'm playing in this picture. The answer is simple. Money, dear boy. I'm like a vintage wine. You have to drink me quickly before I turn sour. I'm almost used up now and I can feel the end coming. That's why I'm taking money now. I've got nothing to leave my family but the money I can make from films. Nothing is beneath me if it pays well. I've earned the right to damn well grab whatever I can in the time I've got left."

Olivier researched the role by traveling to Norfolk, Virginia to visit the MacArthur Museum, and speaking with Alexander Haig, who had served as aide-de-camp to MacArthur. Haig told Olivier that MacArthur's voice sounded like W.C. Fields, and Olivier tried to imitate this. He enjoyed working with accents and obtained recordings of MacArthur's voice. He was interested in various inconsistencies in these recordings, and especially in the difference in vowel sounds made by MacArthur. During filming, the makeup process for Olivier took two and a half hours, but after it was complete, he thought he neither looked like himself nor like General MacArthur.

The 72-year-old Olivier, who had been in poor health for years, suffered during filming in Seoul because of the summer heat. Director Terence Young recalled that between takes Olivier lay on a cot, virtually immobile with pain and exhaustion, but that when needed "he dropped fifty years and stepped forward without complaint".

Richard Roundtree, known for the title role in the film Shaft, portrayed the character of Staff Sgt. Henderson in the film. Janssen, known for his role in television series The Fugitive, accepted a part as a journalist to work with Laurence Olivier. Actress Karen Kahn portrayed the young Korean lover of Major Frank Hallsworth in the film. In a subsequent interview with The Press Democrat, Kahn said of the film: "It was supposed to be this Gone with the Wind. And it was the worst movie. It's in some of those worst-films-of-all-time books. After that movie I quit. I just couldn't take L.A. I was really thin-skinned. So I just got out."

Young was paid $1.8 million, Jacqueline Bisset was paid $1.65 million, Ben Gazzara was paid $750,000, David Janssen was paid $300,000, Roundtree was paid $200,000, and Rex Reed was paid $6,000 per week. Prior to Gazzara receiving the role for Frank Hallsworth it was offered to Nick Nolte for $1.5 million. Olivier and Young later sued One Way Productions for $1 million each citing overtime.

Filming
Shooting took place in Hollywood, Rome, Ireland, Tokyo and Seoul. The involvement of Moon was "adamantly denied". Moon recommended editing and reshooting changes to the film's script, which "caused the production to return to South Korea three times, Rome twice and Los Angeles twice."

The film included several technical errors. Cut-out cardboard pieces were used to depict military aircraft during battle scenes in the film, and one film critic said viewers were almost able to identify the threads attached to the cardboard cut-outs. Footage of a digital watch was spliced into the film, though this technology would not be invented for twenty-five years after the film's time period. There were other problems. Bisset developed laryngitis during the film's production. A set-piece for the film included a re-created version of a lighthouse at Incheon, but this was obliterated by a typhoon. The death of David Janssen during production called for extensive reshoots.

During the filming of the landing at Inchon a mistake was made in which the ships turned right rather than left. This was due to an aide, whose walkie-talkie was broken, not relaying the correct information due to fear of embarrassment. The filming mistake cost around $500,000. $1 million was spent to bring the crew back to film the three minute scene depicting MacArthur's victory parade. Principal photography cost $26 million and reshoots in other countries cost $22 million. Sidney Beckerman was paid $350,000 to consult Ishii during the editing process.

The production hired Samuel Jaskilka, a retired Marine Corps lieutenant general who took part in the Battle of Inchon as a company commander, as technical advisor to the film. A portion of the movie was filmed aboard the USS Cleveland (LPD-7), an Austin-class amphibious transport dock during an amphibious operation off the coast of South Korea in 1978. The United States Department of Defense allowed 1,500 soldiers from the United States Army and United States Marine Corps to participate as extras in the film, at a cost of $77,000.

The Little Angels Children's Folk Ballet of Korea, founded by Moon in 1962, was featured in the film, with many Unification movement members. After shooting had finished in South Korea, Olivier returned to England. He was needed in South Korea to shoot the final scene, but as a concession to his poor health, was allowed to film in Rome instead. The film's director Terence Young was not happy with the completed version of the film and said, "the producers have turned Inchon into a Korean propaganda movie." Ishii said: "No problem. We have 20 nations who want this movie."

Music
Jerry Goldsmith wrote the score for the film. The music was recorded at Rome's Forum Studio in July 1980 and was fraught with difficulties—the studio was not large enough for his orchestra, and room noise made by the players and their equipment affected the tracks.

In spite of the problems, Goldsmith was pleased with his score, describing it as a chance to "create interesting music out of a bad situation". The original 1982 soundtrack LP comprised 38 minutes of music, edited and assembled by Goldsmith and engineer Leonard Engel into an ideal listening experience rather than a chronological one. The album was issued on Regency Records; Intrada Records prepared a remixed edition of the complete score in 1988. In 2006 Intrada revisited the score and issued a two-disc set, with the original LP making its compact disc debut on disc 1 and the entire score presented in film order on disc 2.

Release
The world premiere was held in Washington, D.C., on May 4, 1981, via special screening at the John F. Kennedy Center for the Performing Arts, as a benefit for retired United States Navy personnel chaired by Senator Alfonse D'Amato. This was the only time the film was screened in its full 140-minute version. Between 25 and 100 protesters came to demonstrate outside the Center.

The gala was a benefit for retired Naval personnel sponsored by D'Amato, but he declined to attend when it was announced that Moon would be in attendance. Twelve congressmen signed on as honorary members of the benefit committee. Although an additional forty-eight Members of Congress accepted tickets to the premiere, Lawrence H. Suid wrote in Guts & Glory that "... no more than fifteen or sixteen were willing to brave the pickets outside the Kennedy Center protesting the Unification Church and its involvement with the movie."

On February 13, 1982, President Ronald Reagan, a former film actor and president of the Screen Actors Guild, screened the film in the White House. He noted in his diary: "Ran Inchon—it is a brutal but gripping picture about the Korean War and for once we're the good guys and the Communists are the villains. The producer was Japanese or Korean which probably explains the preceding sentence".

Promotion
The Unification movement wanted to distribute on their own, but Young told them this would result in a "total disaster". The Church did however front the full $11 million promotion budget. The press releases made many mystical claims, such as of a B-29 bomber pilot seeing the face of Jesus Christ during the war, or of MacArthur's spirit causing his face to appear on a photograph of his office door. The press kit also claimed that MacArthur had endorsed the film from the spiritual world (MacArthur having died in 1964).

Distribution
Inchon screened at the 35th Cannes Film Festival in May 1982 but failed to interest any buyers despite a $250,000 publicity campaign, which included hiring the publicity firm Rogers and Cowan to arrange a large party and give out promotional Inchon jackets.

In August 1982, Metro-Goldwyn-Mayer contracted distribution rights. One Way Productions came to an agreement with MGM that it would cover the costs associated with advertising and distributing if MGM agreed to distribute Inchon for a profit share of only 15%. The normal profit fee for distributors was 30%. One Way also convinced Moon to change his credit from spiritual advisor to special advisor.

The film, cut to 105 minutes, was released in the United States on September 17, 1982, but was swiftly pulled from theater exhibitions due to poor commercial performance. It was never shown in the United Kingdom.

Home media
After its release, Inchon was never theatrically rereleased, and never issued on videocassette or DVD. However, it did air on U.S. cable television outlet Goodlife Television Network, at the time owned by the Unification movement. Bootleg copies circulated from individuals that had copied Inchon from these television broadcasts.

Box office
The film's total North American gross was $1.9 million. It eventually took in $5.2 million at the box office. Inchon lost over $44 million, and was the year's largest cinematic financial failure. In 1989, a survey released by the entertainment research firm Baseline identified Inchon as "the biggest box-office fiasco of the 1980s".

Inchon has been included on multiple lists of box-office bombs. Michael Wilmington of the Chicago Tribune placed Inchon as number six in a "list of Hollywood's 10 worst mega-flops". Wilmington noted that Inchon displaced the 1980 film Heaven's Gate as "the bomb of the decade". The Washington Post described Inchon as "one of the biggest commercial disasters in film history". In 1995, the San Francisco Chronicle reported that The Guinness Book of World Records called Inchon "the biggest money-loser in film history". Inchon was one of the "10 costliest movies", adjusted for inflation, at $173 million in 1997 dollars. In a 2006 list of "The top 10 biggest box office failures", Kat Giantis of MSN Movies placed Inchon as tied with Battlefield Earth (a science fiction film based on a novel by L. Ron Hubbard, founder of Scientology, the fact this film was based on a book written by the founder of the Scientology religion meant that it was heavily promoted by Scientologists) for number seven.

Critical reception
Most newspaper reviewers gave negative reviews, among them were The Boston Globe, The Philadelphia Inquirer, The Miami Herald and The Washington Post. In The New York Times, critic Vincent Canby wrote "Inchon is a hysterical historical epic, somewhat less offensive than The Green Berets and far funnier...Inchon looks like the most expensive B-movie ever made." A review in Variety wrote "Olivier is convincing in his role throughout most of the saga, the only member of the cast to achieve that status. The screenplay generally treats all others as one-dimensional buffoons, giving them lines that are unintentionally laughable. One reason is that all plot digressions are simply window dressing to the film's focus on the brutally invading North Koreans and the big-scale counterattack by the good guys. No speaking roles are given to the Communists, for example."

Moon founded The Washington Times in Washington, D.C., as a part of his international media conglomerate News World Communications in the same year Inchon was released. According to The Times' rival The Washington Post, a full-length two and a half page version of a film review of Inchon written by critic Scott Sublett that was originally planned for the September 16, 1982 issue of The Times was killed by the newspaper's publisher and editor James R. Whelan. Whelan told Sublett that The Times had a conflict of interest in reviewing Inchon, and would not print his review. Instead, The Times printed a one-paragraph critical synopsis of the film, also written by Sublett, which said in full: "Puerile dialogue, perfunctory acting and haphazard construction doom from the start this visually impressive would-be epic about love and dead Reds in wartime Korea. Olivier (in a performance that is the nadir of his career) joshes, minces and rolls his eyes absurdly as Doug MacArthur. The script, by Robin Moore, is pure twaddle – a cross between South Pacific and The Green Berets." Moore is the author of the novel The Green Berets, upon which the 1968 film was based. On September 21, The Washington Times printed The New York Times′ review of the film. Reviewers Gene Siskel and Roger Ebert selected the film as one of the worst of the year in a 1982 episode of their program Sneak Previews.

Later commentary
Multiple commentators have described Inchon as the worst film ever made, including The Washington Post, Newsweek, TV Guide and the Canadian Press. Inchon was later profiled in multiple books on worst in film, including The Hollywood Hall of Shame by Harry and Michael Medved, and The Worst Movies of All Time by Michael Sauter. In 2000, Kenneth Lloyd Billingsley in the libertarian magazine Reason wrote about a proposed film on Stalinism: "A film like this could easily have turned out as big a didactic dud as the Rev. Sun Myung Moon's 1982 bomb, Inchon, with Laurence Olivier as Gen. Douglas MacArthur." A 2009 review by Phil Hall for Film Threat was less negative, and he disagreed with the characterization of the film as the worst ever made, "I was genuinely surprised — this is hardly among the very worst films of all time. That's not to say it is a good film. It is a dull and forgettable movie, and I would never recommend it. However, its reputation for being among the bottom of the cinematic barrel is wholly undeserved."

A review in Brassey's Guide to War Films by Alun Evans was critical, calling the film "Arguably the worst war picture made in the last quarter of the 20th century". Robert Niemi commented in his book History in the Media: Film and Television, "Plagued with a terrible script, horrendous production problems, and shoddy performances all around, the resulting film, Inchon ... was bad beyond belief." Niemi wrote that Olivier's performance "was a low point in an otherwise distinguished film career". In his biography of the actor, Olivier, author Terry Coleman called the film "probably the worst he ever made and one of the best paid". Author Lawrence H. Suid wrote in Guts and Glory: The Making of the American Military Image in Film that "what combat the film portrayed lacked any believability or authenticity... As a result, the movie met with almost unanimous critical disdain."

title: Inchon (film)


text: User talk:209.149.94.250

title: User talk:209.149.94.250


text:
User:Dbl2010

 * My Wikimedia wide User page, (meta)
 * My home wiki User page, (Turkish Wikipedia)

title: User:Dbl2010