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correct_death_00083	FactBench	3	38	https://www.ibiblio.org/mal/MO/wsb/tuesday.html	en	a living, breathing and ever growing William S. Burroughs Web Memorial			[ "https://www.ibiblio.org/mal/MO/wsb/wsbmem.gif", "https://www.ibiblio.org/mal/MO/wsb/maloffering.gif" ]	[]	[]	[ "" ]	null	[]	null					null	a very sad heartfelt goodbye to the master of all pus. uncle bill, as you cross the duad, please be aware of how much you were loved in this life, by your fans,friends,and other artists. your impact on my life/art was/is immeasureable. i think in death your impact and influence will only grow stronger and more pervasive.your dead fingers will talk 4 ever.thank you for gracing our sad little planet, making some of us more iluminated through your art and giving the gift of laughter. please storm the gates of of where ever u are and when that asshole obit writer from the la times gets there please shoot a glass off his head. godspeed,R.I.P. "no more...no mas..." michael terry mattson <mtmsrs@aol.com> buena park, ca usa - Tuesday, August 05, 1997 at 23:56:43 (EDT) "The rainbow jockstrap" This was one of the things I clearly remember from The Wild Boys. I've been reading Burrough's work for almost 5 years now and it saddens me greatly to hear/read about his death. Growing up in Puerto Rico you don't really experience much of Burrough's work or many other places for that matter. He really hit home with his distorted evil imagery and prose. I always wanted to meet him but it's not easy to find him. As one homosexual to another, I am truly gonna miss his eroticism. I know his readings made me feel more comfortable about my sexuality, and I know others out there in my position feel similar. I hope his works will live on forever. We musn't forget such a remarkable man and what he did for censorship in literature. Goodbye William Lee. Jorge Jorge Santiago - Tuesday, August 05, 1997 at 23:40:15 (EDT) the men who made me feel less alone are dying...i feel like i will decay right along with them. burrough's helped me find out how i was normal, it a strange way. Naked Lunch hit me like nothing (except maybe allen's america and leaves of grass) have. part of my mind goes with him: may you find your peace far from earth. brad strauss <tgfsm@autobahn.org> - Tuesday, August 05, 1997 at 23:22:35 (EDT) TRUE STORY Had spent most of the month of July reading Ted Morgan's "Literary Outlaw", picking it up perchance from a co-worker. Had become quite engrossed and facsinated with it (am pre- sently on page 504). I had known who WSB was (had struggled with "Naked Lunch" in college), but knew little about him and his life. Anyways, on the afternoon of August 2nd, I was discussing the book with the aforementioned co-worker, when we both asked "is he still alive??" At approximately 2:30pm on Saturday, August 2nd, I proclaimed "he MUST be dead". "....There was,he devoutly believed, a world of magical will and intention. Nothing happened unless someone willed it to happen." (Literary Outlaw,pg 481) Sorry about that, old boy....... John Winchester <bskit@countryside.net> Cambridge, NY USA - Tuesday, August 05, 1997 at 22:28:21 (EDT) A little bit o chaos left the world this week, formalism will reign again over all of us!! Aaww shit, Which of our great amaerican literary extremists will go next??? Say it ain't so Hunter S Thompson. . . speedgoat <speedgoat@prodigy.com> Holmes Beach, fl usa - Tuesday, August 05, 1997 at 22:04:15 (EDT) "Curse go Back" --- and finally...the curse got back to William S. Burroughs --- as a last goodbye....a pistol poem Throbbed <gizer@hem1.passagen.se> Wernamo, Sweden - Tuesday, August 05, 1997 at 20:58:18 (EDT) Hail and farewell...El Hombre Invisible pulling his final disappearing act on us all...daddy of so many artists, talented and otherwise, whether they'd ever admit it or not(Mr.Reznor, white discourtesy telephone please)...one thing that should not be forgotten in all this tribute; not only was WSB a great chronicler of human depravity, both outward and inward, but that he could make such things laughable especially in his many public readings...a great writer, a great thinker...my only regret is the dwelling of the mainstream media( my local SF Chron, f'r instance) on the relativelyminimal time spent as a junk addict...'legendary junkie',they wrote, despite him having only been one for 15 of his 83 years...screw that. Legendary period. I'd wish you Goidspeed, Bill, bu you always said the only key churches had were the one to the shithouse, so i'll just say thanks and see you on the other side... Michael Layne Heath <mlayne@hotmail.com> San Francisco, Ca USA - Tuesday, August 05, 1997 at 20:33:59 (EDT) I cannot really articulate my feelings towards William S. Burroughs nor the effect his works have had upon me I can see them more as images, times or places A train travelling through late afternoon haze Germany blurring landscapes from under deepblue and clouds and my mind traveling through all the spaces just opened, having shortly before finished the then published and fascinating -My Education: A Book of Dreams- My wonder at the visionpieces put together in -Interzone- so much more... just what did he do for our spirits and conciousnesses? So very much that we could not even begin to name nor count Thank you William S. Burroughs alex <phi4amb@atlas.vcu.edu> - Tuesday, August 05, 1997 at 19:43:57 (EDT) The invisible generation,or generation X as we might be called, celebrate the departure of William S.Burroughs for the Western Lands. I hope that we meet again in a free country. Mark S.Holsworth Melb., Australia - Tuesday, August 05, 1997 at 19:39:56 (EDT) I see you flying - an eagle disappearing in the clouds. Today we have hail in NYC and the loudest bolts of lightening ever to come here. This is you leaving. Spare Ass Annie New York City, - Tuesday, August 05, 1997 at 19:25:37 (EDT) Apres le dernier mot de Dutch Schultz, le stenographe de la police range ses outils et quitte la piece. Mais son ombre est toujours la, assis, prenant des notes par intermittance. Huseyin Talay <huseyin@ccl.umist.ac.uk> Manchester, UK - Tuesday, August 05, 1997 at 18:19:11 (EDT) Descanse en paz, señor Burroughs... descanse su cuerpo, su mente jamás... La Muerte Mexico - Tuesday, August 05, 1997 at 17:51:37 (EDT) I found out a couple of days ago that Mr. Burroughs had died. I am not what people consider a fan, but I did read his book "Naked Lunch" by accident several years ago. I always wondered how he had had such courage to write it, I found it shocking, but so close to a certain reality I see in my surrounding environment. I am re-reading it now that I am older and have had more life experiences. I will see later how it will affect me... Marcela Mexico - Tuesday, August 05, 1997 at 17:46:16 (EDT) I gave naked lunch to the most obnoxious and disgusting person i knew. he was trying to be more literary. a few weeks later i heard through a mutual friend that he called it disgusting, pronounced that he could not read such trash and threw it away. made me proud. goodbye. Barry Grau <grau@uic.edu> Chicago, IL - Tuesday, August 05, 1997 at 17:45:48 (EDT) Well, I usually read the newspaper when I first wake up in the morning, but for some reason i didn't want to Sunday. When I finally got around to reading it i saw the news. Billy B. was dead. Shit was the only word i could say. My mother heard me and said-oh yeah i forgot to tell you. Shit. I wish i met the guy, always planned to go to Lawrence but never did. I first was introduced to WSB when i took his Dead City Radio CD from my local library. Popped it in my CD player and the rest is history... Bill, say hi to Allen, and Jack and Herbert and Joan for me, you have one hell of an adventure to tell her, but she proabaly already knows. "Al, I am a fucking saint, that is I been fucked by the Holy Ghost and knocked up with the Immaculate Woid...I'm the third coming, and don't know if I can do it again...so stand by for the Revelation." -William S. Burroughs to Allen Ginsberg Bill, were all waiting, cause were all here to go. Michael Mahmood <rmahmood@snet.net> Stratford, CT USA - Tuesday, August 05, 1997 at 17:28:41 (EDT) I never thought it would happen. But I guess that all good things come to an evolution. Zane <zane@sasquatch.com> Santa Cruz, Ca USA - Tuesday, August 05, 1997 at 17:23:56 (EDT) I first met Bill in Santa Fe. I had become separated from my group of travelers and was standing behind the gallery where he had just finished doing a reading. I was smoking a pipeful of opium and saw him getting into his car alone so I joined him. I got to shake the hand of a brilliant man and will carry that to my own grave with a smile both on my face & in my heart. I loved Bill. David Brand <don't worry about it> Interzone, KS Interzone - Tuesday, August 05, 1997 at 17:22:40 (EDT) when i heard that bill was gone, i was incredibly saddened. i have been readiing burroughs' stuff for the past 3 years, & have enjoyed his works immensly, it is my hope that bills' work, & life will not be forgotten, & that people will continue to go on forays into the convoluted and macbre universe that is william seward burroughs' work. the beat generation were a group of men that defied the confines of conformity of the mid 20th century, they were the continuation of the quest for individuality and expression that people like henry miller worked all thier lives for. burroughs fans, unite and never let bills' memory fade. liam bledsoe <LiAm808> murfreesboro, tn usa - Tuesday, August 05, 1997 at 17:19:15 (EDT) burroughs said "a writer has no secrets." - he does now. His death was revealed to me uncerimonious while watching the 'simpsons.' I was saddened even while Homer was exulted his philosophy. His writing didn't change my life, and I wont pretend it did just to be hip. He liked rum coke as do i. when he masturbated he tasted the good life ... "the beats are in heaven - who'll save this earth?" Japhy Rider <laro29@idt.net> Mountain View , CA - Tuesday, August 05, 1997 at 17:13:07 (EDT) WOW WHAT A LIFE!!! Unique extraordinary brilliant man! What an inspiration! I will miss him too. Bye-bye Uncle Bill. love, tim Tim <user@jmparkinson.softnet.co.uk> London, UK - Tuesday, August 05, 1997 at 16:47:01 (EDT) Bye Bill. Really sad. Francesco e Filippo Gatti <Md2062@mclink.it> Rome, it ITALY - Tuesday, August 05, 1997 at 16:39:22 (EDT) Tom Mathews <tmathews@awinc.com> Thunder Bay, ON Canada - Tuesday, August 05, 1997 at 16:38:10 (EDT) Tom Mathews <tmathews@awinc.com> Thunder Bay, ON Canada - Tuesday, August 05, 1997 at 16:38:00 (EDT) "KANSAS CITY, Mo. (AP) -- William S. Burroughs, the stone-faced godfather of the 'Beat generation' whose experimental novel Naked Lunch unleashed an underground world that defied narration, died yesterday. He was 83." -Providence Sunday Journal This morning, I was devestated by an article in the paper announcing that my favorite writer, William S. Burroughs, died yesterday. At 6:50 p.m. in Lawrence Kansas, at the Lawrence Memorial Hospital, about 24 hours after suffering a heart attack, Uncle Bill departed from our world. Burroughs was a huge artistic inspiration to me, so I've decided to construct a tribute to him, in honor of his life, his art, his being, and his death which has brought me extreme pain. I don't mean "tribute" in the sense that I want to put together some lame Burroughs web page, I want to get people to send me artwork, photography, writings, gather some of his best works, important sound bytes, photos of him, and whatever else I can get together to honor him which I will eventually be turning into a B&W pamphlet/zine featuring everything I am sent and a lot of my own work as well. I'm looking for original art (especially 3 or 4 good portraits of him), photography (of and pertaining to him), writings relating to him, personal correspondences with him, stories of personal experiences with him, original films pertaining to him, or anything else that you think may fit. I am also looking for copies of films relating to him (any films he was in, films he made, films he contributed to, films based on him or his works, documentaries about him, interviews with him, public appearances by him, etc.), prints or copies of his artwork, or anything else that would otherwise be hard to come by. If you're into it, please get back to me as soon as possible. It's no particular rush, but I just want to get things in order as to who's going to be helping out. The beginnings of the web page can be found at-- http://www.geocities.com/SoHo/3586/wsb.html Anyways, thanks for your time and please get back to me whenever you have a chance... //nEo-mEssiah http://www.geocities.com/SoHo/3586/ the neo-messiah <neo_messiah@hotmail.com> xxx, xx xxxxx - Tuesday, August 05, 1997 at 16:29:24 (EDT) Did I ever tell you about the man who taught this asshole to think? When I first heard of Burroughs, I was probably in seventh grade. His writing blew me away. There's not really much more to say but goodbye. I'll miss you. Tom Child <LettrmnFan@aol.com> Lakewood, CA USA - Tuesday, August 05, 1997 at 16:29:11 (EDT) For forty years through novels, poetry, films, biographies, autobiograhpies, collected letters, and occasional book signings, I have felt a kinship to Jack, Neal, Allan, Herbert and Bill. Now they are all gone and I feel so lonely. Bill Dugan <billdugan@orb.com> Germantown, Mmd usa - Tuesday, August 05, 1997 at 15:54:45 (EDT) I'm not a writer, nor do I pretend to be one. My recent literary journeys had just started to delve into the world of Burroughs. A great void has just opened.... griffith Griffith <hbrtv219@email.csun.edu> Simi Valley, CA USA - Tuesday, August 05, 1997 at 15:44:08 (EDT) He would speak The voice of gravel tumbling His words upon my ears Always recognizable As he talked Of junkies and severed legs in a bag Death & Dismemberment I remember William Burroughs Grandfather poet The dirty-old-man of art Peace be with you As once again you go Into the unknown To make it Dirty & Real So that we who follow Can touch it. Don <ds5419@panix.com> Portland, OR USA - Tuesday, August 05, 1997 at 15:42:54 (EDT) It's nice to know you can fuck around nearly your whole life and still live to a ripe old age. Not only that but also keep your brain in reasonably good working order. Way to go Bill. I wish ah coulda shoulda beena a lot like you. Carlo Gesualdo <gesualdo@texas.net> san antonio, tx usa - Tuesday, August 05, 1997 at 15:33:05 (EDT) never before has someone awakened so much in me that i never knew was there. his thoughts, writing, and art have inspired me to create and re-create since i first read his words. he will be missed, but never forgotten. thank you bill. thank you. "cut word lines..." -N. neil simon <nsimon@cosi.stockton.edu> fairless hills, pa u$a - Tuesday, August 05, 1997 at 15:24:43 (EDT) FOR BILL BURROUGHS RIP I got word at 4 this morning on the answering machine. An ex-girlfriends voice on the other end that smelled gutted, deboned, bloodless, the callous on a heel. Had the world got to her so soon? I know there are nails on board the getting -around, been-there and got-to-see-this-too. They hit hard and poke from the opportunities that draw one to corners and new floors, the Learn vs. Teach curve; heres a word of caution and heres an idea and now dont forget to use them both sparingly...When I knew her last, she was fast, a master of American tongue, polished at the refinery, built for velocity and speed and precision. She said, How are you taking it, first. That was the first thing she said. It took a while for her to get to this thing I should already have known about, should already have held close and sweated on. They got this little tribute at the book store up in North Beach, something, you can see it from out in the street. There was only the voice and it lulled under a muffled strain, like the speaker wires in her receiver had got tangled and confused, bypassing the phone lines hanging out her window, pouring haplessly into a stew of mercurochrome and stone, touching down like cigar ash. Yeah, she said. A little thing, you know. Empty shells from a six-shooter, couple a dead roses, a black and white of him sitting in this, what are those with and on the water, yeah, this rowboat, with a hand on each ore. An only he can pull off dignity in a silly place like that you know it sucks an its all resting there on this silver platter probably from some junk shop or some cocktail party they had last month or other...' She clucked her tongue or maybe had to walk away someplace for a while, got up to grab a smoke or a glass of ice tea and Im knowing the voice is just wrong, missing elements, radial dispondance that throws a flask of Blue Nun over everything, skipping the hinge that turns sound to word to image. Just these bronchial fists of circumlocution tumbling out her mouth, landing flat, loose, dull, like grey streaks, ghosts for dustpans and disposal units. They also got a cane leaning upside and against the window tho I suspect its all bought on the ritual dime and the old man layed a hand on it never most like. But thats you know, the word, and in the beginning there was and he aint no more and maybe they fly the flag at half-mast this week in Tangiers you know. Oh and I hope you are well. I listened once more and erased the whole thing. Before I went to sleep I heard a garage door hit the ground. And the walls looked ordinary till I turned off the light. todd s. glider <tsglider@earthlink.net> San Francisco, CA 94110 - Tuesday, August 05, 1997 at 14:30:33 (EDT) Well, my favorite is "The Yage Letters", among other things Burroughs was a good reporter and a very funny one too. His misanthropy is mostly entertaining and the sentimental story about Billy Bradshinkel is very moving. Great artists died this year: Allen Ginsberg, Jeff Buckley, and now Bill Burroughs. They will be missed. Jörgen Sandberg <jorgen.sandberg@swipnet.se> Stockholm, Sweden - Tuesday, August 05, 1997 at 14:10:53 (EDT) I used to see William Burroughs when I was staying at the Beat Hotel on Rue Gît-le-Coeur in Paris around 1960. He was a real inspiration to the younger generation -- of artists, poets, anarchists. I'll miss him Philip Beitchman <PandMB@AOL.com> Brooklyn, NY USA - Tuesday, August 05, 1997 at 14:07:21 (EDT) Thanks for ripping the shade from the window. Steve Toth <joshuatree@sprynet.com> Union Lake, Mi. amorika - Tuesday, August 05, 1997 at 13:54:24 (EDT) Nova Heat Movin On Look, I don't want to get maudlin about this -- but you know he was the only thing standing between us and utter disaster -- I'm talking leveraged buyouts of entire planets here -- Don't interrupt me when I'm riffing -- But it wasn't a stream at all it was more of a puddle of consciousness -- No flow, a lot of spots going together to make up an unacceptable picture -- Nope, nothing wrong here -- but fifty years ago it was totally unacceptable -- Do you catchee my sayso? Pornography, pure and simple -- without even any soap to slick things up -- but no, I think it wasn't that pure or that simple -- maybe 99 1/4 % pure but no more -- and simple? I'm telling you bub -- I mean -- so what if the Hell Ovens are waiting? -- We've got the Word -- jumping out of his chair and screaming 'I got the fear!' -- and nothing can ever be the same. Not then, not now, and not as it is, was, or will be -- More than anything else the subtle rhythms of language cadence drip drip drip into the mental ear of the unwary reader, infecting with unwholesome thoughts and ideas that -- Anticipating by whole fucking decades Dawkins's idea of memetics -- Nova fuzz waiting -- but no. Come on, Jack, I don't want your greasy grimy green-gray Limpopo on my clean rug tonight -- And don't try folding that shit with me -- I'm too big an asshole -- So we all piled in the car and head for Mexico looking for some kind strange plant that only grows in the desert -- Damn amateur Castenada anyway -- and ditto Thompson -- Neither one of them knows pissall about writing -- and junk is pretty much junk -- But the Adding Machine Kid trips and falls into a deeper hole -- This one got no bottom -- ain't that funny, a hole with no bottom -- best kind of holes got bottoms, this is a low-grade hole, let me tell you -- shoddy merchandise -- the only religion worth the money -- Last of the line -- end of the line -- and the porter yells "Booooard! Leaving for Anaheim and Cucamonga" -- But earlier in Missouri money could buy just about everything -- except maybe Joan -- it was a water glass, Jack, not a wine glass -- they never get that one right -- but fifty years pass and it doesn't matter any more -- if it ever did -- And it was never junk anyway -- it was control -- it was power -- the power to cloud mens minds so they don't see shit -- because in the end it was all shit -- but there was nothing better -- so struggle up through the shit, just get the job done -- Nova heat moving in -- Was there ever any point to it -- just get the job done as best you can -- Closing black circle Byebye Billy. The heat done got you at the last. Entropy allus takes its slice -- Dan'l Danehy-Oakes <djdaneh@pacbell.com> Alameda, CA USA - Tuesday, August 05, 1997 at 13:42:26 (EDT) Goodbye and good luck. Know that if you were the first you certainly won't be the last. 8ball seethes through the city streets like a panther. There will be more. Michael Egan battle creek, mi usa - Tuesday, August 05, 1997 at 12:41:13 (EDT) Bill: So, but so very sorry to hear you've gone. I've been wanting to tell you that I know what you meant about Billy Bradshinkel. I feel the same way. Wherever you stopped off I know at least you can't get piles. Fill me in on the outer yage! Sergio A. Tanasescu Sand Yiego, Ca USA - Tuesday, August 05, 1997 at 12:40:51 (EDT) Burroughs was one of the best writers in American history. He was able to say FUCK YOU!!, in the face of any one who said no to him. The fact that he lived to be 83 was to me his own choice and since the death of Allen, he realized it was time to go now since he had now out lived nearly every one he was every associated with from Jack Kerouac to Kurt Kobain. The fact he was able to quit scag is just one of the many things that proves how powerful he truly was. I know what its like quitting that shit. Its like he said in "Junky" ; "Junk isn't for kicks, its a way of life". A very true statement. But now he's reunited with Joan. Andy Shepherd <BOBSHEPHERD@AOL.COM> Dillsburg, Pa Amerika - Tuesday, August 05, 1997 at 12:28:35 (EDT) last words "listen to my last words anywhere. listen to my last words any world. listen all you boards syndicates and goverments of the earth. and you powers behind what filth deals consumated in what lavatory to take what is not yours. to sell the ground from unborn feet forever-" wsb emulated, imitated and misread by the posers hawking heroin chic. the anti-message. the beauty and horror of the soul. he wants you to listen, not worship and to leave what is done alone. mullins <96mullins@wmich.edu> - Tuesday, August 05, 1997 at 12:22:05 (EDT) last words "listen to my last words anywhere. listen to my last words any world. listen all you boards syndicates and goverments of the earth. and you powers behind what filth deals consumated in what lavatory to take what is not yours. to sell the ground from unborn feet forever-" wsb emulated, imitated and misread by the posers hawking heroine chic. the anti-message. the beauty and horror of the soul. he wants you to listen, not worship and to leave what is done alone. mullins <96mullins@wmich.edu> - Tuesday, August 05, 1997 at 12:21:14 (EDT) Thank you William, for all you have done. You have inspired me through your writings, and touched my soul with your ideas. May God be with you. Corin Ellen Lindberg <Corin.Lindberg@halsp.hitachi.com> SanBruno, Ca usa - Tuesday, August 05, 1997 at 12:20:21 (EDT) last words "listen to my last words anywhere. listen to my last words any world. listen all you boards syndacites and goverments of the earth. and you powers behind what filth deals consumated in what lavatory to take what is not yours. to sell the ground from unborn feet forever-" wsb emulated, imitated and misread by the posers hawking heroine chic. the anti-message. the beauty and horror of the soul. he wants you to listen, not worship and to leave what is done alone. mullins <96mullins@wmich.edu> - Tuesday, August 05, 1997 at 12:20:06 (EDT) Never read the cat, but I dug his glasses! philburt <pglee@earthlink.net> Huntington Beach, CA USA - Tuesday, August 05, 1997 at 12:14:43 (EDT) I first read Dr. Bill while attending college -- 1966. One thing that stood out at that time was his warning about the use of drugs -- and he himself as the example not to follow. I read The Ticket That Exploded around 1968 while living on the streets of Seattle. Revolution was in the air and I managed to aquire a small tape recorder while reading the book. It seemed to me that Burroughs was somehow linked to another dimension from whence flowed is words -- almost like automatic-writing from a spiritual world slightly higher than normal consciousness. I saw the movie Burroughs and learned about his accidental shooting of his wife while trying to shoot an apple off her head. What a horrible thing to do! Sheila, my love partner's, son oddly enough became fascinated with Burroughs in his freshman year at college. He turned me onto a Jazz recording Burroughs did -- I loved it! Theres no doubt about his artistic genius -- but I'm just not sure about the seamier side of his life. Was it all worth it? Would he have lived differently if he had to do it over -- and if so would his artistic genius have been sacrificed or could he have even produced greater works? Nevertheless, he lives on thru his works. Tom Derry <tzon@bellsouth.net> Whites Creek, TN USA - Tuesday, August 05, 1997 at 12:12:46 (EDT) A gaunt, skeletal-like spectre transfixes us "college kids" with his gravel-edged voice and visceral imagery. After the reading we're invited to a signing. Forgetting to bring a book, I ask him to autograph my trench coat. 20 years later that coat hangs in my closet like a piece of the Cross, an object sanctified by a peculiarly American anti-Pope. I also have a letter he wrote me in response to a screenplay I'm sure I desperately wanted him to bless. "Portentous" was the word he used to describe the work and the upcoming year. For me, Burroughs was kind of like a long lost Grandfather. Surly, knowledgeable, artistic, passionate, mentor-like in his dogged infusion with whatever the Now radiated. Like Warhol, he redefined what art could be. His outlaw vision helped release the noose of 50's white bread Americana (after we'd ejaculated, of course.) His experiments with the language were about changing consciousness, about re- sexualizing the body, about creating play in a post-atomic corporatization of everything Age. Reading these memorials makes me think that maybe William achieved his mission. He obviously helped catalyze several generation's wilder ideas about the nature of communication, and the diversity of our and other world's sexual/psychic/ organic politics. He certainly expanded the cultural possibilities open to an irascible old homo coot. A friend told me yesterday he felt Burroughs was like a force of nature, something you expected to always be around. Like a junk habit, maybe? Like everything we mortals "need" to be bigger than life, Burroughs death has reinforced the notion that we are all here to go...to roam the Western Lands...to be the guardians of the future. To simply say I will miss Burroughs discounts the profound effect he had on my personal & artistic development. I have only gratitude and a sense of awe for this, in the end, all too human trailblazer. Thank You! KLW kevin west <jug@mail.utexas.edu> Austin, TX USA - Tuesday, August 05, 1997 at 11:30:39 (EDT) I remember first reading 'Naked Lunch' back in high school (this was in 1968), and knowing that I would never look at fiction in the same way. A number of years later, when I was teaching an introduction to the novel course, I'd use 'Naked Lunch' as the last book in a syllabus of (mostly) conventional prose. I always thought that I owed it to my students to expose them to this great work. Now that we're faced with government and corporate censorship of the web, I'm feeling just how prophetic that Burroughs was...in fact, I've been feeling that for a long time...that not only was he one of the greatest writers of the century, but one of the most prophetic as well. Bill, we're going to miss you...but I'm glad we had you as long as we did...as long as there are people that still value freedom of expression, you'll be around... Greg Weller <falcon@apk.net> Parma, OH - Tuesday, August 05, 1997 at 10:44:27 (EDT) I had the opportunity to meet William Burrough several times in the late 70's and 80's, and to stay in his New York City apartment on the lower east side of Manhattan. My brother directed "BURROUGHS, The Movie" as his thesis film, while attending New York University Film School. After my commenting on the state of the food in his refrigerator, William simply said to me "cheese doesn't go bad, it just gets cheesier." I have used this line many times since then. Once, when we were eating lunch at some dump, perhaps the Great Jones Cafe, he was approached my many adoring fans (mostly women), and with a slight smirk, he looked at me and said "not bad for an old faggot, huh?" I have not yet found an opportunity to use this line, but I am still working on it. Goodbye Bill. Thanks for the use of the Orgone Box. Oh, yeah, by the way, don't ever let William Burroughs try to shoot an apple off of your head. Steve Brookner <Moriarty19@aol.com> Miami, FL USA - Tuesday, August 05, 1997 at 10:34:15 (EDT) the queer, junkie priest has left the building W.Dan Seattle, Wa USA - Tuesday, August 05, 1997 at 10:18:24 (EDT) BiII didnt just beat the 0dds, he Iaughed in their face and ridicuIed them what a Iife AIIways an inspirati0n AIan Bamf0rd <alanb@netlink.net.au> MeIb0urne, AustraIia - Tuesday, August 05, 1997 at 10:14:07 (EDT) you can't beat the mark inside....... goodbye to you bill you hold a dear place in my life and i'm still trying to use all i've learned from you . we have lost a great man .............. bob robert clements <uberfrau@msn.com> miami, fl usa - Tuesday, August 05, 1997 at 10:02:05 (EDT) i have been reading the obits on Burroughs for the last few days, and i see the staff writers are doing the same thing to Burroughs that they did to Ginsberg (and all nonconformists). The obituaries contain numerous subtle and not-so-subtle denunciations. Of course people like Burroughs and Ginsberg are "softly" dismissed for drug use, as everyone seems to be afraid of that boogeyman these days...yawn. I have been spurred to write this because of one obit in particular, penned by Tony Perry of the LA Times, in which he says that the death of Bill's wife and son led to his "unstable mental condition in later decades." What rot. Burroughs was very sane, and very brave, and in my opinion a profoundly decent man. I think it is very sane to face one's demons, as Burroughs did daily. It seems odd to describe such fearlessness as instability. Perhaps Perry needs to see a shrink. Anyway, now that i've vented spleen on the back-stabbing obits writers, let me say that the likes of Burroughs will never be seen again, and i will miss him. i hope wherever you are, Mr. Burroughs, there are no Shits, only Johnsons. van yasek <vyasek@wvnvm.wvnet.edu> - Tuesday, August 05, 1997 at 08:59:37 (EDT) Billy boy o billy boy you did it again we knew you would just not how now that you have i know for you the day was 2 for we in oz it was 3 23 t w e n t y t h r e e you did it again we knew you would thanx billy boy thanx Charles Roberts <catacomb@taunet.net.au> Darwin, NT 0820 - Tuesday, August 05, 1997 at 08:41:00 (EDT) I expect to see the Mars probe transmit a picture of a huge rock, and a fedora sitting on top...awaiting. RIP, bull...Burrough's work has just begun. John Gregorio <Subterr7@aol.com> Denver, CCO USA - Tuesday, August 05, 1997 at 08:03:45 (EDT) Thin man Thin man I do know your death Thin man Thin man Please light up fires of death Thin man Thin man Our dead rows feel all alone Skies fell down upon our homes ... ... Get the fuck outta here, man ... 'n we do love YA FXB - Tuesday, August 05, 1997 at 07:55:00 (EDT) I've been lucky to read some oh his books when he was still alive. but i've never seen him reading or dedicacing his books. i would have been so happy... thanks uncle Bill. laurent jung <jnglau01@socsci.uct.ac.za> cape town, south africa - Tuesday, August 05, 1997 at 06:11:02 (EDT) in memoriam w.s.b. thanks for all the teachings.mexico will always remember you. victor sologaistoa paris, france - Tuesday, August 05, 1997 at 04:49:44 (EDT) Old Bull Lee... I remember thinking a few weeks ago about how the old boy was going to kick the bucket one of these days-strange. I guess anyone who's put something here knows why-what can one say. Thanks Bill... Carl Olson <Nbacarl> Laramie, WY USA - Tuesday, August 05, 1997 at 04:35:53 (EDT) William Burroughs, thank you for the inspiration. You turned on an entire generation to writing, including myself, and I would like to thank you. Matt <WESTBEV93@aol.com> Gilbert, AZ 85234 - Tuesday, August 05, 1997 at 04:32:51 (EDT) I first heard of Bill when I was about 16, and had started doing the punk thing in Santa Fe, NM. The honesty of his writings was just some of the coolest stuff I had ever read, having been raised on Nancy Drew Mysteries, and the other garbage that the public school system throws at young people. As time went on, I became well versed in Burroughs literature, and even have copies of most of his experimental films. Now that I think about it, on Sunday I rented Chappaqua, so there's a sort of poetic irony I am experiencing about this sudden turn of events. I am indeed saddened by this news. Sam Atakra Sam Atakra <atakra@humboldt1.com> arcata, ca usa - Tuesday, August 05, 1997 at 04:24:39 (EDT) The man is dead, but his work will surely live on testifying the truth of our disjointed, pre-Apocalyptic age. If the USA has a writer for the 21st century it is WSB (what is the cut up, if not literary "channel surfing"?). Burroughs understood, and was able to inventively express, the chaos of post-modernity decades before the mainstream ever realized it. (It seems an ugly paradox that his work is currently embraced for its darkness when Burroughs was acting like a literary surgeon, diagnosing society's malignancies in order to free humankind. To have the nightmares themselves embraced as new drugs for a myth-addicted society would have surprised cyncial ol'Bill, but I bet it saddened him.) Though linked to the Beats, Burroughs was his own movement -- renegade, fire-starter, shape-shifter, and, perversely enough, a moralist. I think of WSB as a literary shaman who tried heal us from the wounds of birth and death; Nature and Society. Like all shaman, he was a social misfit and pereninally misunderstood or demonized by the mainstream (witness the horrid LA TIMES obituary). This iconoclastic Seeker pursued his role to the end with the dignity of the dedicated Artist, the courage of the paradigm-shifting Scientist, and the fertile creativity of The Genius. For good or ill, we are all living in a Naked Lunch world. The blazing, one-of-a-kind mind of William S. Burroughs was a lamp guiding us through the shit blackness of our waking nightmare. Now that lamp is out forever. Nothing I say can fully express the utter originality of this Great American Artist -- nobody before him had done what he did until he did it. When the Universe put those neurons together, it threw away the mold. I love you, Uncle Bill. Happy landings. Dane Mc Cauley <pdmc@ix.netcom.com> Burbank, CA USA - Tuesday, August 05, 1997 at 04:18:46 (EDT) Darn sharks. Brent Simmons <bsimmons@ranchero.com> Seattle, WA USA - Tuesday, August 05, 1997 at 04:11:22 (EDT) Good-bye grillo <grillo@olywa.net> - Tuesday, August 05, 1997 at 04:09:27 (EDT) Congratulations, you've scored the imacculate fix... Ross E. Lockhart <tanteros@pacbell.net> San Diego, CA Interzone - Tuesday, August 05, 1997 at 03:21:42 (EDT) as usual, NY Times obit (Sunday's local, Monday's national issues) is most complete and informative for those who may be interested. other than that, i guess just about every- thing's been said on these pages. good to learn here that so many young people are paying some attention to the old masters. joy - Tuesday, August 05, 1997 at 02:36:37 (EDT) My deepest regards to all of the literary community, my deepest respects to the man himself and deepest wishes for the future - that all he has done in his lifetime not be forgotten. "Smash the control images, smash the control machine." R.I.P. William S. Burroughs Thomas D. Hill 3 <synshak6@mail2.quiknet.com> Soon - San Francisco, CA USA - Tuesday, August 05, 1997 at 02:27:40 (EDT) 1. Standing in the local drugstore small town midwest looking over the cheap paperbacks. Image of a sweaty t-shirt clad addict slumped down, title: JUNKIE. Reasonably priced attractive trash I figure and purchase. Only to discover upon reading hey hey a minor masterpiece, and the beginning of an education, probably like most of you kiddos, I needed out. 2. Boulder, Colorado mid-nineteen seventies, in a hip bookstore. I notice the grey suit, the grey flesh, the stiff movements of a man who I have by now consummed every word published and studied every photo as if he were a rock star. I do not to intrude. Never intrude. What is there to say? But I am curious. I wonder what Mr Burroughs will purchase for his own consumption. I lurk around to see. After a short time he walks out with the current issue of The Farmers Almanac under his arm. I decide to go to Naropa and sign up for his writing workshops. Also, to this day I pick up the Almanac and gaze for meaning. 3. Burroughs coughs, and in that famous reptilian voice croaks out a fairly standard lecture on the art of writing filmscripts. Says you can probably make a good film from a bad book but don't try it the other way around. It is far more his humor and demenor than the content that make the class interesting. Recently I read he concluded that his teaching writing was a total failure. 4. The standard live readings at Naropa were pretty tedious even then. For every Ginsberg and Ann Waldman you had 5 bad imitations prattling on for hours. But there was only one William. Well, not true. There were two. The other was his son, William "Billy" Jr. Who generally was a comlete but very sweet wreak. But a very interesting writer. The reading they gave together was one of the best ever. Soon after Billy was in the hospital in Denver for a liver transplant. 5. Through Denver poet Bill Ward I was introduced to Billy. Billy's two autobiographical books, Speed and Kentucky Ham chronicled his (and my own generations) decent into drugs and alcohol when he/we took the romanticism of the 'beats' too literally. Billy sometimes read at a local reading series run by Ward. One night afterwards, we had a birthday party for him. There he talked of his father with great love, at the same time mentioning his parents various addictions at the time of his birth. He said he was told it had been a difficult labor. He looked at us for a while and then spoke quietly, "I didn't want to be born." Billy was dead within the year. 6. I never went to see William Sr. read again, tho I read all the books he wrote as they were published and collected the recordings. I was happy to see his paintings, his move to Kansas. But somehow my time with Billy and that sad statement words made me much more ambivilent towards my Willaim and all my previous 'heros'. 7. The days of our lives, filled now with those once so called obscene science fiction slashed books become rapid truths. Say hello to Billy for me and we will watch for you in the eyes of little fresh kitties born again and again. Livingston <SonOfNaugha@AOL.com> Baltimore, MD USA - Tuesday, August 05, 1997 at 02:24:28 (EDT) (in Euc) ¤Ê¤¼¤Ê¤éÈà¤ÏÌ´¤ò¸«¤Æ¤¤¤¿¤«¤é À¤³¦¤Î½ª¤ï¤ê¤Ë ÃÏµå¤Î¤Ï¤¸¤Þ¤ê¤«¤é¤Ä¤Å¤¯ ÂÀ¸Å¤ÎÌ´¤ò¸«¤Æ¤¤¤¿¤«¤é »à¤Ë¤¤¤¿¤ëÃ»¤¤»þ¤ÎÎ®¤ì¤Ë ²æ¤é¤¬²¿½è¤«¤é½Ð¤Ç ²¿½è¤ØÌá¤Ã¤Æ¹Ô¤¯¤«¤ò ¤È¤Æ¤â¼ª´·¤ì¤Æ¤¤¤ë¤¬¸Î¤Ë ¤Ä¤¤Ê¹¤Æ¨¤·¤Æ¤·¤Þ¤¦¤è¤¦¤Ê ¤³¤È¤Ð¤òÊØ¤ê¤Ë ½ñ¤µ¤ë¤¹ ÆüËÜ¤Î¤³¤È¤Ð¤Ç¤Ï ½ÐÍè¤Ê¤¤¤«¡© ss Higashi <foe4foe@aol.com> Los Alamos, Uranus - Tuesday, August 05, 1997 at 02:20:25 (EDT) Old Bull Lee You took your last trip I hope it was a good one I will always remeber you... Marko Korvela <marko.korvela@chydenius.fi> Kokkola, Finland - Tuesday, August 05, 1997 at 02:19:59 (EDT) May you finally find your finger, and adjust your shot accordingly. Peter McCarty <peterc@inlink.com> St. Louis, MO USA - Tuesday, August 05, 1997 at 01:59:56 (EDT) i´m so sad hector <hbuitrag@colomsat.net.co> bogota, colombia - Tuesday, August 05, 1997 at 01:32:11 (EDT) William Shakespeare, Sonnet 27 Helena <helenam@concentric.net> - Tuesday, August 05, 1997 at 01:25:48 (EDT) Thank you Bill, for being one of the few who taught me the power of words. Eling <eling@xs4all.nl> Nijmegen, Netherlands - Tuesday, August 05, 1997 at 01:23:38 (EDT) Regretably, I never met him. In fact, the closest I ever got was to send him his own Christmas card a few years ago. (I thought he would appreciate the irony of an undetermined pre-recording). When I heard the news, I went to the home where he was born. And wondered if he was still lurking about the old neighborhood for one last visit on his way to eternity. For some reason, I think I'll miss his voice most of all. Goodbye, WSB. Peter McCarty <peterc@inlink.com> St.Louis, MO USA - Tuesday, August 05, 1997 at 01:21:58 (EDT) Dear Bill, TV's on, no sound just filtered light, filtered life. The echoed rythm continues pacing itself perfectly with the moving image inside the life size frame. Not prose, not rythm, not quite fiction just a semi-steady heartbeat and a finite passion for breath. Monday morning, wired and curious, anxious, though fairly unaware. I feel different, but not quite sure about direction. or definition. Here's to the immaculate fix. Hope you show up next time again. Same place, same time? Sincerely, Eric White <white@kiva.net> - Tuesday, August 05, 1997 at 01:20:02 (EDT) Weary with toil I haste me to my bed, The dear repose for limbs with travel tired; But then begins a journey in my head To work my mind when body's work's expired; For then my thoughts, from far where I abide, Intend a zealous pilgrimage to thee, And keep my drooping eyelid open wide, Looking on darkness which the blind do see: Save that my soul's imaginary sight Presents thy shadow to my sightless view, Which like a jewel hung in ghastly night Makes black night beauteous and her old face new. Helena Mulkerns <helenam@concentric.net> New York, NY USA - Tuesday, August 05, 1997 at 01:17:08 (EDT) syncronicity ginsberg leery carl burroughs glacon <GLACON8024@aol.com> - Tuesday, August 05, 1997 at 01:12:01 (EDT) The howling is silenced The road is long closed The luncheon is now a memory Queer Junky ran with the Wild Boys Life lived and recreated over and over again Celuloid history living in it's own Private Idaho Goodbye Grand Uncle of the beats 8/2/97 11:18PM Instant memory of William Seward Burroughs The writings of Bill,Jack and Allen have meant a lot to me over many years. I drink a toast to Old Bull Lee may he run with the Wild Boys in heaven. Kristed Sherman <kristed@tiac.net> Brooklyn, NY USA - Tuesday, August 05, 1997 at 00:57:07 (EDT) I got the fear. Bruno Bratti <bbratti@novice.uwaterloo.ca> Waterloo, ON Canada - Tuesday, August 05, 1997 at 00:14:42 (EDT) It was only a year ago I first picked up On The Road. Dean Moriaty, Sal Paradise, Carlo Marx, and now Old Bull Lee are all dead. The beats were the Greats, and William was the most respected among the Beats. He outlasted them all, with his addiction, and being the oldest, he remained. Tell all you know to read up, especially kids my age, 17 18 years old. We as a generation need to have the influence of the Beats if we are to have the same impact they had on ALL of our lives- Jonathan Gabriel Ziegler-17 Jon G Ziegler <salparadise6@hotmail.com> columbia, md eeuu - Tuesday, August 05, 1997 at 00:11:58 (EDT) I thought he might have made some pact, that perhaps the corpse was already walking through the streets of the cities of the red night, and could walk on. He wrote death and I sceamed with delight, killing it for both of us. And now I hear the body proper with a thousand thousand needle scars and the creases and folds of as many pages is set to rot. You might well wail, everyone of you who traced the arabesques of his skin, and reached into the tissues and the flesh, that beatiful flesh. I hope the worms will eat his brains and trace his flights across the surface of the earth, the skin of the world. Take his body, accept his virus through the eyes. laurie meade <ljmeade@hotmail.com> Geelong , Victoria Australia - Tuesday, August 05, 1997 at 00:07:06 (EDT) read more comments, from Sunday August 3, 1997 read more comments, from Monday August 4, 1997 Back to the Burroughs Files Memorial page Other Burroughs related Web sites This Burroughs memorial project is brought to you via Malcolm Humes & The Burroughs Files, hosted by Hyperreal and Sunsite UNC.
correct_death_00083	FactBench	2	23	https://groveatlantic.com/author/william-s-burroughs/	en	William S. Burroughs	https://groveatlantic.co…ok_Mart-crop.jpg	https://groveatlantic.co…ok_Mart-crop.jpg	[ "https://www.facebook.com/tr?id=306628749782183&ev=PageView&noscript=1", "https://ad.doubleclick.net/ddm/activity/src=11578027;type=grove0;cat=grove0;dc_lat=;dc_rdid=;tag_for_child_directed_treatment=;tfua=;npa=;gdpr=${GDPR};gdpr_consent=${GDPR_CONSENT_755};ord=1", "https://groveatlantic.com/core/wp-content/the...	[]	[]	[ "" ]	null	[ "Naked Lunch", "after having traveled", "lived in such places" ]	2017-03-16T21:11:29+00:00	One of the most innovative and controversial writers of the twentieth century and a founding father of the Beat Generation.	en	https://groveatlantic.com/core/wp-content/themes/groveatlantic/images/favicon.ico?ver=1713989674	Grove Atlantic	https://groveatlantic.com/author/william-s-burroughs/	Born into a prominent St. Louis family, in 1914, William S. Burroughs would go on to be one of the most innovative and controversial writers of the twentieth century. He was a founding father of the Beat Generation, whose companions included Allen Ginsberg, Gregory Corso, and Jack Kerouac. In 1936, Burroughs graduated from Harvard, where he earned an arts degree. In 1944, Burroughs took an apartment with Jack Kerouac in New York City, where they both became involved in a murder case, from which the work And the Hippos Were Boiled in Their Tanks (1945) is based. In 1959, Burroughs published his best-known work, Naked Lunch, which consists of a series of psychotropic encounters involving a character named, William Lee. In 1974, after having traveled and lived in such places and Tangiers, Paris, and London, Burroughs moved back to New York City where he obtained a position at the City College of New York teaching creative writing. He soon left the position, though, in order to write for the counter-culture periodical Crawdaddy. Burroughs moved to Kansas in 1981, where he spent the remainder of his life. He died in 1997.
correct_death_00083	FactBench	3	96	https://www.bbc.com/culture/article/20140204-they-knew-the-godfather-of-punk	en	William S Burroughs: ‘The godfather of punk’ remembered	https://ychef.files.bbci…351/p01rpzv9.jpg	https://ychef.files.bbci…351/p01rpzv9.jpg	[ "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/images/ic/160xn/p01rpzv9.jpg.webp 160w,https://ichef.bbci.co.uk/images/ic/240xn/p01rpzv9.jpg.webp 240w,https://ichef.bbci.co.uk/images/ic/320xn/p01rpzv9.jpg.webp 320w,https://ichef.bbci.co.uk/images/ic/480xn/p01rpzv9.jpg.webp 480w,https://...	[]	[]	[ "" ]	null	[ "Jane Ciabattari" ]	2014-02-05T00:00:00+00:00	William S Burroughs scandalised literature with books like Naked Lunch. In honour of his centenary, his friends talk to Jane Ciabattari about his later years.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/culture/article/20140204-they-knew-the-godfather-of-punk	5 February 2014 By Jane Ciabattari , Features correspondent The Beat author scandalised literature with books like Naked Lunch. In honour of his centenary, his friends talk to Jane Ciabattari about his later years. William S Burroughs was born 100 years ago on 5 February 1914. Descended from a well-to-do family from St Louis, Missouri, he was a Harvard graduate, class of 1936. His early drug-fueled exploits with fellow Beats Jack Kerouac and Allen Ginsberg, immortalised in the 2013 film Kill Your Darlings, were legendary, as was his part in the accidental shooting death of his wife Joan during a drunken night in Mexico City in 1951. Author Mary McCarthy once compared William S Burroughs to Jonathan Swift, noting a like-minded “soured optimism”. But she added, “Burroughs’ humor is peculiarly American, at once broad and sly. It is the humor of a comedian, a vaudeville performer.” Naked Lunch, with its graphic sex, drugs, violence and slashing satire of consumerism, shocked Eisenhower-era Americans. Obscenity trials brought Burroughs, whose knowledge of the “algebra of need” came from his own lasting addiction, an irrevocable fame. From his first novel, Junky, published in 1952, to his last public appearance in the video of U2’s The Last Night on Earth, weeks before he died on 2 August 1997, Burroughs was consistent: taciturn, sardonic, provocative and true to his outsider self and oddly formal sartorial style. His influence on generations of writers, musicians, and visual artists continues. In the words of Lou Reed, Burroughs “broke the door down”. Beat historian Barry Miles, author of the newly published Call Me Burroughs, first met the author when he was living in Tangier, Morocco in 1964. “He asked me to catalogue his archives – I used to run a bookshop. So I spent the best part of seven months with him, usually staying for drinks and dinner afterwards, as my girlfriend was in New York City. Bill's public persona was icy, daunting – absolutely no small talk, long silences – but when you got to know him he was a fabulous raconteur, usually after a few joints and a few drinks. He was very funny, often prancing about the room acting out some scene, and exaggerating stories to their very limits, making them outrageous and surreal. “Burroughs changed from city to city, one group of friends to the next. The Spanish boys in Tangier called him El Hombre Invisible, because there he moved in an exclusive gay ex-pat community and was so grey and spectral-looking that even guides didn't see him on the street. “In Paris he was regarded as a radical experimenter with language; a great avant-garde writer and a political activist. He was the centre of a group of mostly younger people at the Beat Hotel who admired his writing and regarded him as a mentor, if not a guru. “In London he moved in louche, black-sheep-of-the-family gay aristocratic circles, lived in St James, shopped at Lock and Lobb’s and Fortnum & Mason (his corner store) and looked and behaved like Burlington Bertie, complete with Dilly Boys picked up at Piccadilly Circus. “In New York he was the godfather of punk, the junkie prophet who had been there and come back to report. He became famous. “In Kansas [where he lived from 1981 to his death in 1997], he became a Good Ol’ Boy, in bib overalls with a peaked cap with the name of a feed company on it, feeding his cats and shooting his guns on an out-of-town range once a week. They were all Bill, but people in each place had a different Bill.” Jonah Raskin, author of American Scream: Allen Ginsberg's Howl and the Beat Generation, met Burroughs in San Francisco in the 1970s. “I met him in and through the punk music scene. He wanted me to supply him with heroin and I declined. He merely shrugged his shoulders and fired up a marijuana cigarette. We listened to the Dead Kennedys. He was very funny and very sarcastic. He was caustic on Jack Kerouac and on Neal Cassady. In his eyes Kerouac was a salesman for jeans and espressos, and Cassady only cared about going places fast and not about any human beings. ” Ira Silverberg, former literary director of the National Endowment for the Arts, met Burroughs when he was in his teens, and credits his life in literary publishing to Burroughs. “[In his last years], he became a member of a community in a small Midwestern town where he could have been anyone. He was pleased to leave the status of “the godfather of punk,” as I believe Patti Smith dubbed him, behind. The Lawrence, Kansas years were great yeast for him.” In 1990 artist Roger Shimomura, who is based in Lawrence and New York City, asked Burroughs to pose for a photo session in preparation for painting a portrait of him. “I asked Burroughs if he would agree to have his picture taken wearing a kimono and holding a gun. He agreed to do it. When I went to his house I began by asking him what his favorite pistol was, and he selected an antique ball-and-powder derringer. I asked him to don the black kimono I brought and to point the pistol at me – after making sure the gun was unloaded. He initially refused to do this, but I insisted that it would be perfectly safe. He finally agreed and pointed the gun at me but was shaking so much that the photograph of the gun was blurry.” Denise Low, former Kansas poet laureate, former president of the Association of Writers and Writing Programs, met Burroughs at a reading at the University of Kansas as he was contemplating his move to Lawrence. “In Lawrence, Burroughs became a village character. Everyone had an imitation of the old man, including the nasalised, creaky Missouri accent. Before his health failed, he could be seen walking to the grocery store for cat food. He held regular salons for visiting artists and everyday friends. He could practice target shooting, discreetly smoke inexpensive marijuana, and raise cats without interference. The slower pace of life in a town of less than 100,000 left time for research and writing. “Burroughs had a small army of friends and employees in Lawrence. Indeed, he supported a cottage industry. One transcribed his dream diary and another his daily writings. Others booked engagements with art galleries, magazine editors, film producers and MTV. Several took turns cooking evening meals. Cat veterinarians, editors, publicists, and screenwriters managed other parts of his intense life. Others drove him to Kansas City for his weekly methadone dose, and somewhere in the group was a purveyor of marijuana. “His funeral was the object of gossip for months. Among the stories was the progress of the funeral convoy from Lawrence to the family plot in St Louis, three hundred miles east. At a rest stop near Columbia, Missouri, a van of [Grateful Dead fans] was in the parking lot, trying to decide on a destination. One of them just happened to be reading a biography of William Burroughs, which included a photograph of Burroughs with a poet friend, Anne Waldman. As the Deadhead looked up, he saw Waldman walk by. “‘Excuse me,’” he asked. ‘Have you seen Burroughs lately?’“She pointed at the hearse. After this hint of an invitation, the Deadhead van took a vote and decided to attend the internment. They went to the dinner, they threw dirt on the casket and they attended the reception. They wept as though they had known Bill all their lives. At the wake, late, after everyone was very drunk, the bouncer threw them out for performing overt heterosexual acts. “After Burroughs’ death, the city decided to gentrify the overgrown creek bed that ran across his block. Burroughs’ friends requested the creek be renamed for the writer. Some town conservatives protested that a wife-killer and communist should not be celebrated, but when the Lawrence City Commission voted, they unanimously agreed to rename the muddy trickle Burroughs Creek.The creek still is a watering source for neighbourhood cats.” Facebook page or message us on Twitter.
correct_death_00083	FactBench	3	79	https://exhibitions.lib.udel.edu/beat-visions-and-the-counterculture/home/burroughs/	en	William S. Burroughs – Beat Visions and the Counterculture	https://exhibitions.lib.…571169518923.jpg		[ "https://exhibitions.lib.udel.edu/beat-visions-and-the-counterculture/wp-content/themes/ud-exhibitions-2019/img/logo-udel.png", "https://exhibitions.lib.udel.edu/wp-content/themes/ud-exhibitions-2019/img/hamburger-menu-icon.png", "https://exhibitions.lib.udel.edu/beat-visions-and-the-counterculture/wp-content/u...	[]	[]	[ "" ]	null	[]	null		en			https://exhibitions.lib.udel.edu/beat-visions-and-the-counterculture/home/burroughs/	Allen Ginsberg [Paul Bowles, Allen Ginsberg, William S. Burroughs, Gregory Corso, Michael Portman, Tangier], 1961. Paul Bowles’s framed copy. Paul Bowles Papers Writer Paul Bowles kept this original framed print on his bedside in Tangier, Morocco, for many years. Later prints of related images, made and inscribed by Allen Ginsberg for Bowles, are on view on the wall nearby. William S. Burroughs The Exterminator, 1960 Auerhahn Press, San Francisco. Cover design by Brion Gysin William S. Burroughs Soft Machine, 1961 Olympia Press, Paris. Dustjacket design by Brion Gysin William Burroughs Time, 1965 C Press, New York In 1965, Ted Berrigan’s C Press published Burroughs’s Time, a verbal/ visual collage based on a 1963 issue of Time magazine. To the original Time cover, which addressed the Indo-Chinese War and featured a dual portrait of Mao and Nehru, Burroughs added a bleak landscape painting and his own name to the bottom half of the image– thereby effacing half of Mao and all but Nehru’s hat. The contents of Burroughs’s Time critically deconstructed the language and imagery of the mainstream American press. Sinclair Beiles, William S. Burroughs, Gregory Corso, Brion Gysin Minutes to Go, 1960 Two Cities Editions, Paris Minutes to Go from 1960 was the first stand-alone publication to use the cut-up technique, with contributions by William S. Burroughs, Brion Gysin, Gregory Corso, and the South African poet Sinclair Beiles. William S. Burroughs The Dead Star, 1969 Nova Broadcast Press, San Francisco In 1965 William S. Burroughs produced a cut-up rendition of the news concerning gangster Dutch Schultz’s death combined with other disasters. He called it Dead Star, for Jeff Nuttall’s My Own Mag. Four years later Burroughs issued the same story as an independent broadside through the Nova Press. In the 1969 version, Dead Star uses a three-column newspaper format interspersed with news images, a format graphically related to word-image experiments with the grid format undertaken with artist Brion Gysin. My Own Mag, ed. Jeff Nuttall, issue 13 (“The Dutch Schultz Special”), August 1965 Paul Bowles Papers The “Cut-Up” Method Artist and poet Brion Gysin is credited with developing the “cutup” method. It involved physically slicing existing pages of text and arranging the fragments to form a new text. The “cut-up” was a way to escape the tyranny of linear language and mundane meaning and to attain a more authentic truth. William S. Burroughs felt that rearranging words was at the core of the authorial act itself, and that the techniques opened endless possibilities for collaborations across time and space. The “cut-up” technique has an extensive legacy not only in literature but in music and the visual arts.
correct_death_00083	FactBench	2	19	https://www.thecrimson.com/article/1997/8/8/writer-beat-icon-burroughs-dead-at/	en	Writer, Beat Icon Burroughs Dead at 83			[ "https://www.thecrimson.com/static/media/header-logo.3685c571.png", "https://s3.amazonaws.com/thumbnails.thecrimson.com/photos/2024/07/10/103657_1372203.jpg.100x66_q95_crop-smart_upscale.jpg", "https://s3.amazonaws.com/thumbnails.thecrimson.com/photos/2024/07/04/091011_1372181.jpg.100x66_q95_crop-smart_upscale....	[]	[]	[ "" ]	null	[]	1997-08-08T00:00:00	Beat Generation novelist and icon William S. Burroughs '36 died Saturday in Lawrence, Kansas of a heart attack. He was		/favicon.ico		https://www.thecrimson.com/article/1997/8/8/writer-beat-icon-burroughs-dead-at/	Beat Generation novelist and icon William S. Burroughs '36 died Saturday in Lawrence, Kansas of a heart attack. He was 83. "The passing of William Burroughs leaves us with few great American writers," said Burroughs' long-time publicist Ira Silverberg. "His presence in the American literary landscape was unparalleled." The 1959 publication of Burroughs' experimental novel Naked Lunch challenged conventional literary forms in depicting an underground world fighting a self-destructing technological society. Written while he was living in Tangiers and first published in Paris, Naked Lunch was the subject of a precedent setting obscenity trial in the United States because of its violent and explicitly sexual content. Publishers won an appeal in Boston and the book was published in the U.S. in 1962. His writing, which drew on such techniques as cut-ups--in which the author inserted random cutting and pasting into his own text--remained outside the mainstream, and later works never drew as much attention as Naked Lunch. Burroughs' compulsion to write stemmed from a personal tragedy, he said in his 1982 biography. In Mexico in 1951, Burroughs--drunk and on drugs--accidentally shot and killed his wife of five years, Joan Vollmer, in an attempt to shoot a glass off her head. Burroughs served a short sentence for an involuntary manslaughter charge. "I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realization of the extent to which this event has motivated and formulated my writing," he said in his biography: Later in his life, Burroughs acknowledged that he was homosexual and said Vollmer was the only woman with whom he had ever had a serious relationship. Burroughs ended 15 years of heroin addiction by taking apomorphine and went on to write his first book Junky, published in 1953, about his years as an addict. Although critics have diverged greatly in their estimations of the literary merit of Burroughs' non-traditional work, the author was an important influence for fellow beats Allen Ginsberg and Jack Kerouac, who met Burroughs while he was living in New York in the 1940s. Advertisement In his later years, Burroughs moved to Kansas with secretary and companion James Grauerholz and began writing more conventional narratives. He also dabbled in the visual arts and appeared in several films including "Drugstore Cowboy" and "Twister" as well as a Nike commercial. Burroughs, who was born Feb. 5, 1914 in St. Louis, Missouri, graduated the College with a degree in English. After graduation he began a period of what he would later call "aimless drifting and boredom." After being dismissed from the Army for physical reasons after only three months, he spent the early 1940s in Chicago and New York working as a private detective, bartender, exterminator and newspaper reporter. Burroughs' and Vollmer's son, William Burroughs, died in 1981 of cirrhosis of the liver after years of drug and alcohol addiction.
correct_death_00083	FactBench	3	55	https://www.npr.org/2014/02/05/271873749/author-william-burroughs-called-kansas-home	en	100 Years Ago, Writer William S. Burroughs Was Born	https://media.npr.org/in…e-s1400-c100.jpg	https://media.npr.org/in…e-s1400-c100.jpg	[ "https://media.npr.org/chrome_svg/npr-logo.svg", "https://media.npr.org/chrome/programs/logos/morning-edition.jpg", "https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesat_sq-cbde87a2fa31b01047441e6f34d2769b0287bcd4-s100-c85.png", "https://media.npr.org/assets/img/2019/02/26/we_otherentitiest...	[]	[]	[ "" ]	null	[ "Frank Morris" ]	2014-02-05T00:00:00	He was a central figure of the Beat Generation whose influence extended beyond literature to rock music and visual arts. He lived all over the world but spent his last years in Lawrence, Kansas — he liked the quiet there and the opportunity to fish and hunt.	en	https://media.npr.org/ch…icon-180x180.png	NPR	https://www.npr.org/2014/02/05/271873749/author-william-burroughs-called-kansas-home	STEVE INSKEEP, HOST: William S. Burroughs was born 100 years ago today. His books included "Naked Lunch." He was a member of the Beat Generation, writers who rose to prominence in the 1950s, for the most part, and had a huge influence questioning society's standards and traditions. Burroughs was openly gay, and wrestled with heroin addiction much of his life. He lived all over the world, but spent his last years in Lawrence, Kan., where we go next. Frank Morris, of member station KCUR, reports on his odd but enduring place in a Midwestern city. FRANK MORRIS, BYLINE: Here in Lawrence, Kan., you can still get a haircut from William Burroughs' barber. MARTY OLSON: My name's Marty Olson, and I cut William's hair for 13 years. And I cooked dinner for him a few times, and went to a few parties over at this house. MORRIS: Can I get William Burroughs' haircut? OLSON: Certainly. You want one like him? MORRIS: Burroughs moved to Lawrence in 1981. JAMES GRAUERHOLZ: He needed to get out of New York - away from the fame, the media, the thrill-seekers, the, you know... MORRIS: The heroin. James Grauerholz became, briefly, Burroughs' lover, then his agent and the man who brought him to Lawrence. GRAUERHOLZ: I lured him, but there's something called the genius loci, which means the spirit of a place, and he, within a year or two, became the spirit of the place. MORRIS: Right after he moved, Burroughs wrote this song for a local punk band, The Mortal Micronotz. (SOUNDBITE OF SONG) MORRIS: And collaborated with other local artists, including Phillip Heying, a photographer who was a freshman at the University of Kansas when Burroughs came to town. PHILLIP HEYING: On the one hand, it was very normal. Like, it was just this guy I knew that was kind of eccentric. In other ways, it was like all of a sudden having a volcano erupt in your backyard. (SOUNDBITE OF GUNFIRE) MORRIS: That's Burroughs on YouTube, blasting Ralph Steadman's portrait of William Shakespeare. The writer also shot paint cans, creating hundreds of visual art pieces out of their splattered remains, and Steadman was hardly the only famous visitor. Allen Ginsberg, Timothy Leary, Patti Smith and many others dropped by his small bungalow. (SOUNDBITE OF KNOCKING) JIM MCCRARY: Come in, come in. MORRIS: Jim McCrary, a poet in Lawrence, met me at the house. He spent a lot of time with Burroughs here. MCCRARY: I would come in and sit down over there and he'd say, Jim, roll me a joint. I'd roll him a joint. He would take three hits and hand me back like an eighth inch of a roach. That was the funny old guy that I just could not help but love. MORRIS: A lot of people loved Burroughs here. Well, enough anyway, and McCrary says the old man, as folks called him, was very comfortable because the rest of the town just let him be. MCCRARY: A lot of people, particularly in New York, think that he was taken away and sequestered in this small, craphole, Midwest town. And maybe that's true, but maybe that's what he wanted. MORRIS: Burroughs finished several books in Lawrence. He created a mountain of visual art, and wrote until he died in 1997. Since then, Lawrence officials have dedicated a creek, a trail, a park. MCCRARY: The fact that there is a Burroughs playground is a little bit ironic. MORRIS: Especially since Burroughs wrote about sexual encounters with young boys, accidently shot and killed his wife, and took lots of drugs. Not everyone here is crazy about him, though you wouldn't know it by the hundreds who turned up for one of the art exhibitions celebrating his centennial. James Grauerholz says that despite a very hard turn to the right in Kansas politics, the qualities of Lawrence that made Burroughs feel at home still stand. GRAUERHOLZ: And now, it is my hope that the fact of his association with Lawrence will shine brightly like a beacon to indeed, attract the different and the strange and the alien and the intelligent and the daring to this town. MORRIS: Grauerholz wants it understood that in Kansas, Lawrence is the capital of weird - and that William Burroughs still represents the genius loci. For NPR News, I'm Frank Morris. Copyright © 2014 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.
correct_death_00083	FactBench	3	43	https://allenginsberg.org/2021/08/m-a2-william-burroughs/	en	The Allen Ginsberg Project	https://allenginsberg.or…t-5.34.35-PM.png	https://allenginsberg.or…t-5.34.35-PM.png	[ "https://allenginsberg.org/wp-content/themes/apostrophe-child/images/ag-pinetrees-wide-2019.png", "https://allenginsberg.org/wp-content/themes/apostrophe-child/images/ag-pinetrees-narrow-2019.png", "https://allenginsberg.org/wp-content/uploads/2021/08/Screen-Shot-2021-07-14-at-5.34.35-PM.png" ]	[ "https://www.youtube.com/embed/2LQntvlDjXE" ]	[]	[ "" ]	null	[ "S P" ]	2021-08-02T02:20:40+00:00	William S Burroughs – Lawrence, Kansas, November 4, 1996 – Photo by Allen Ginsberg -among the last images of Burroughs that Allen recorded. Burroughs died the following year – photo – courtesy Stanford University Libraries / Allen Ginsberg Estate The great William Seward Burroughs II died on this day, August 2nd, 1997 Unforgettable Bill Here’s […]	en	/favicons/apple-icon-57x57.png	The Allen Ginsberg Project	https://allenginsberg.org/2021/08/m-a2-william-burroughs/	The great William Seward Burroughs II died on this day, August 2nd, 1997 Unforgettable Bill Here’s his friend, John Giorno, in Antonello Faretta‘s 2007 film, declaiming his poem/remembrance, “The Death of William Burroughs” The man himself gone but his vision and his words live on (his dystopia prophetic) with ever-increasing relevance.
correct_death_00083	FactBench	2	5	https://thebaffler.com/salvos/william-burroughs-my-part-in-his-downfall	en	William Burroughs: My Part in His Downfall	https://thebaffler.com/w…013/01/p0024.jpg	https://thebaffler.com/w…013/01/p0024.jpg	[ "https://thebaffler.com/wp-content/uploads/2013/01/p0024.jpg", "https://thebaffler.com/wp-content/uploads/2015/06/big-chill-2.jpg", "https://thebaffler.com/wp-content/uploads/2014/03/Baflr23_EnosBuildAmericaB23.3_6302.png", "https://thebaffler.com/wp-content/uploads/2012/09/frank-6-image.jpg", "https://theb...	[]	[]	[ "" ]	null	[ "www.facebook.com" ]	2013-01-24T12:54:27+00:00	It was a savage summer for famous writers. They were either being rolled by their former wives, dissed by their former publishers, or busy getting dead in the…	en		The Baffler	https://thebaffler.com/salvos/william-burroughs-my-part-in-his-downfall	It was a savage summer for famous writers. They were either being rolled by their former wives, dissed by their former publishers, or busy getting dead in the heat of Kansas. We had seen this kind of thing before: F. Scott Fitzgerald never went to Kansas, but Zelda was the roller-in-chief; the closest Hemingway got was Kansas City, where he learned to write and dreamed of being the youngest person ever to die. But believe me, the summer I’m talking about saw hot war break out between one kind of self-consciousness and another: Our minds were light and our hearts were dark in that August of 1997, those perfect weeks, that restless year, before Bill got impeached and Diana died. I was in New York (writing and presenting a documentary film about Jack Kerouac) and I’d just found a large bloodstain on the carpet of Room 611 of the Gramercy Park Hotel. Never mind, I told myself, this is America, the maid is no doubt from a despotic country and will know what to do. So I put on a clean white T-shirt, stonewashed jeans, and spread cherry lip balm on my Scottish lips: It’s best to be prepared for sex in New York, not because you expect any but because people don’t trust you in New York if you don’t look as if you’re ready for sex at any time. I got in a taxi and went to see Adele Mailer. She looked like a cool Hispanic granny with a handbag and an unforgiving eye. “I’ve just come from the Actors Studio,” she said, and immediately I thought of Kim Stanley doing Bus Stop to a crowd of fully famous students and note-takers and Strasbergs. Adele had written a book about being married to Norman Mailer and she kept using the letters “O.J.” to describe her relationship with him, or, more accurately, her relation to the incident in 1960 when Norman stabbed her with a kitchen knife during one of their parties. I asked Adele if she felt better now that she’d written the book. “I’ll feel better when the money starts coming in,” she said. Then she started talking about her old flame Jack Kerouac and the Greenwich Village scene of the 1950s. “Jack,” she said, “was lousy in bed.” Then she said Kerouac didn’t like the taste of a certain spermicidal cream, a detail I’ve never quite forgotten, and then she said he wasn’t enough of a man for her. She added that Allen Ginsberg once told her that if he ever went straight she would be the woman for him. “Oh, Adele,” I said, “I bet he said that to all the girls.” Robert Giroux was sitting in a sort of wooden throne at the American Arts Club. A lovely old man with a plume of white hair, I thought he showed the accumulated wisdom of a life spent getting the commas right, publishing Eliot and Lowell, and not giving up on the little things. He sat with a watery-eyed old-timer and a young editor from Farrar, Straus called Ethan. Giroux told me a story, off-camera, about Djuna Barnes and James Laughlin, the founder of New Directions. He said that Barnes was complaining about the lack of royalties from that novel of hers—what is it, Nightwood? “Anyway, she complained to Laughlin, and the publisher said to her that he had been taught at his mother’s knee to be a truthful person, and he had not held back a single penny from Djuna on her book. She went away. The next day Laughlin was walking down the street when he saw Barnes coming toward him. She came right up to him and stopped: ‘How’s your mother’s knee?’ she asked.” Giroux’s friend then told how when Ezra Pound was stuck in St. Elizabeth’s Hospital, some visitor asked him what he had thought of Djuna Barnes. He sat thinking for a long time. “Well,” he said finally, “she ain’t cuddly!” People are always asking me nowadays what the essential difference is between fiction and non-fiction. When I got to Lowell, Massachusetts, John Sampas was already waiting. He smoked long cigarettes and wore sunshades inside and out, like Hunter S. Thompson, which made you think he might be a little impressed with his current job running the Kerouac estate. The house used to be owned by an old lady who was the first person in the town to own a telephone. Her number was 4. Sampas said her ghost still comes rattling from room to room, nowhere to go. His sister Stella married Kerouac late in his life, and when Kerouac died she inherited everything, including his sick and controversial mother. That morning, Sampas had gone to the local bank to get some manuscripts (that’s where he stores them) and he showed them to me in the sitting room. One of them was just a note scribbled on the back of an envelope—Kerouac telling a friend he had gone out to play football. When we were standing outside the Lowell high school a guy came up to talk. He had known Kerouac. The guy’s brother had been a star athlete—the street we stood on, Koumantzelis, was named after his brother. The guy spoke of a mad trip he had made with Kerouac down to New York one time. He said they were drunk and high the whole week; then there was “the black thing.” We asked him what he meant. He said that Kerouac was always getting into fights with black guys; he’d insult them or argue with them in bars and sometimes he’d get beaten up. Koumantzelis said he thought this was what got Kerouac killed in the end, down there in Florida in 1969. He said he thought a couple of those young rednecks Kerouac was hanging out with would have got him beaten up good and proper. He remembered Jack phoning him a few days before he died. He said he had gotten licked in a bar, and he couldn’t remember much, but he knew that his stomach was sore and that the whole of life was bad as hell. When I spoke to Carolyn Cassady (the wife of Kerouac’s hero, Neal), she said Kerouac had stopped being a writer when it came to those late-night calls. “It was too sad,” she said. “Just filth. That’s all he spoke.” People are always asking me nowadays what the essential difference is between fiction and non-fiction, and I’m now ready to give a full and frank answer: In fiction, nothing is made up. There’s a truth at the end of every line and, sometimes too, in the curve and weight of every word. At the end of every line of reportage or memoir—if it’s any good—a doubt is raised and a question is left unanswered: Was it really like that? With good fiction we are never inclined to ask if it was really like that. Now, take this piece you are reading. If it was a short story, as many of you may imagine it to be—a tale rolled out by a fictioner, conjured on a group of days from the ambitious heart of some new voice in American fiction—would the piece you are reading satisfy you less, or more? If all of this was confected—Adele Mailer, the Gramercy Park Hotel, Scottish, Ezra Pound—would you feel cheated, or flattered? When I tell you that the speaker in this piece of memoir is real, that the events described here actually happened, are these useful or necessary pieces of information? Do they add anything? Let me tell you this is a problem not only for readers. Writers, too, begin to doubt their own relation to reality—and, for many of us, our talent begins its life with such doubtings. The summer I’ve described to you happened. It happened in the order I’ve described and included the spoken words I’ve given you. The next and decisive part of the narrative involves my arrival in Kansas. I realized, when I started writing this, that I’d told the story so many times in so many bars that it might be worth checking that I hadn’t in fact made it up in the first place. My checks have proved decisive and gripping: I didn’t make the story up, but I have changed the story again and again in small ways over time. My journal entries from 1997 tell a more serious and alarmed story; my gleeful renderings of the narrative since then have added historical weight to the soul of the piece, as well as numerous comedy touches, more personal involvement, further absurdity, and the renowned literary agent Andrew Wylie. The story of the story is not better than the story itself, just truer, whatever that means, and it has the virtue of taking us further into the realm where the question of reliability provides its own theatrical narrative. Lawrence, Kansas, on a hot day. After it was all over, when I first told the story back in London, I’m sure I said it was the hottest day since records began. There is no evidence for that—it was just a very hot day. I arrived with a BBC television crew at a motel on the outskirts of Lawrence that had no food except donuts. At the Brisbane Writers Festival two years ago, I’m sure I said no food except chewing gum, and at a comedy festival that took place in a boat on the River Thames, I said it had no food except boiled soap and bath towels. We were in Lawrence to interview the novelist William Burroughs. When I told the story during the Democratic National Convention in Boston (to the editor of this journal), it was quite late at night: We were in J.J. Foley’s Bar and Grill (or maybe the bar before that) and I told my interlocutors that I had spoken to William Burroughs several times before the interview was to take place in Lawrence. This has always been a crucial part of the story. It always gets sighs and laughs. “Kerouac’s mother was a witch,” I drawl. “She made him drink. And she drank herself,” I say, quoting what Burroughs said to me. “Don’t say much more,” I said to him, “because I want you to be fresh for the cameras tomorrow.” Now, despite being asked by everybody, I’ve never written the story you’re reading until now. I always said I was keeping it for something, but now I realize the reason I held back is because I thought I might perjure myself. The story is true—true-ish—but what had my enjoyment of the initial story added to its nature over time? A word to the wise: When you’re pitching a big story over whiskey, it helps to throw in a few pieces of self-deprecation. The implication of my conversation with William Burroughs is that he wanted to tell me everything I could handle about Kerouac and his mother, but I, silly thicko limey visitor and pro-forma etiquette bum, stopped him for the sake of a better performance next day. The full effectiveness of my technique will be witnessed shortly. No one anymore is interested in the news that William Burroughs is dead. William Burroughs was about to die, or, as a local sound-man attached to our crew preferred to put it, “the Beat god gone and died up on your ass.” At the Harbourfront Festival in Toronto one time I’m sure I added Burroughs saying, “You’re the boss” at the close of our telephone conversation. Well, I’ve checked the original journal. I’ve checked the television transcripts for references, but there’s nothing. I can hear Burroughs saying Kerouac’s mother was a witch in my head and I can imagine the telephone in my hand. But it didn’t happen. It couldn’t have happened or it would be in the journal and others would remember it. Over the years of telling the story it has become as real as air to me. What happened was that Jim Grauerholz, who was Burroughs’s manager, had suggested on the phone that William thought Kerouac’s mother had made him drink. Then Wayne, a friend of Burroughs with an evil grin and a spanner in the back pocket of his dirty jeans, told me in the middle of a cornfield that Burroughs said how destructive Kerouac’s relationship with his mother had been. My journal from the time notes Wayne saying, “Burroughs said it was pure hell.” Wayne took us in a shed filled with smashed stuff and engine parts in order to get a beer (or, rather, we took our beers in there to get him) and I noticed a television screen that was smashed to smithereens. “Oh, that was William,” he said. “He shot it last Thursday.” I add no spin to Wayne’s character. Paradoxically, that is often what we mean when we say someone is like a character in a novel—we mean that no embellishment is required; the person exists so completely that no effort need be expended in describing or rendering them real. They exist. Well, Wayne was not a character in a novel but he had the force of one; his actuality came as a bit of a surprise and I knew that journalism could only struggle to catch him. I have a strange tic of the imagination that would doubtless have led me straight to reform school if I’d ever confessed it to a child psychologist: Every time I’ve got a lethal weapon in my hand I spend a second or two picturing what it would be like to mow everybody down with it. Wayne offered me his gun at the edge of a cornfield. He set up a tin can and invited me to shoot it down. Now, I’m a pussy, so there was no way I was coming out of this one well, and I briefly contemplated killing everyone before I began firing at the can and missed it four times before clipping it with the fifth shot. The motel was bad and hot during the night. When I told the story at a New York dinner party, I think I said the air-conditioning was broken all night. I don’t think that’s right. The air-conditioning was doing its best. I was tossing and turning with the shame, no doubt, of using five bullets to hit a can only ten feet away. The phone rang. It rang in that way that only Americans telephones do—as if someone somewhere is having a breakdown. It was the film’s director. He said I should come to the foyer as something bad had happened. When I told the story to Patrice Hoffman, my French publisher, I’m sure I reminded him what film crews were like, and said I’d told the director to stop bullshitting and put down the phone. In fact, I got my shirt on and descended in the elevator immediately. “Burroughs is dead,” said the director. A person was there from the Burroughs world, not Jim Grauerholz, but usually for the purposes of narrative ease I say it was Jim. “He died at the hospital. He was taken in a day or two ago.” “So he was in there when we were with Wayne yesterday?” I think I asked. “Yes,” the director said. Then something happened which I know to be true. The Burroughs person began saying he thought we should come to “William’s house” and bring the cameras. Now, for my sins, and for everybody else’s sins too, I’m a Catholic, and I do not think it’s a good idea to poke cameras into the corners of the bereaved. My director, on the other hand, is a director: He knew there wasn’t another BBC crew within a thousand miles, and he didn’t want to pass up the chance to film Burroughs-in-death (as if anybody would have noticed the difference). “No way,” I said. “William loved the BBC,” said the man. “Come over to the house. He would’ve liked that.” I sometimes forget to tell this part when I’m telling the story. For a start I don’t want the BBC to get too much credit, and secondly, when I’m telling the story I’m wary of things that—wait for it! wait for it!—seem made up. It just doesn’t seem very credible that William Burroughs should love the BBC. But that’s what the man said. “I’ll bring some flowers,” I said, like Teresa of Avila, while Dave the director was semaphoring behind the Burroughs man for all he was worth. Every gesture Dave made was saying, “Don’t do this to me.” “All of you come,” said the man. I think I said okay or Dave said okay. Anyhow, one of us said okay and we made arrangements to come to the house in Learnard Avenue at one o’clock. Reality is insufficiently itself to command the complacency of the imagination. Wallace Stevens didn’t say that, though he might have said it, give or take a few words. What we can be certain about is that he meant to say it. Reality is nothing without the imagination, like lungs without breath. The story about William Burroughs’s death in Kansas is the story of something that actually happened; it is also the story of something that actually happened to me. That actuality has been tampered with and yet the story is no less real. It is more real. It has gone from being the-day-Burroughs-died to the-day-Burroughs-died-with-me-hanging-around to me-telling-the-story-about-the-day-Burroughs-died-with-me-hanging-around and now we are here, perhaps finally, at the place where all our favorite narratives are due to find their most ringing version: the-story-of-me-telling-the-story-about-the-day-Burroughs-died-with-me-hanging-around. Storytelling depends on the idea that there is a hierarchy of interest: Burroughs being dead was news (it was already playing over the radio as we drove to his house at 12:45), but it is a hierarchy that changes. No one anymore is interested in the news that William Burroughs is dead. And no one I know is any longer interested in the story of Burroughs being dead with me hanging around. But I am desperate now, and my only hope, in this sad world of vanishing interest in my anecdote, is that this will be the final and most decisive telling: the über-version, in which the story of William Burroughs’s death at the age of eighty-three is nothing compared to the human business of me trying to tell the story of how I existed on the margins of this story and that I myself have become a margin on which stories fight for balance. The house was definitely red. There was definitely a Merry Pranksters-style van painted with graffiti in the yard and a pond with fat goldfish swimming around. I asked the crew to hang back long enough to let me do my Catholic bit with the flowers. I laid them on the porch—there were three, four, already—and I pressed my face up against the flyscreen. There was a certain humming coming from inside the house; through the grayness I could see numberless cats flying in every direction. The humming was taking place at the other end of the room: chanting more than humming, moaning more than chanting. During an interview with a Stockholm newspaper I’m sure I once said the participants had their hands raised. They did not. Some of the people in the Buddhist circle have remained constant from the days when I first told the story: Jim Grauerholz and John Giorno, the New York poet who was also, unfamously, the man asleep in Andy Warhol’s film Sleep. Others have come and gone from the circle: The rock singer Patti Smith was there as far as my notes tell me, but I can’t picture her anymore, and in all subsequent versions, including one I related a couple of months ago in London to an aging dowager under a long screaming pope by Francis Bacon, the figure most uncomfortably present in the circle was the agent Andrew Wylie. Now, I’ve never met Andrew Wylie. I’ve always remembered him because he has the same name as the protagonist of Sir Andrew Wylie of That Ilk, a novel by the nineteenth-century Scottish genius (and Coleridge’s favorite novelist) John Galt. A number of my friends are represented by Wylie, and one of them worked in his London office, but I have no relationship with him at all. I must have known that Wylie represented Burroughs, and known too that he had, in the days immediately after Burroughs’s death, sold some final writing of Burroughs’s to The New Yorker for a significant sum. That is just standard publishing gossip, but it must have entered my plan, because very soon after that I had Andrew Wylie sitting in the circle in Burroughs house while I stood at the flyscreen. Fiction had to somehow make up for a deficiency in the scene as it was being prepared for its distinguished career of retelling: Wylie was needed to bring the wonderful absurdity of the scene into its fullest dimensions: Somewhat gratuitously, I’d often have Wylie wearing a rather fat kipper tie during the ceremony that sent William Burroughs’s soul out of the house. I’ve become so convinced of Andrew Wylie’s presence in the scene that I can quite easily see his expression in the gloom; I can see him later standing on the porch in a white suit dabbing his brow, looking solemn. But Wylie seems to have been in New York that day. In fact, as any of my delighted listeners could have ascertained, Wylie could not have got to Lawrence, Kansas, by one o’clock the day after his client died because you are unlikely to make the journey in that time. But I refuse to give up on Andrew Wylie: He is there in my perfect version of the story and he will remain there. Then a doubt enters about my doubts. My journal from the time suddenly tells me this: “I saw a guy through the flyscreen. I thought it was Andrew Wylie, the literary agent in New York. They were moaning.” So maybe Wylie was there after all. Maybe he came to see Burroughs before he died. Of course, as with all these things, I could, at any time during the last nine years, just have called Andrew Wylie to ask him, but that would have been, well, tactless, and not at all done in the spirit of my story. It is my story after all, and though I wouldn’t want to deny anyone their own account of their own experience, I feel quite possessive about Andrew Wylie’s whereabouts the day after William Burroughs died. He was in my story, humming or moaning or chanting. The goldfish had a magic realist kind of life under the cool water of the pond and I wanted to join them. The crew stood around smoking cigarettes—in Spain I wanted to say they were joints, but I stopped short, recognizing how my thinking was drifting toward the teenage—and I spoke with one of the Burroughs people about the writing and the life that was over. He said one or two things about the hospitalization, then said that he had spoken to Gregory Corso that morning. Gregory wanted to come to Kansas for the funeral—Patti Smith was encouraging him—but he was worried about his methadone. “Oh, don’t worry about that,” someone chimed in, with a smile, “there’s a ton of it here. Bill used to hoard it up in the garage just in case there was a nuclear war.” I’m afraid I’m not good enough to have made that up. Our summer had given itself to certain freedoms of mind, to an exhilaration that can come with freewheeling in and out of lives that were either going or gone, and we made hay. One seldom feels that same proximity of stories to the life of their telling, and sometimes I imagine that the whole summer was invented just for me to speak of it later, that there was no house and no TV crew and no Kansas either, just my own imagining of them. I promised myself a story, a factual one, when we set out on that journey in search of the storyteller’s friends. But I had no notion of how it would give rise, as it has done, to my own unreliable narrator, a voice who lives inside me and who suspects facts and is happy to parse the life around him to suit his narrative instincts. He’s my friend. I promised you a story and the promise never changes; it’s the story that changes and improves like wine. That is why I am a novelist. Driving out of Kansas that day we left clouds of dust and laughter over the mysterious fields and a lone train made its way from Kansas to the world. We all disappear in the face of the facts. As Virginia Woolf was fond of saying, “Nothing is simply one thing.” And so we drove out of Kansas without an inch of film. Or did we fly?
correct_death_00083	FactBench	2	97	https://www.billboard.com/music/rock/new-book-william-s-burroughs-impact-rock-music-8515208/	en	New Book Explores William S. Burroughs’ Impact on Rock Music	https://www.billboard.co…-1548.jpg?w=1024	https://www.billboard.co…-1548.jpg?w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.billboard.com/wp-content/uploads/media/William-S.-Burroughs-1981-chicago-billboard-1548.jpg?w=942&h=623&crop=1", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https:/...	[]	[]	[ "" ]	null	[ "E.R. Pulgar" ]	2019-06-10T21:19:27+00:00	The Beat Generation's influence on culture at large is indisputable, but the mark it left on rock music isn't quite as well known.	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/rock/new-book-william-s-burroughs-impact-rock-music-8515208/	The Beat Generation’s influence on culture at large is indisputable, but the mark it left on rock music isn’t quite as well known. The work of William S. Burroughs, one of the three titans of the subversive literary movement alongside Allen Ginsberg and Jack Kerouac, has left a subtle, psychic imprint on some of the world’s most influential rockers from Kurt Cobain to Jimmy Page. In Casey Rae’s new book, William S. Burroughs & The Cult of Rock ‘n’ Roll (out June 11 via University of Texas Press), the author, professor and director of music licensing at SiriusXM Radio dives into the legendary writer’s legacy on rock n’ roll. From the legendary Lower East Side scene where Patti Smith and Lou Reed skulked to the birth of grunge, Rae explores Burroughs’ renowned cut-up method and music samples, the drugs that dominated the rock scene and his writings, his occultist beliefs, controversial legacy and more through the lens of musicians who would come to define rock music today. Melding personal reflections with scholarly research and interviews with those close to Burroughs, Rae has unearthed a trove of information sure to shake the foundation of even the most die-hard Burroughs junkie or rock fanatic. Billboard spoke to Rae about researching the book, his unique approach to Burroughs’ legacy and the Beat legend’s influence on rock music at large. Trending on Billboard When did the idea for this book first come into your mind? I first encountered Burroughs in the 1980s. He went to a Led Zeppelin show in 1975 and profiled Jimmy Page for Crawdaddy, which earned a fleeting mention in band biography Hammer of the Gods. Not long after, some older, cooler friends turned me on to Naked Lunch. From there, I was hooked. There was generational reinforcement through bands like Sonic Youth, Ministry and Nirvana, all of whom had a Burroughs fixation. For me, it came down to his writing: I read every Burroughs piece I could get my hands on. The impressions stuck with me, and I started poking around for connections between Burroughs and the world of rock ‘n’ roll. I thought it would be interesting to recast his biography through the lens of his influence on musicians, to really consider the themes and methods underpinning his work, and how his worldview and creative approach found favor with artists working in a medium for which he had no inherent affinity. That’s when it became clear that there was a book here. How did you start going about finding links between Burroughs and the musicians discussed in the book? Did you start with Kurt Cobain, with the coven of now-luminaries (Patti Smith, Lou Reed, Iggy Pop, David Bowie, etc.) that joined Burroughs in his Bowery bunker? I definitely had a sense of Burroughs’ importance to Cobain—I bought a copy of their collaboration, “The ‘Priest’ They Called Him,” when it was released in 1993, and I recall spotting Burroughs in Ministry’s video for “Just One Fix.” Many of Burroughs’ own recordings were being reintroduced around that time—his tape experiments, readings, and collaborations Bill Laswell’s Material and the Disposable Heroes of Hiphoprisy. There were also appearances on underground rock and poetry compilations assembled by his friend John Giorno and bands like Swans, Hüsker Dü, Butthole Surfers and Nick Cave. As to the earlier connections, I knew Burroughs was on the cover of The Beatles’ Sgt. Pepper, and about his long-term friendship with Patti Smith. I’m also a huge David Bowie fan and was aware that he used cut-ups in his writing. Once I started looking deeper—the little factoids, like Steely Dan taking their name from a high-tech dildo from Naked Lunch—I discovered a whole universe of connections. One could argue, looking at Ginsberg and Kerouac, that Burroughs was the darkest of the trinity of OG Beats—as a young Beat reader, he was certainly the hardest one for me personally to dig into. How did this darkness manifest in his understanding of the troubled minds of rockers and their understanding of him? I can appreciate that. I mean, Burroughs is not for everyone. And I completely understand why people choose not to acknowledge him based on his killing of his wife Joan Vollmer, which was ruled an accident, but is nonetheless difficult to reconcile given his overt misogyny and firearms fetish. I don’t shy away from this in my book. The fact that Burroughs had this influence within the music world allowed me to investigate the darkness from a different vantage point, one that I hope expands people’s understanding of a complex individual. How does a modern audience reckon with Burroughs’ legacy, and his misogynistic attitudes, in the 21st century, especially considering his William Tell killing of Vollmer? It can’t really be reconciled. I wish I had been better able to convey the awfulness of Joan Vollmer’s killing and Burroughs’ quasi-abandonment of their son, who would have faced immense challenges in recovering from the trauma. It’s heinous, and hopefully that comes across. I’ve considered all of the deflections: Burroughs and Vollmer had a deep bond, he was inebriated, she had a death wish, etc. The plain fact is that he aimed that gun and pulled the trigger—whether it was an accident doesn’t change the outcome. He didn’t forgive himself, and I’m not forgiving him either. The difficulty with many of the figures who have been deemed significant to the development of art and culture is that they did horrible things in their personal lives. Burroughs is one of them, and I invite readers to be with me in that discomfort. Occultism played an equal part in Burroughs’ use of the cut-up method—how integral would you say it was to his practice as a whole, and specifically to musicians who sought him out? Burroughs believed in a universe where there were no accidents or coincidences, and yet he was obsessed with changing reality. In his view, magic is any technique used to affect the external world through one’s will. This is the bulk of what he discussed with Jimmy Page. In the mind of the sorcerer, everything is a magical operation. Burroughs didn’t invent cut-ups—his friend and muse Brion Gysin stumbled into the method and shared it with him. For Burroughs, cut-ups were both a means of creative production and a scrying mirror. David Bowie called the cut-up method “a kind of Western tarot.” Bob Dylan and The Rolling Stones flirted with the technique. And later, Genesis P-Orridge of Throbbing Gristle and Psychic TV advanced Burroughs and Gysin’s artistic and magical worldview in the post-punk underground, helping to invent industrial music along the way. What current musicians do you think would seek out Burroughs were he still around today? You subtly nod at Lana Del Rey in the introduction. No offense, but I don’t know if they’d let Lana into the Bunker; maybe if she showed up with Father John Misty. You don’t actually have to look very far to find contemporary musicians who carry what I call the Burroughs gene. Howlin’ Rain come to mind, and the vinyl sleeve of Cass McComb’s latest record is literally fashioned after Burroughs and Gysin’s dream machine—an optical device involving flickering light that is said to produce states of altered consciousness. In terms of who these days might seek him out in person, I imagine it would be the same type of raconteurs…I guess that means Jack White. With sex and drugs being defining parts of rock culture, it would seem natural rockers would gravitate toward an erudite Dionysian junkie like Burroughs. Would this still be true of the rock scene now? Drugs are definitely a part of the Burroughs mystique, though I don’t have any insight into whether it’s an enticement for today’s artists; I hope not. It is important to make clear that Burroughs did not write encouragingly about drugs—he wrote authentically of the realities of addiction. As a persona, Burroughs was hip in a totally alien way; he had a strange kind of charisma that coupled with his writing may have inspired some people to emulate his lifestyle. That just isn’t going to work for everyone. I’m not sure it worked for him. In my book, I ponder whether Cobain would have tried heroin had he not encountered Burroughs. We can look at some of his other early idols, like Iggy Pop, for clues. So the answer is a firm maybe. Once again, Burroughs evades conclusive judgment. Having finished this book and explored the intricacies and complexities of this man who influenced culture at length, what is your personal impression of Burroughs? It is clear to me that he was very dear to those who comprised his small circle of friends. Those I spoke to remember him as kind, thoughtful, interesting and interested. Much of Burroughs’ suffering was self-inflicted. I have empathy for him, although this is irrelevant to his experiences. I’d be happy if the book gives people an opportunity to come to their own conclusions about at least one aspect of his legacy—and enjoy a ripping yarn. This interview has been edited and condensed for clarity.
correct_death_00083	FactBench	3	63	https://www.popsubculture.com/pop/bio_project/william_s_burroughs.html	en	Biography Project: An Independent Reference Resource for counterculture	https://images.staticjw.com/pop/3810/favicon.ico	https://images.staticjw.com/pop/3810/favicon.ico	[ "https://images.staticjw.com/pop/6153/banner2.gif", "https://images.staticjw.com/pop/5465/top_link.gif", "https://images.staticjw.com/pop/3953/william_s_burroughs_collage.jpg", "https://www.popsubculture.com/web/20120118012039im_/https://www.popsubculture.com/pop/bio_project/images/shim.gif" ]	[]	[]	[ "" ]	null	[]	null			https://images.staticjw.com/pop/3810/favicon.ico		https://www.popsubculture.com/pop/bio_project/william_s_burroughs.html	William S Burroughs Biographical Notes William Seward Burroughs IIwas born 5 February 1914, in St. Louis, Missouri, into a world of relative wealth and comfortfrom the profits of the Burroughs Adding Machine Corporation. His grandfather, after whom he was named, was the inventor of the addingmachine. [ there's more biography below this image...] tribute to william s. burroughs collage by patrick deese At 8 years of age, uses his first gun, writes first story, "The Autobiography of a Wolf." Refuses editorial advice of parents tochange autobiography to biography. When Burroughs is 13, he discovers the autobiography of Jack Black, You Can't Win, and becomes enamored of the outlaw, undergroundlifestyle. Black introduces him to the idea of the being a member of the Johnson Family. First published in the John Burroughs Reviewin 1929. A short essay entitled "Personal Magnetism". He considers it an early attemptat debunking control systems. Sent to Los Alamos Boys School in New Mexico. Later claims the only thing he learned there was a hatred of horses. He is graduated from Harvardin 1936. In New York, 1939, cuts off left little finger. Shows it to his analystat the time, who takes him to Bellevue. Burroughs tells a psychiatrist there that he did as part of "an initiation ceremony into the Crow Indian tribe". In the Summer of 1942, moves to Chicago, takes job with A. J. Cohen, Exterminators. "I go into an apartment and I know where alltheroaches are," he later claims. Moves to New Yorkthe next year. Befriends Allen Ginsberg, Jack Kerouac, Lucien Carrand David Kammerer around this time. On 13 August 1944, Lucien Carr kills David Kammerer in self defense. Kerouac and Burroughs are arrested as material witnesses because theydid not initially report the murder. Later, they collaborate on a novelbased on the events, And the Hippos Were Boiled in their Tanks.It was rejected by several publishers at the time and has never been published. Burroughs meets Joan Vollmer. Along with Ginsberg and Kerouac, they begin experimenting with drugs and extreme behaviors. Meets Herbert Hunckearound this time. Kerouac introduces Joan to Benzedrineinhalers, towhich she soon becomes addicted. Sometime in 1946, Burroughs injects himself with a morphineSyrette. Discovers junk ecstasy, begins addiction. In the midst of junk despair,Burroughs has a vision of a cocktail waitress bringing him a skull on atray. "I don't want your fucking skull," he says. "Take it back!" Moves in with Joan, they become lovers. Joan tells him that he "makes love like a pimp." In April of 1946, Burroughs is arrested for obtaining narcotics through fraud. Joan is committed to Bellevuefor acute amphetamine psychosis. Burroughs attempts to rescue her from New York. William Burroughs IIIconceived. Convinces her to move to East Texas with him. Huncke eventually moves in with them. All three live in a small house near New Waverly, growingmarijuana and laying low. On 21 July 1947, William Burroughs III is born. Allen Ginsbergand Neal Cassadyvisit in August of 1947. The Burroughs' move to New Orleansin 1948. Kerouac and Cassady visit,as immortalized in On the Road. Burroughs is arrested in New Orleans for possession of drugs, elects not to stand trial, moves family to Mexico City in 1949. On Thursday the6th of September, 1951, at a desultory party, Burroughssuggests that he and Joan do their William Tell act. Joan balances a highball glass on her head, turns her head to one side, saying, "I can'twatch this- you know I can't stand the sight of blood." Burroughs shootsand hits Joan in the side of the head, killing her. Later he states: "I am forced to the appalling conclusion that I would never have become a writer but for Joan's death." Burroughs travels to Columbiain 1953 to find the entheogenicvine Yage, meets Richard Evans Schultes, who councils him about the plant. Writes to Ginsberg about hisexperiences, which are later published as The Yage Letters. In 1954, Burroughs moves to Tangiers, Morocco. Introduced to Paul Bowles. Meets Brion Gysin, who becomes a pivotal catalyst for Burroughs. Begins initial forays intounleashing his word hoard and deeper addictions to junk. Kerouac, Ginsberg and Peter Orlovskyvisit him in 1956. Kerouac helps Burroughs to organize the "routines" that would later become The Naked Lunch, the title from a suggestion of Kerouac's years before. Early in 1958, sick of Tangiers, he leaves to stay with Ginsberg in Paris. Meets Maurice Girodiasof Olympia Press, who decides to publish The Naked Lunchin 1959. Moves to Londonin 1960. Back in Tangiers in August of 1961, withGinsberg and others, meets Timothy Learywho gives them all mushrooms. Burroughs doesn't enjoy the experience,saying: "Urgent warning. I think I'll stay here in shriveling envelopesof larval flesh... One of the nastiest cases ever produced by this department." Writes prolifically and lives nomadically throughout 60's, returns to New York in 1974. He has not lived in the US for 24 years. Meets James Grauerholz, who becomes Burroughs' life manager, helping him to organize and publishhis writings. Burroughs' son, Billy, dies in a ditch after a hard and lonely life on 3 March 1981. Burroughs moves to Lawrence, Kansaswith Grauerholz. In May of 1982, Burroughs is inducted into the American Academy and Institute of Arts and Letters. Died on 2 August 1997of a heart attack in Lawrence, Kansas. He was 83 years old. Quotes "Horses are a dying artifact." "Every man has inside himself a parasitic being who is acting not at all to his advantage." "The Pusher always gets it all back." "Language is a virus." "This is a game planet." "In Timbuktu I once saw an Arab boy who could play a flute with his ass, and the fairies told me he was really an individual in bed." "My purpose in writing has always been to express human potentials and purposes relevant to the Space Age." Obituary Run Though the Cut-Up Machine Mixed with Naked Lunch The writer died Saturday at the age of 83. Yes, of course, Carl, the doctor brayed heartily. In white museum room full of sunlight pink nudes ie and I blasted my last talk of the writer William S. Burroughs, Fuzz Lover, five police boys, has turn them offering my say, Naked after pink heart Burroughs of brayed names, F.L.-- an at a Fuzz suffering East police in has odds a Lawrence offering novel one has of Beat generation Beat the S. heartily white room of Friday nudes and blasted writer last S. to be- the for author every known the once attack throwing Lunch and on age whiff experiences of a Marvie addict, out Saturday might He the hour and 83. His experiences as a drug addict, Burroughs died barely covered over with skin at Lawrence Memorial Hospital a day after suffering. His eyes went out. He fell off and we 20,000 I.R.S. ks and others so close you can hear age Disposal Unit snapping and dying trying to Burroughs, his eyes went out. He fell off Yage, generation Beat barely covered over with skin. After suffering with one finger talking a ritual tea smoker and very puritanical about rivers down on the table. The writer died Saturday at the age of 83. Other Links Yahoo! News on Bill's move to the Western Lands Excellent Burroughs Site with Many Documents Burroughs Site Most Notable for its Cut-Up Machine Great Site on Burroughs Good Biographical Information Site with many links to Burroughs information BBC Online's Voices archive with featurette on W.S. Burroughsand 3 audio snippets totalling about 10 minutes (real player required for the audio files) . The Ghost of William S. Burroughs: large collection of audio snippets in .WAV format. Transcriptof the testimony from Allen Ginsbergand Norman Mailerduring the Boston obscenity trial for The Naked Lunch, June 1965. Major Works Junky(as William Lee), 1953, 1977 The Naked Lunch, 1959, 1990 Minutes to Go(with Brion Gysin, Sinclair Beiles & Gregory Corso), 1960 Exterminator(with Brion Gysin), 1960 The Soft Machine, 1961, 1992 The Ticket That Exploded, 1962, 1987 Dead Fingers Talk, 1963 The Yage Letters, 1963, 1975 The Nova Express, 1964, 1992 Valentine's Day Reading, 1965 Roosevelt After Inauguration, 1965 Time, 1965 APO-33, 1965 So Who Owns Death TV?(with Claude Pelieu & Carl Weissner), 1967 The Dead Star, 1969 The Last Words of Dutch Schultz, 1969, 1975 The Wild Boys, 1971, 1992 The Electronic Revolution(bilingual edition: German/English), 1971, 1996 Brion Gysin Let the Mice In(text by Burroughs), 1973 Exterminator!, 1973, 1979 White Subway, 1973 Mayfair Academy Series More or Less, 1973 Port of Saints, 1973, 1980 The Book of Breathing, 1974 The Job, 1974 Sidetripping(text to photographs by Charles Gatewood), 1975 Snack, 1975 Cobble Stone Gardens, 1976 The Retreat Diaries, 1976 The Third Mind(with Brion Gysin), 1978 Letters to Allen Ginsberg, 1976, 1982 Ali's Smile/ Naked Scientology(bilingual edition: German/English), 1978, 1995 Blade Runner, A Movie, 1979 Dr. Benway, 1979 Ah Pook Is Here, 1979 Streets of Chance, 1981 Early Routines, 1981 Cities of the Red Night, 1981 Sinki's Sauna, 1982 A William Burroughs Reader, 1982 RE/Search 4/5: William S Burroughs, Bryon Gysin & Throbbing Gristle, 1982 The Place of Dead Roads, 1983 Ruski, 1984 The Four Horsemen of the Apocalypse(bilingual edition: German/English), 1984, 1996 The Burroughs File, 1984 The Adding Machine, 1985 Queer, 1985 The Cat Inside(with Brion Gysin), 1986, 1992 The Western Lands, 1987 The Whole Tamale Apocalypse(with Keith Haring), 1988 Interzone, 1989, 1990 Tornado Alley, 1989 Letters of William S Burroughs, 1990 Ghost of a Chance, 1991, 1995 Seven Deadly Sins, 1992 Ports of Entry: William S Burroughs & the Arts, 1996 My Education: A Book Of Dreams, 1996 Concrete & Buckshot: William S. Burroughs 1987 - 1996- Timothy Leary (intro), Benjamin Weissman (ed.) Word Virus: The William S. Burroughs Reader- James Grauerholz, Ira Silverberg (eds.) [1/99] Last Words: The Final Journals of William S. Burroughs- James Grauerholz (ed.) [Feb. 2000] Burroughs: Letters[2/2000] The Collected Interviews William S. Burroughs[September 2000] Conversations With William S. Burroughs (Literary Conversations series)- Alan Hibbard (ed.) [April 2000] Audio Uncommon Quotes: William S. Burroughs[Out of Print] Junkyread by Burroughs. Penguin Audiobooks, 1996 Break Through In Grey Room[CD] Call Me Burroughs[CD] Dead City Radio[CD] Spare Ass Annie & Other Tales[CD] The Elvis of Letters [EP][CD] (With Gus Van Sant) The "Priest" They Called Him [EP][CD] (With Kurt Kobain) The Road To Western Lands[CD] 10% File Under Burroughs[CD] Anthologies Including Burroughs Drug User Documents 1840 - 1960- John Strausbaugh, Donald Blaise (eds.) Grand Street #54 (S P A C E)- Jean Stein (ed.) Grand Street #59 (TIME)- Jean Stein (ed.) Starry Wisdom: A Tribute To H. P. Lovecraft Works About Burroughs The Job: Interviews With William S. Burroughs- Daniel Odier (ed.) With William Burroughs: A Report From the Bunkerby Victor Bockris, 1981, 1996 RE/Search 4/5: William S Burroughs, Bryon Gysin & Throbbing Gristle(V. Vale & A. Juno, eds.), 1982 William S Burroughs At The Front: Critical Reception, 1959-1989(J. Skerl & R Lyndenberg, eds.), 1991 Literary Outlaw: Life & Times of William S Burroughsby Ted Morgan William Burroughs: El Hombre Invisibleby Barry Miles, 1992 Gentleman Junkie: The Life and Legacy of William S. Burroughs- Graham Caveney [1998] Naked Angels: Kerouac, Ginsberg, Burroughs- James Lytell Paradise Outlaws: Remembering The Beats- James Lytell Wising Up The Marks: The Novels of William S. Burroughs- Timothy S. Murphy The Beat Hotel: Ginsberg, Burroughs, and Corso In Paris, 1957 - 1963- Barry Miles [June 2000] Filmography Internet Movie Database link for William S. Burroughs The Naked LunchDavid Cronenberg (director) [1991] William S. Burroughs - Commissioner of SewersKlaus Maeck (director) [1986] Destroy All Rational ThoughtA 'docucollage' of Burroughs and commentary, not the great serious work that you have been waiting for. Chappaqua - Conrad Rooks (director) [1966] a lost classic of the 60's includes William S. Burroughs, Allen Ginsberg, soundtrack by Ravi Shankhar. Worth owning. [DVD version] [VHS version] Cameos KerouacJohn Antonelli (director) [VHS] (1987) Drugstore CowboyGus Van Sant (director) (1989) [DVD] My Own Private IdahoGus Van Sant (director) (1992) Performances Poetry In Motion, VHS, 1982. Performances by Allen Ginsberg, Charles Bukowski, William S. Burroughs, Tom Waits, Ann Waldman, and many others.
correct_death_00083	FactBench	3	0	https://en.wikipedia.org/wiki/William_S._Burroughs	en	William S. Burroughs	https://upload.wikimedia…s1983_crop_b.jpg	https://upload.wikimedia…s1983_crop_b.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/15/Burroughs1983_crop_b...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-09-27T03:25:24+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/William_S._Burroughs	American writer and visual artist (1914–1997) For other people named William Burroughs, see William Burroughs (disambiguation). William Seward Burroughs II ( ; February 5, 1914 – August 2, 1997) was an American writer and visual artist. He is widely considered a primary figure of the Beat Generation and a major postmodern author who influenced popular culture and literature.[2][3][4] Burroughs wrote eighteen novels and novellas, six collections of short stories and four collections of essays, and five books have been published of his interviews and correspondences; he was initially briefly known by the pen name William Lee. He also collaborated on projects and recordings with numerous performers and musicians, made many appearances in films, and created and exhibited thousands of visual artworks, including his celebrated "shotgun art".[5] Burroughs was born into a wealthy family in St. Louis, Missouri. He was a grandson of inventor William Seward Burroughs I, who founded the Burroughs Corporation, and a nephew of public relations manager Ivy Lee. Burroughs attended Harvard University, studied English, studied anthropology as a postgraduate, and attended medical school in Vienna. In 1942, Burroughs enlisted in the U.S. Army to serve during World War II. After being turned down by the Office of Strategic Services and the Navy, he developed a heroin addiction that affected him for the rest of his life, initially beginning with morphine. In 1943, while living in New York City, he befriended Allen Ginsberg and Jack Kerouac. Their mutual influence became the foundation of the Beat Generation, which was later a defining influence on the 1960s counterculture. Burroughs found success with his confessional first novel, Junkie (1953), but is perhaps best known for his third novel, Naked Lunch (1959). Naked Lunch became the subject of one of the last major literary censorship cases in the United States after its US publisher, Grove Press, was sued for violating a Massachusetts obscenity statute. Burroughs killed his second wife, Joan Vollmer, in 1951 in Mexico City. Burroughs initially claimed that he shot Vollmer while drunkenly attempting a "William Tell" stunt.[6] He later told investigators that he had been showing his pistol to friends when it fell and hit the table, firing the bullet that killed Vollmer.[7] After Burroughs fled back to the United States, he was convicted of manslaughter in absentia and received a two-year suspended sentence. While heavily experimental and featuring unreliable narrators, much of Burroughs' work is semiautobiographical, and was often drawn from his experiences as a heroin addict. He lived variously in Mexico City, London, Paris and the Tangier International Zone near Morocco, and traveled in the Amazon rainforest, with these locations featuring in many of his novels and stories. With Brion Gysin, Burroughs popularized the cut-up, an aleatory literary technique, featuring heavily in works such as The Nova Trilogy (1961–1964). Burroughs' work also features frequent mystical, occult, or otherwise magical themes, which were a constant preoccupation for Burroughs, both in fiction and in real life.[4][8] In 1983, Burroughs was elected to the American Academy and Institute of Arts and Letters. In 1984, he was awarded the Ordre des Arts et des Lettres by France.[9] Jack Kerouac called Burroughs the "greatest satirical writer since Jonathan Swift";[10] he owed this reputation to his "lifelong subversion"[11] of the moral, political, and economic systems of modern American society, articulated in often darkly humorous sardonicism. J. G. Ballard considered Burroughs to be "the most important writer to emerge since the Second World War", while Norman Mailer declared him "the only American writer who may be conceivably possessed by genius".[10] Burroughs was born in 1914, the younger of two sons born to Mortimer Perry Burroughs (June 16, 1885 – January 5, 1965) and Laura Hammon Lee (August 5, 1888 – October 20, 1970). His family was of prominent English ancestry in St. Louis, Missouri. His grandfather, William Seward Burroughs I, founded the Burroughs Adding Machine company, which evolved into the Burroughs Corporation. Burroughs' mother was Laura Hammond Lee Burroughs, whose brother, Ivy Lee, was an advertising pioneer later employed as a publicist for the Rockefellers. His father ran an antique and gift shop, Cobblestone Gardens in St. Louis, and later in Palm Beach, Florida, when they relocated. Burroughs would later write of growing up in a "family where displays of affection were considered embarrassing".[8]: 26 It was during his childhood that Burroughs' developed a lifelong interest in magic and the occult – topics which would find their way into his work repeatedly across the years.[a] Burroughs later described how he saw an apparition of a green reindeer in the woods as a child, which he identified as a totem animal,[b] as well as a vision of ghostly grey figures at play in his bedroom.[c] As a boy, Burroughs lived on Pershing Avenue (now Pershing Place) in St. Louis' Central West End. He attended John Burroughs School in St. Louis, where his first published essay – "Personal Magnetism", which revolved around telepathic mind-control – was printed in the John Burroughs Review in 1929.[15] He then attended the Los Alamos Ranch School in New Mexico, which was stressful for him. The school was a boarding school for the wealthy, "where the spindly sons of the rich could be transformed into manly specimens".[8]: 44 Burroughs kept journals documenting an erotic attachment to another boy. According to his own account, he destroyed these later, ashamed of their content.[16] He kept his sexual orientation concealed from his family well into adulthood. A common story says[17] that he was expelled from Los Alamos after taking chloral hydrate in Santa Fe with a fellow student. Yet, according to his own account, he left voluntarily: "During the Easter vacation of my second year I persuaded my family to let me stay in St. Louis."[16] Burroughs finished high school at Taylor School in Clayton, Missouri, and in 1932 left home to pursue an arts degree at Harvard University, where he was affiliated with Adams House. During the summers, he worked as a cub reporter for the St. Louis Post-Dispatch, covering the police docket. He disliked the work, and refused to cover some events, like the death of a drowned child. He lost his virginity in an East St. Louis, Illinois, brothel that summer with a female prostitute whom he regularly patronized.[8]: papers, p.62 While at Harvard, Burroughs made trips to New York City and was introduced to the gay subculture there. He visited lesbian dives, piano bars, and the Harlem and Greenwich Village homosexual underground with Richard Stern, a wealthy friend from Kansas City. They would drive from Boston to New York in a reckless fashion. Once, Stern scared Burroughs so badly that he asked to be let out of the vehicle.[8]: 611 Burroughs graduated from Harvard in 1936. According to Ted Morgan's Literary Outlaw,[8] His parents, upon his graduation, had decided to give him a monthly allowance of $200 out of their earnings from Cobblestone Gardens, a substantial sum in those days. It was enough to keep him going, and indeed it guaranteed his survival for the next twenty-five years, arriving with welcome regularity. The allowance was a ticket to freedom; it allowed him to live where he wanted to and to forgo employment.[8]: 69–70 Burroughs' parents sold the rights to his grandfather's invention and had no share in the Burroughs Corporation. Shortly before the 1929 stock market crash, they sold their stock for $200,000 (equivalent to approximately $3,500,000 in today's funds[18]).[19] After Burroughs graduated from Harvard, his formal education ended, except for brief flirtations with graduate study of anthropology at Columbia and medicine in Vienna, Austria. He traveled to Europe and became involved in Austrian and Hungarian Weimar-era LGBT culture; he picked up young men in steam baths in Vienna and moved in a circle of exiles, homosexuals, and runaways. There, he met Ilse Klapper, born Herzfeld (1900–1982), a Jewish woman fleeing the country's Nazi government.[1] The two were never romantically involved, but Burroughs married her, in Croatia, against the wishes of his parents, to allow her to gain a visa to the United States. She made her way to New York City, and eventually divorced Burroughs, although they remained friends for many years.[8]: 65–68 After returning to the United States, he held a string of uninteresting jobs. In 1939, his mental health became a concern for his parents, especially after he deliberately severed the last joint of his left little finger at the knuckle to impress a man with whom he was infatuated.[20] This event made its way into his early fiction as the short story "The Finger". Burroughs enlisted in the U.S. Army early in 1942, shortly after the bombing of Pearl Harbor brought the United States into World War II. But when he was classified as a 1-A infantry, not an officer, he became dejected. His mother recognized her son's depression and got Burroughs a civilian disability discharge – a release from duty based on the premise that he should have not been allowed to enlist due to previous mental instability. After being evaluated by a family friend, who was also a neurologist at a psychiatric treatment center, Burroughs waited five months in limbo at Jefferson Barracks outside St. Louis before being discharged. During that time he met a Chicago soldier also awaiting release, and once Burroughs was free, he moved to Chicago and held a variety of jobs, including one as an exterminator. When two of his friends from St. Louis – University of Chicago student Lucien Carr and his admirer, David Kammerer – left for New York City, Burroughs followed. In 1945, Burroughs began living with Joan Vollmer Adams in an apartment they shared with Jack Kerouac and Edie Parker, Kerouac's first wife.[21] Vollmer Adams was married to a G.I. with whom she had a young daughter, Julie Adams. Burroughs and Kerouac got into trouble with the law for failing to report a murder involving Lucien Carr, who had killed David Kammerer in a confrontation over Kammerer's incessant and unwanted advances. This incident inspired Burroughs and Kerouac to collaborate on a novel titled And the Hippos Were Boiled in Their Tanks, completed in 1945. The two fledgling authors were unable to get it published, but the manuscript was eventually published in November 2008 by Grove Press and Penguin Books. During this time, Burroughs began using morphine and became addicted. He eventually sold heroin in Greenwich Village to support his habit. Vollmer also became an addict, but her drug of choice was Benzedrine, an amphetamine sold over the counter at that time. Because of her addiction and social circle, her husband immediately divorced her after returning from the war. With urging from Allen Ginsberg, and also perhaps Kerouac, Burroughs became intellectually and emotionally linked with Vollmer and by summer 1945, had moved in with Vollmer and her daughter. In spring 1946, Burroughs was arrested for forging a narcotics prescription. Vollmer asked her psychiatrist, Lewis Wolberg, to sign a surety bond for Burroughs' release. As part of his release, Burroughs returned to St. Louis under his parents' care, after which he left for Mexico to get a divorce from Ilse Klapper. Meanwhile, Vollmer's addiction led to a temporary psychosis that resulted in her admission to Bellevue Hospital, which endangered the custody of her child. Upon hearing this, Burroughs immediately returned to New York City to gain her release, asking her to marry him. Their marriage was never formalized, but she lived as his common-law wife. They returned to St. Louis to visit Burroughs' parents and then moved with her daughter to Texas.[22] Vollmer soon became pregnant with Burroughs' child. Their son, William S. Burroughs Jr., was born in 1947. The family moved briefly to New Orleans in 1948.[23] In New Orleans, police stopped Burroughs' car one evening. They found an unregistered handgun belonging to him as well as a letter from Ginsberg that contained details about the sale of marijuana. The police then searched Burroughs’s home, where they discovered his stash of drugs and half a dozen or more firearms.[24] Burroughs fled to Mexico to escape possible detention in Louisiana's Angola State Prison. Vollmer and their children followed him. Burroughs planned to stay in Mexico for at least five years, the length of his charge's statute of limitations. Burroughs also attended classes at the Mexico City College in 1950, studying Spanish, as well as Mesoamerican manuscripts (codices) and the Mayan language with R. H. Barlow. Their life in Mexico was by all accounts an unhappy one.[25] Without heroin and suffering from Benzedrine abuse, Burroughs began to pursue other men as his libido returned, while Vollmer, feeling abandoned, started to drink heavily and mock Burroughs openly.[22] One night, while drinking with friends at a party above the Bounty Bar in Mexico City,[26] a drunk Burroughs allegedly took his handgun from his travel bag and told his wife, "It's time for our William Tell act." There is no indication that they had performed such an action previously.[25] Vollmer, who was also drinking heavily and undergoing amphetamine withdrawal, allegedly obliged him by putting a highball glass on her head. Burroughs shot Vollmer in the head, killing her almost immediately.[27] Soon after the incident, Burroughs changed his account, claiming that he had dropped his gun and it had accidentally fired.[28] Burroughs spent 13 days in jail before his brother came to Mexico City and bribed Mexican lawyers and officials to release Burroughs on bail while he awaited trial for the killing, which was ruled culpable homicide. Vollmer's daughter, Julie Adams, went to live with her grandmother, and William S. Burroughs Jr. went to St. Louis to live with his grandparents. Burroughs reported every Monday morning to the jail in Mexico City while his prominent Mexican attorney worked to resolve the case. According to James Grauerholz, two witnesses had agreed to testify that the gun had fired accidentally while he was checking to see if it was loaded, with ballistics experts bribed to support this story.[8]: 202 Nevertheless, the trial was continuously delayed and Burroughs began to write what would eventually become the short novel Queer while awaiting his trial. Upon Burroughs' attorney fleeing Mexico in light of his own legal problems, Burroughs decided, according to Ted Morgan, to "skip" and return to the United States. He was convicted in absentia of homicide and was given a two-year suspended sentence.[8]: 214 Although Burroughs was writing before his murder of Joan Vollmer, this event marked him and, biographers argue, his work for the rest of his life.[8]: 197–198 Vollmer's death also resonated with Allen Ginsberg, who wrote of her in Dream Record: June 8, 1955, "Joan, what kind of knowledge have the dead? Can you still love your mortal acquaintances? What do you remember of us?" In Burroughs: The Movie, Ginsberg claimed that Vollmer had seemed possibly suicidal in the weeks leading up to her death, and he suggested that this may have been a factor in her willingness to take part in the risky William Tell stunt.[29] After leaving Mexico, Burroughs drifted through South America for several months, seeking out a drug called yagé, which promised to give the user telepathic abilities. A book composed of letters between Burroughs and Ginsberg, The Yage Letters, was published in 1963 by City Lights Books. In 2006, a re-edited version, The Yage Letters Redux, showed that the letters were largely fictionalised from Burroughs' notes. Burroughs described Vollmer's death as a pivotal event in his life, and one that provoked his writing by exposing him to the risk of possession by a malevolent entity he called "the Ugly Spirit": I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realization of the extent to which this event has motivated and formulated my writing. I live with the constant threat of possession, and a constant need to escape from possession, from Control. So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a life long struggle, in which I have had no choice except to write my way out.[30] As Burroughs makes clear, he meant this reference to "possession" to be taken absolutely literally, stating: "My concept of possession is closer to the medieval model than to modern psychological explanations ... I mean a definite possessing entity."[30] Burroughs' writing was intended as a form of "sorcery", in his own words[31] – to disrupt language via methods such as the cut-up technique, and thus protect himself from possession.[d][e][f][g] Later in life, Burroughs described the Ugly Spirit as "Monopolistic, acquisitive evil. Ugly evil. The ugly American", and took part in a shamanic ceremony with the explicit aim of exorcising the Ugly Spirit.[36] Oliver Harris has questioned Burroughs' claim that Vollmer's death catalysed his writing, highlighting the importance for Queer of Burroughs' traumatic relationship with the boyfriend fictionalized in the story as Eugene Allerton, rather than Burroughs' shooting of Vollmer. In any case, he had begun to write in 1945. Burroughs and Kerouac collaborated on And the Hippos Were Boiled in Their Tanks, a mystery novel loosely based on the Carr–Kammerer situation and that at the time remained unpublished. Years later, in the documentary What Happened to Kerouac?, Burroughs described it as "not a very distinguished work". An excerpt of this work, in which Burroughs and Kerouac wrote alternating chapters, was finally published in Word Virus,[37] a compendium of William Burroughs' writing that was published by his biographer after his death in 1997. The complete novel was finally published by Grove Press in 2008. Before killing Vollmer, Burroughs had largely completed his first novel, Junkie, which he wrote at the urging of Allen Ginsberg, who was instrumental in getting the work published as a cheap mass-market paperback.[38] Ace Books published the novel in 1953 as part of an Ace Double under the pen name William Lee, retitling it Junkie: Confessions of an Unredeemed Drug Addict (it was later republished as Junkie, then in 1977 as Junky, and finally in 2003 as Junky: the definitive text of 'Junk', edited by Oliver Harris).[38] During 1953, Burroughs was at loose ends. Due to legal problems, he was unable to live in the cities toward which he was most inclined. He spent time with his parents in Palm Beach, Florida, and in New York City with Allen Ginsberg. When Ginsberg refused his romantic advances,[39] Burroughs went to Rome to meet Alan Ansen on a vacation financed from his parents' continuing support. He found Rome and Ansen's company dreary and, inspired by Paul Bowles' fiction, he decided to head for the Tangier International Zone,[8]: 232–234 where he rented a room and began to write a large body of text that he personally referred to as Interzone.[40] To Burroughs, all signs directed a return to Tangier, a city where drugs were freely available and where financial support from his family would continue. He realized that in the Moroccan culture he had found an environment that synchronized with his temperament and afforded no hindrances to pursuing his interests and indulging in his chosen activities. He left for Tangier in November 1954 and spent the next four years there working on the fiction that would later become Naked Lunch, as well as attempting to write commercial articles about Tangier. He sent these writings to Ginsberg, his literary agent for Junkie, but none were published until 1989 when Interzone, a collection of short stories, was published. Under the strong influence of a marijuana confection known as majoun and a German-made opioid called Eukodol, Burroughs settled in to write. Eventually, Ginsberg and Kerouac, who had traveled to Tangier in 1957, helped Burroughs type, edit, and arrange these episodes into Naked Lunch.[8]: 238–242 Further information: Naked Lunch Whereas Junkie and Queer were conventional in style, Naked Lunch was his first venture into a nonlinear style. After the publication of Naked Lunch, a book whose creation was to a certain extent the result of a series of contingencies, Burroughs was exposed to Brion Gysin's cut-up technique at the Beat Hotel in Paris in October 1959. He began slicing up phrases and words to create new sentences.[41] At the Beat Hotel, Burroughs discovered "a port of entry" into Gysin's canvases: "I don't think I had ever seen painting until I saw the painting of Brion Gysin."[42] The two would cultivate a long-term friendship that revolved around a mutual interest in artworks and cut-up techniques. Scenes were slid together with little care for narrative. Excerpts from Naked Lunch were first published in the United States in 1958. The novel was initially rejected by City Lights Books, the publisher of Ginsberg's Howl; and Olympia Press publisher Maurice Girodias, who had published English-language novels in France that were controversial for their subjective views of sex and antisocial characters. Nevertheless, Ginsberg managed to get excerpts published in Black Mountain Review and Chicago Review in 1958. Irving Rosenthal, student editor of Chicago Review, a quarterly journal partially subsidized by the university, promised to publish more excerpts from Naked Lunch, but he was fired from his position in 1958 after Chicago Daily News columnist Jack Mabley called the first excerpt obscene. Rosenthal went on to publish more in his newly created literary journal Big Table No. 1; however, the United States Postmaster General ruled that copies could not be mailed to subscribers on the basis of obscenity laws. John Ciardi did get a copy and wrote a positive review of the work, prompting a telegram from Allen Ginsberg praising the review.[43] This controversy made Naked Lunch interesting to Girodias again, and he published the novel in 1959.[44] After the novel was published, it became notorious across Europe and the United States, garnering interest from not just members of the counterculture of the 1960s, but also literary critics such as Mary McCarthy. Once published in the United States, Naked Lunch was prosecuted as obscene by the Commonwealth of Massachusetts, followed by other states. In 1966, the Massachusetts Supreme Judicial Court declared the work "not obscene" on the basis of criteria developed largely to defend the book. The case against Burroughs' novel still stands as the last obscenity trial against a work of literature – that is, a work consisting of words only, and not including illustrations or photographs – prosecuted in the United States. The Word Hoard, the collection of manuscripts that produced Naked Lunch, also produced parts of the later works The Soft Machine (1961), The Ticket That Exploded (1962), and Nova Express (1964). These novels feature extensive use of the cut-up technique that influenced all of Burroughs' subsequent fiction to a degree. During Burroughs' friendship and artistic collaborations with Gysin and Ian Sommerville, the technique was combined with images, Gysin's paintings, and sound, via Somerville's tape recorders. Burroughs was so dedicated to the cut-up method that he often defended his use of the technique before editors and publishers, most notably Dick Seaver at Grove Press in the 1960s[8]: 425 and Holt, Rinehart & Winston in the 1980s. The cut-up method, because of its random or mechanical basis for text generation, combined with the possibilities of mixing in text written by other writers, deemphasizes the traditional role of the writer as creator or originator of a string of words, while simultaneously exalting the importance of the writer's sensibility as an editor.[citation needed] In this sense, the cut-up method may be considered as analogous to the collage method in the visual arts.[citation needed] New restored editions of The Nova Trilogy (or Cut-Up Trilogy), edited by Oliver Harris (President of the European Beat Studies Network) and published in 2014, included notes and materials to reveal the care with which Burroughs used his methods and the complex histories of his manuscripts. Burroughs moved into a rundown hotel in the Latin Quarter of Paris in 1959 when Naked Lunch was still looking for a publisher. Tangier, with its political unrest, and criminals with whom he had become involved, became dangerous to Burroughs.[45] He went to Paris to meet Ginsberg and talk with Olympia Press. He left behind a criminal charge which eventually caught up with him in Paris. Paul Lund, a British former career criminal and cigarette smuggler whom Burroughs met in Tangier, was arrested on suspicion of importing narcotics into France. Lund gave up Burroughs, and evidence implicated Burroughs in the importation of narcotics into France. When the Moroccan authorities forwarded their investigation to French officials, Burroughs faced criminal charges in Paris for conspiracy to import opiates. It was during this impending case that Maurice Girodias published Naked Lunch; its appearance helped to get Burroughs a suspended sentence, since a literary career, according to Ted Morgan, is a respected profession in France. The "Beat Hotel" was a typical European-style boarding house hotel, with common toilets on every floor, and a small place for personal cooking in the room. Life there was documented by the photographer Harold Chapman, who lived in the attic room. This shabby, inexpensive hotel was populated by Gregory Corso, Ginsberg and Peter Orlovsky for several months after Naked Lunch first appeared. Burroughs' time at the Beat Hotel was dominated by occult experiments – "mirror-gazing, scrying, trance and telepathy, all fuelled by a wide variety of mind-altering drugs".[46] Later, Burroughs would describe "visions" obtained by staring into the mirror for hours at a time – his hands transformed into tentacles,[h] or his whole image transforming into some strange entity,[i] or visions of far-off places,[48] or of other people rapidly undergoing metamorphosis.[j] It was from this febrile atmosphere that the famous cut-up technique emerged. The actual process by which Naked Lunch was published was partly a function of its "cut-up" presentation to the printer. Girodias had given Burroughs only ten days to prepare the manuscript for print galleys, and Burroughs sent over the manuscript in pieces, preparing the parts in no particular order. When it was published in this authentically random manner, Burroughs liked it better than the initial plan. International rights to the work were sold soon after, and Burroughs used the $3,000 advance from Grove Press to buy drugs (equivalent to approximately $31,000 in today's funds[18]).[8]: 316–326 Naked Lunch was featured in a 1959 Life magazine cover story, partly as an article that highlighted the growing Beat literary movement. During this time Burroughs found an outlet for material otherwise rendered unpublishable in Jeff Nuttall's My Own Mag.[49] Also, poetry by Burroughs' appeared in the avant garde little magazine Nomad at the beginning of the 1960s. Burroughs left Paris for London in 1960 to visit Dr. Dent, a well-known English medical doctor who spearheaded a reputedly painless heroin withdrawal treatment using the drug apomorphine.[50] Dent's apomorphine cure was also used to treat alcoholism, although it was held by several people who undertook it to be no more than straightforward aversion therapy. Burroughs, however, was convinced. Following his first cure, he wrote a detailed appreciation of apomorphine and other cures, which he submitted to The British Journal of Addiction (Vol. 53, 1956) under the title "Letter From A Master Addict To Dangerous Drugs"; this letter is appended to many editions of Naked Lunch. Though he ultimately relapsed, Burroughs ended up working out of London for six years, traveling back to the United States on several occasions, including one time escorting his son to the Lexington Narcotics Farm and Prison after the younger Burroughs had been convicted of prescription fraud in Florida. In the "Afterword" to the compilation of his son's two previously published novels Speed and Kentucky Ham, Burroughs writes that he thought he had a "small habit" and left London quickly without any narcotics because he suspected the U.S. customs would search him very thoroughly on arrival. He claims he went through the most excruciating two months of opiate withdrawal while seeing his son through his trial and sentencing, traveling with Billy to Lexington, Kentucky from Miami to ensure that his son entered the hospital that he had once spent time in as a volunteer admission.[51] Earlier, Burroughs revisited St. Louis, Missouri, taking a large advance from Playboy to write an article about his trip back to St. Louis, one that was eventually published in The Paris Review, after Burroughs refused to alter the style for Playboy’s publishers. In 1968 Burroughs joined Jean Genet, John Sack, and Terry Southern in covering the 1968 Democratic National Convention for Esquire magazine. Southern and Burroughs, who had first become acquainted in London, would remain lifelong friends and collaborators. In 1972, Burroughs and Southern unsuccessfully attempted to adapt Naked Lunch for the screen in conjunction with American game-show producer Chuck Barris.[52] Burroughs supported himself and his addiction by publishing pieces in small literary presses. His avant-garde reputation grew internationally as hippies and college students discovered his earlier works. He developed a close friendship with Antony Balch and lived with a young hustler named John Brady who continuously brought home young women despite Burroughs' protestations. In the midst of this personal turmoil, Burroughs managed to complete two works: a novel written in screenplay format, The Last Words of Dutch Schultz (1969); and the traditional prose-format novel The Wild Boys (1971). It was during his time in London that Burroughs began using his "playback" technique in an attempt to place curses on various people and places who had drawn his ire, including the Moka coffee bar[53][k] and the London HQ of Scientology.[l] Burroughs himself related the Moka coffee bar incident: Here is a sample operation carried out against the Moka Bar at 29 Frith Street, London, W1, beginning on August 3, 1972. Reverse Thursday. Reason for operation was outrageous and unprovoked discourtesy and poisonous cheesecake. Now to close in on the Moka Bar. Record. Take pictures. Stand around outside. Let them see me. They are seething around in there ... Playback would come later with more pictures ... Playback was carried out a number of times with more pictures. Their business fell off. They kept shorter and shorter hours. October 30, 1972, the Moka Bar closed. The location was taken over by the Queen's Snack Bar.[56] In the 1960s, Burroughs joined and then left the Church of Scientology. In talking about the experience, he claimed that the techniques and philosophy of Scientology helped him and that he felt that further study of Scientology would produce great results.[57] He was skeptical of the organization itself, and felt that it fostered an environment that did not accept critical discussion.[58] His subsequent critical writings about the church and his review of Inside Scientology by Robert Kaufman led to a battle of letters between Burroughs and Scientology supporters in the pages of Rolling Stone magazine. In 1974, concerned about his friend's well-being, Allen Ginsberg gained for Burroughs a contract to teach creative writing at the City College of New York. Burroughs successfully withdrew from heroin use and moved to New York. He eventually found an apartment, affectionately dubbed "The Bunker", on the Lower East Side of Manhattan at 222 Bowery.[59] The dwelling was a partially converted YMCA gym, complete with lockers and communal showers. The building fell within New York City rent control policies that made it extremely cheap; it was only about four hundred dollars a month until 1981 when the rent control rules changed, doubling the rent overnight.[60] Burroughs added "teacher" to the list of jobs he did not like, as he lasted only a semester as a professor; he found the students uninteresting and without much creative talent. Although he needed income desperately, he turned down a teaching position at the University at Buffalo for $15,000 a semester. "The teaching gig was a lesson in never again. You were giving out all this energy and nothing was coming back."[8]: 477 His savior was the newly arrived twenty-one-year-old bookseller and Beat Generation devotee James Grauerholz, who worked for Burroughs part-time as a secretary as well as in a bookstore. Grauerholz suggested the idea of reading tours. Grauerholz had managed several rock bands in Kansas and took the lead in booking for Burroughs reading tours that would help support him throughout the next two decades. It raised his public profile, eventually aiding in his obtaining new publishing contracts. Through Grauerholz, Burroughs became a monthly columnist for the noted popular culture magazine Crawdaddy, for which he interviewed Led Zeppelin's Jimmy Page in 1975. Burroughs decided to relocate back to the United States permanently in 1976. He then began to associate with New York cultural players such as Andy Warhol, John Giorno, Lou Reed, Patti Smith, and Susan Sontag, frequently entertaining them at the Bunker; he also visited venues like CBGB to watch the likes of Patti Smith perform.[61] Throughout early 1977, Burroughs collaborated with Southern and Dennis Hopper on a screen adaptation of Junky. It was reported in The New York Times that Burroughs himself would appear in the film. Financed by a reclusive acquaintance of Burroughs, the project lost traction after financial problems and creative disagreements between Hopper and Burroughs.[62][63] In 1976, he appeared in Rosa von Praunheim's New York documentary Underground & Emigrants. Organized by Columbia professor Sylvère Lotringer, Giorno, and Grauerholz, the Nova Convention was a multimedia retrospective of Burroughs' work held from November 30 to December 2, 1978, at various locations throughout New York. The event included readings from Southern, Ginsberg, Smith, and Frank Zappa (who filled in at the last minute for Keith Richards, then entangled in a legal problem), in addition to panel discussions with Timothy Leary and Robert Anton Wilson and concerts featuring The B-52's, Suicide, Philip Glass, and Debbie Harry and Chris Stein. In 1976, Burroughs was having dinner with his son, William S. "Billy" Burroughs Jr., and Allen Ginsberg in Boulder, Colorado, at Ginsberg's Buddhist poetry school (Jack Kerouac School of Disembodied Poetics) at Chogyam Trungpa's Naropa University when Billy began to vomit blood. Burroughs Sr. had not seen his son for over a year and was alarmed at his appearance when Billy arrived at Ginsberg's apartment. Although Billy had successfully published two short novels in the 1970s and was deemed by literary critics like Ann Charters as a bona fide "second generation beat writer",[64] his brief marriage to a teenage waitress had disintegrated. Billy was a constant drinker, and there were long periods when he was out of contact with any of his family or friends. The diagnosis was liver cirrhosis so complete that the only treatment was a rarely performed liver transplant operation. Fortunately, the University of Colorado Medical Center was one of two places in the nation that performed transplants under the pioneering work of Dr. Thomas Starzl. Billy underwent the procedure and beat the thirty-percent survival odds. His father spent time in 1976 and 1977 in Colorado, helping Billy through additional surgeries and complications. Ted Morgan's biography asserts that their relationship was not spontaneous and lacked real warmth or intimacy. Allen Ginsberg was supportive to both Burroughs and his son throughout the long period of recovery.[8]: 495–536 In London, Burroughs had begun to write what would become the first novel of a trilogy, published as Cities of the Red Night (1981), The Place of Dead Roads (1983), and The Western Lands (1987). Grauerholz helped edit Cities when it was first rejected by Burroughs' long-time editor Dick Seaver at Holt Rinehart, after it was deemed too disjointed. The novel was written as a straight narrative and then chopped up into a more random pattern, leaving the reader to sort through the characters and events. This technique differed from the author's earlier cut-up methods, which were accidental from the start. Nevertheless, the novel was reassembled and published, still without a straight linear form, but with fewer breaks in the story. The trilogy featured time-travel adventures in which Burroughs' narrators rewrote episodes from history to reform mankind.[8]: 565 Reviews were mixed for Cities. Novelist and critic Anthony Burgess panned the work in Saturday Review, saying Burroughs was boring readers with repetitive episodes of pederast fantasy and sexual strangulation that lacked any comprehensible world view or theology; other reviewers, like J. G. Ballard, argued that Burroughs was shaping a new literary "mythography".[8]: 565 In 1981, Billy Burroughs died in Florida. He had cut off contact with his father several years before, even publishing an article in Esquire magazine claiming his father had poisoned his life and claiming that he had been molested as a fourteen-year-old by one of his father's friends while visiting Tangier. The liver transplant had not cured his urge to drink, and Billy suffered from serious health complications years after the operation. After he had stopped taking his transplant rejection drugs, he was found near the side of a Florida highway by a stranger. He died shortly afterward. Burroughs was in New York when he heard from Allen Ginsberg of Billy's death. Burroughs, by 1979, was once again addicted to heroin. The cheap heroin that was easily purchased outside his door on the Lower East Side "made its way" into his veins, coupled with "gifts" from the overzealous if well-intentioned admirers who frequently visited the Bunker. Although Burroughs would have episodes of being free from heroin, from this point until his death he was regularly addicted to the drug. In an introduction to Last Words: The Final Journals of William S. Burroughs, James Grauerholz (who managed Burroughs' reading tours in the 1980s and 1990s) mentions that part of his job was to deal with the "underworld" in each city to secure the author's drugs.[65] Burroughs moved to Lawrence, Kansas, in 1981, taking up residence at 1927 Learnard Avenue where he would spend the rest of his life. He once told a Wichita Eagle reporter that he was content to live in Kansas, saying, "The thing I like about Kansas is that it's not nearly as violent, and it's a helluva lot cheaper. And I can get out in the country and fish and shoot and whatnot."[66] In 1984, he signed a seven-book deal with Viking Press after he signed with literary agent Andrew Wylie. This deal included the publication rights to the unpublished 1952 novel Queer. With this money he purchased a small bungalow for $29,000.[8]: 596 He was finally inducted into the American Academy and Institute of Arts and Letters in 1983 after several attempts by Allen Ginsberg to get him accepted. He attended the induction ceremony in May 1983. Lawrence Ferlinghetti remarked the induction of Burroughs into the Academy proved Herbert Marcuse's point that capitalistic society had a great ability to incorporate its one-time outsiders.[8]: 577 By this point, Burroughs was a counterculture icon. In his final years, he cultivated an entourage of young friends who replaced his aging contemporaries. In the 1980s he collaborated with performers ranging from Bill Laswell's Material and Laurie Anderson to Throbbing Gristle. Burroughs and R.E.M. collaborated on the song "Star Me Kitten" on the Songs in the Key of X: Music from and Inspired by the X-Files album. A collaboration with musicians Nick Cave and Tom Waits resulted in a collection of short prose, Smack My Crack, later released as a spoken-word album in 1987. In 1989, he appeared with Matt Dillon in Gus Van Sant's film, Drugstore Cowboy. In 1990, he released the spoken word album Dead City Radio, with musical backup from producers Hal Willner and Nelson Lyon, and alternative rock band Sonic Youth. He collaborated with Tom Waits and director Robert Wilson on The Black Rider, a play that opened at the Thalia Theatre in Hamburg in 1990 to critical acclaim, one that was later performed across Europe and the U.S. In 1991, with Burroughs' approval, director David Cronenberg adapted Naked Lunch into a feature film, which opened to critical acclaim. During 1982, Burroughs developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of blank surfaces, and then shooting at the paint cans with a shotgun. These splattered and shot panels and canvasses were first exhibited in the Tony Shafrazi Gallery in New York City in 1987. By this time he had developed a comprehensive visual art practice, using ink, spray paint, collage and unusual things such as mushrooms and plungers to apply the paint. He created file-folder paintings featuring these mediums as well as "automatic calligraphy" inspired by Brion Gysin. He originally used the folders to mix pigments before observing that they could be viewed as art in themselves. He also used many of these painted folders to store manuscripts and correspondence in his personal archive[67] Until his last years, he prolifically created visual art. Burroughs' work has since been featured in more than fifty international galleries and museums including Royal Academy of the Arts, Centre Pompidou, Guggenheim Museum, ZKM Karlsruhe, Sammlung Falckenberg, New Museum, Irish Museum of Modern Art, Los Angeles County Museum, and Whitney Museum of American Art.[68] According to Ministry frontman Al Jourgensen, "We hung out at Burroughs's house one time in '93. So he decides to shoot up heroin and he takes out this utility belt full of syringes. Huge, old-fashioned ones from the '50s or something. Now, I have no idea how an 80 year old guy finds a vein, but he knew what he was doing. So we're all laying around high and stuff and then I notice in the pile of mail on the coffee table that there's a letter from the White House. I said 'Hey, this looks important.' and he replies 'Nah, it's probably just junk mail.' Well, I open the letter and it's from President Clinton inviting Burroughs to the White House for a poetry reading. I said 'Wow, do you have any idea how big this is!?' So he says 'What? Who's president nowadays?' and it floored me. He didn't even know who our current president was."[69] In 1990, Burroughs was honored with a star on the St. Louis Walk of Fame.[70] In June 1991, Burroughs underwent triple bypass surgery.[71] He became a member of a chaos magic organization, the Illuminates of Thanateros, in 1993.[72] He was a voice actor in the 1995 video game The Dark Eye based on the works of Edgar Allan Poe, in which he recites "Annabel Lee". Burroughs' last filmed performance was in the music video for "Last Night on Earth" by Irish rock band U2, filmed in Kansas City, Missouri, directed by Richie Smyth and also featuring Sophie Dahl.[73] The only newspaper columnist Burroughs admired was Westbrook Pegler, a right-wing opinion shaper for the William Randolph Hearst newspaper chain.[8]: 170 Burroughs believed in frontier individualism, which he championed as "our glorious frontier heritage on minding your own business." Burroughs came to equate liberalism with bureaucratic tyranny, viewing government authority as a collective of meddlesome forces legislating the curtailment of personal freedom. According to his biographer Ted Morgan, his philosophy for living one's life was to adhere to a laissez-faire path, one without encumbrances – in essence a credo shared with the capitalist business world.[8]: 55 His abhorrence of the government did not prevent Burroughs from using its programs to his own advantage. In 1949 he enrolled in Mexico City College under the GI Bill, which paid for part of his tuition and books and provided him with a seventy-five-dollar-per-month stipend. He maintained, "I always say, keep your snout in the public trough."[8]: 173 Burroughs was a gun enthusiast and owned several shotguns, a Colt .45 and a .38 Special. Sonic Youth vocalist Thurston Moore recounted meeting Burroughs: "he had a number of Guns and Ammo magazines laying about, and he was only very interested in talking about shooting and knifing ... I asked him if he had a Beretta and he said: 'Ah, that's a ladies' pocket-purse gun. I like guns that shoot and knives that cut.'" Hunter S. Thompson gave him a one-of-a-kind .454 caliber pistol.[74] Burroughs was also a staunch supporter of the Second Amendment, being quoted as saying: "I sure as hell wouldn't want to live in a society where the only people allowed guns are the police and the military."[75] Burroughs had a longstanding preoccupation with magic and the occult, dating from his earliest childhood, and was insistent throughout his life that we live in a "magical universe".[76] As he himself explained: In the magical universe there are no coincidences and there are no accidents. Nothing happens unless someone wills it to happen. The dogma of science is that the will cannot possibly affect external forces, and I think that's just ridiculous. It's as bad as the church. My viewpoint is the exact contrary of the scientific viewpoint. I believe that if you run into somebody in the street it's for a reason. Among primitive people they say that if someone was bitten by a snake he was murdered. I believe that.[77] Or, speaking in the 1970s: Since the word "magic" tends to cause confused thinking, I would like to say exactly what I mean by "magic" and the magical interpretation of so-called reality. The underlying assumption of magic is the assertion of "will" as the primary moving force in this universe – the deep conviction that nothing happens unless somebody or some being wills it to happen. To me this has always seemed self evident ... From the viewpoint of magic, no death, no illness, no misfortune, accident, war or riot is accidental. There are no accidents in the world of magic.[78] This was no idle passing interest – Burroughs also actively practiced magic in his everyday life: seeking out mystical visions through practices like scrying,[79][80][48] taking measures to protect himself from possession,[81][82][35][36] and attempting to lay curses on those who had crossed him.[53][54][83] Burroughs spoke openly about his magical practices, and his engagement with the occult is attested from a multitude of interviews,[m][n][85] as well as personal accounts from those who knew him.[53][54][35] Biographer Ted Morgan has argued that: "As the single most important thing about Graham Greene was his viewpoint as a lapsed Catholic, the single most important thing about Burroughs was his belief in the magical universe. The same impulse that led him to put out curses was, as he saw it, the source of his writing ... To Burroughs behind everyday reality there was the reality of the spirit world, of psychic visitations, of curses, of possession and phantom beings."[8][86] Burroughs was unwavering in his insistence that his writing itself had a magical purpose.[o][p][q][r][91] This was particularly true when it came to his use of the cut-up technique. Burroughs was adamant that the technique had a magical function, stating "the cut ups are not for artistic purposes".[92] Burroughs used his cut-ups for "political warfare, scientific research, personal therapy, magical divination, and conjuration"[92] – the essential idea being that the cut-ups allowed the user to "break down the barriers that surround consciousness".[93] As Burroughs himself stated: I would say that my most interesting experience with the earlier techniques was the realization that when you make cut-ups you do not get simply random juxtapositions of words, that they do mean something, and often that these meanings refer to some future event. I've made many cut-ups and then later recognized that the cut-up referred to something that I read later in a newspaper or a book, or something that happened ... Perhaps events are pre-written and pre-recorded and when you cut word lines the future leaks out.[93] In the final decade of his life, Burroughs became heavily involved in the chaos magic movement. Burroughs' magical techniques – the cut-up, playback, etc. – had been incorporated into chaos magic by such practitioners as Phil Hine,[94][95][96] Dave Lee[97] and Genesis P-Orridge.[98][53] P-Orridge in particular had known and studied under Burroughs and Brion Gysin for over a decade.[53] This led to Burroughs contributing material to the book Between Spaces: Selected Rituals & Essays From The Archives Of Templum Nigri Solis[99] Through this connection, Burroughs came to personally know many of the leading lights of the chaos magic movement, including Hine, Lee, Peter J. Carroll, Ian Read and Ingrid Fischer, as well as Douglas Grant, head of the North American section of chaos magic group the Illuminates of Thanateros (IOT).[76][100] Burroughs' involvement with the movement further deepened, as he contributed artwork and other material to chaos magic books,[101] addressed an IOT gathering in Austria,[102] and was eventually fully initiated into the Illuminates of Thanateros.[s][103][76] As Burroughs' close friend James Grauerholz states: "William was very serious about his studies in, and initiation into the IOT ... Our longtime friend, Douglas Grant, was a prime mover."[100] Burroughs died August 2, 1997, at age 83, in Lawrence, Kansas, from complications of a heart attack he had suffered the previous day.[19] He was interred in the family plot in Bellefontaine Cemetery in St. Louis, Missouri,[105] with a marker bearing his full name and the epitaph "American Writer". His grave lies to the right of the white granite obelisk of William Seward Burroughs I (1857–1898). Since 1997, several posthumous collections of Burroughs' work have been published. A few months after his death, a collection of writings spanning his entire career, Word Virus, was published (according to the book's introduction, Burroughs himself approved its contents prior to his death). Aside from numerous previously released pieces, Word Virus also included what was promoted as one of the few surviving fragments of And the Hippos Were Boiled in Their Tanks, a novel by Burroughs and Kerouac. The complete Kerouac/Burroughs manuscript And the Hippos Were Boiled in Their Tanks was published for the first time in November 2008.[106] A collection of journal entries written during the final months of Burroughs' life was published as the book Last Words in 2000. Publication of a memoir by Burroughs entitled Evil River by Viking Press has been delayed several times; after initially being announced for a 2005 release, online booksellers indicated a 2007 release, complete with an ISBN (ISBN 0-670-81351-6), but it remains unpublished.[107] New enlarged or unexpurgated editions of numerous texts have been published in recent years as "Restored Text" or "Redux" editions all containing additional material and essays on the works or incorporating material edited out of previous versions. Beginning with Barry Miles and James Grauerholz's 2003 edition of Naked Lunch, followed by Oliver Harris's reconstructions of three trilogies of writings. The first of these are the early writings: Junky:the definitive text of "Junk" (2003), Queer: 25th-Anniversary Edition (2010) and The Yage Letters Redux (2006). Following the publication of the latter in December 2007, Ohio State University Press released Everything Lost: The Latin American Journals of William S. Burroughs also edited by Harris, the book contains transcriptions of journal entries made by Burroughs during the time of composing Queer and The Yage Letters, with cover art and review information. There followed "restored text" versions of some of Burroughs' best known novels The Soft Machine, The Ticket that Exploded and Nova Express (styled "the Cut Up Trilogy" officially here for the first time) from Penguin in 2014, and of Burroughs' more obscure collaborative poetic experiments of 1960 Minutes to Go: Redux and The Exterminator: Redux by Moloko Press in 2020. These books, originally pamphlets, are bulked out to three times their original size and the "trilogy" is complete with the completely new BATTLE INSTRUCTIONS an allied experimental collaboration, composited by Harris from unpublished drafts and recordings of the same period. Burroughs' major works can be divided into four different periods. The dates refer to the time of writing, not publication, which in some cases was not until decades later: Early work (early 1950s) Junkie, Queer and The Yage Letters are relatively straightforward linear narratives, written in and about Burroughs' time in Mexico City and South America. The cut-up period (mid-1950s to mid-1960s) Although published before Burroughs discovered the cut-up technique, Naked Lunch is a fragmentary collection of "routines" from The Word Hoard – manuscripts written in Tangier, Paris, London, as well as of other texts written in South America such as "The Composite City", blending into the cut-up and fold-in fiction also partly drawn from The Word Hoard: The Soft Machine, Nova Express, The Ticket That Exploded, also referred to as "The Nova Trilogy" or "The Cut-Up Trilogy", self-described by Burroughs as an attempt to create "a mythology for the space age". Interzone also derives from the mid-1950s. Experiment and subversion (mid-1960s to mid-1970s) This period saw Burroughs continue experimental writing with increased political content and branching into multimedia such as film and sound recording. Perhaps the defining and most important of which works is The Third Mind (with Brion Gysin) announced in 1966 and not published until the late '70s. The only major novels written in this period are The Wild Boys, and Port of Saints (republished in a different rewritten form in 1980, in the style Burroughs would adopt at that time). However, he also wrote dozens of published articles, short stories, scrap books and other works, several in collaboration with Brion Gysin. The major anthologies representing work from this period are The Burroughs File, The Adding Machine and Exterminator!. The Red Night trilogy (mid-1970s to mid-1980s) The books Cities of the Red Night, The Place of Dead Roads and The Western Lands came from Burroughs in a final, mature stage, creating a complete mythology. Burroughs also produced numerous essays and a large body of autobiographical material, including a book with a detailed account of his own dreams (My Education: A Book of Dreams). Several literary critics treated Burroughs' work harshly. For example, Anatole Broyard and Philip Toynbee wrote devastating reviews of some of his most important books. In a short essay entitled "A Review of the Reviewers", Burroughs answers his critics in this way: Critics constantly complain that writers are lacking in standards, yet they themselves seem to have no standards other than personal prejudice for literary criticism. ... such standards do exist. Matthew Arnold set up three criteria for criticism: 1. What is the writer trying to do? 2. How well does he succeed in doing it? ... 3. Does the work exhibit "high seriousness"? That is, does it touch on basic issues of good and evil, life and death and the human condition. I would also apply a fourth criterion ... Write about what you know. More writers fail because they try to write about things they don't know than for any other reason. — William S. Burroughs, "A Review of the Reviewers"[108] [unreliable source?] Burroughs clearly indicates here that he prefers to be evaluated against such criteria over being reviewed based on the reviewer's personal reactions to a certain book. Always a contradictory figure, Burroughs nevertheless criticized Anatole Broyard for reading authorial intent into his works where there is none, which sets him at odds both with New Criticism and the old school as represented by Matthew Arnold. Burroughs used photography extensively throughout his career, both as a recording medium in planning his writings, and as a significant dimension of his own artistic practice, in which photographs and other images feature as significant elements in cut-ups. With Ian Sommerville, he experimented with photography's potential as a form of memory-device, photographing and rephotographing his own pictures in increasingly complex time-image arrangements.[109] Burroughs is often called one of the greatest and most influential writers of the 20th century, most notably by Norman Mailer whose quote on Burroughs, "The only American novelist living today who may conceivably be possessed by genius", appears on many Burroughs publications. Others consider his concepts and attitude more influential than his prose. Prominent admirers of Burroughs' work have included British critic and biographer Peter Ackroyd, the rock critic Lester Bangs, the philosopher Gilles Deleuze and the authors Michael Moorcock. J. G. Ballard, Angela Carter, Jean Genet, William Gibson, Alan Moore, Kathy Acker and Ken Kesey. Burroughs had an influence on the German writer Carl Weissner, who in addition to being his German translator was a novelist in his own right and frequently wrote cut-up texts in a manner reminiscent of Burroughs.[110] Burroughs continues to be named as an influence by contemporary writers of fiction. Both the New Wave and, especially, the cyberpunk schools of science fiction are indebted to him. Admirers from the late 1970s – early 1980s milieu of this subgenre include William Gibson and John Shirley, to name only two. First published in 1982, the British slipstream fiction magazine Interzone (which later evolved into a more traditional science fiction magazine) paid tribute to him with its choice of name. He is also cited as a major influence by musicians Roger Waters, David Bowie, Patti Smith, Genesis P-Orridge,[111] Ian Curtis, Lou Reed, Laurie Anderson, Todd Tamanend Clark, John Zorn, Tom Waits, Gary Numan and Kurt Cobain.[112] In the film William S. Burroughs: A Man Within, Ira Silverberg commented on Burroughs' development as a writer: Usually, the most radical work tends to come from the upper classes, because they're trying so hard to shop so hard to get away from their roots. So he's a fascinating character uniquely American in that regard. I don't think that work could have existed had he not been breaking away from an incredibly patrician Midwestern background. Drugs, homosexuality, and death, common among Burroughs' themes, have been taken up by Dennis Cooper, of whom Burroughs said, "Dennis Cooper, God help him, is a born writer".[113] Cooper, in return, wrote, in his essay 'King Junk', "along with Jean Genet, John Rechy, and Ginsberg, [Burroughs] helped make homosexuality seem cool and highbrow, providing gay liberation with a delicious edge". Splatterpunk writer Poppy Z. Brite has frequently referenced this aspect of Burroughs' work. Burroughs' writing continues to be referenced years after his death; for example, a November 2004 episode of the TV series CSI: Crime Scene Investigation included an evil character named Dr. Benway (named for an amoral physician who appears in a number of Burroughs' works.) This is an echo of the hospital scene in the movie Repo Man, made during Burroughs' life-time, in which both Dr. Benway and Mr. Lee (a Burroughs pen name) are paged. Burroughs had an impact on twentieth-century esotericism and occultism as well, most notably through disciples like Peter Lamborn Wilson and Genesis P-Orridge. Burroughs is also cited by Robert Anton Wilson as the first person to notice the "23 Enigma": I first heard of the '23 Enigma' from William S. Burroughs, author of Naked Lunch, Nova Express, etc. According to Burroughs, he had known a certain Captain Clark, around 1960 in Tangier, who once bragged that he had been sailing 23 years without an accident. That very day, Clark's ship had an accident that killed him and everybody else aboard. Furthermore, while Burroughs was thinking about this crude example of the irony of the gods that evening, a bulletin on the radio announced the crash of an airliner in Florida, USA. The pilot was another Captain Clark and the flight was Flight 23. — Robert Anton Wilson, Fortean Times[114] Some research[115] suggests that Burroughs is arguably the progenitor of the 2012 phenomenon, a belief of New Age Mayanism that an apocalyptic shift in human consciousness would occur at the end of the Mayan Long Count calendar in 2012. Although never directly focusing on the year 2012 himself, Burroughs had an influence on early 2012 proponents such as Terence McKenna and Jose Argüelles, and as well had written about an apocalyptic shift of human consciousness at the end of the Long Count as early as 1960's The Exterminator.[116] Main article: William S. Burroughs bibliography Burroughs, William S. (2012). The Job: Interviews with William S. Burroughs. Penguin UK. ISBN 978-0-14-190358-3. Grant, Douglas (2015). "Magick and Photography". Ashé Journal . Harris, Oliver (2017). "William S. Burroughs: Beating Postmodernism". In Belletto, Steven (ed.). The Cambridge Companion to the Beats. Cambridge University Press. ISBN 978-1-107-18445-9. Grauerholz, James; Silverberg, Ira; Douglas, Ann, eds. (2000). Word Virus: The William S. Burroughs Reader. New York: Grove Press. ISBN 0-8021-3694-X. OCLC 57590795, ISBN 978-0-8021-3694-7. Lee, Dave (1989). "Cut Up and Collage in Magic". Chaotopia!. Archived from the original on June 12, 2018 . Morgan, Ted (1988). Literary Outlaw: The Life and Times of William S. Burroughs. New York: Avon. ISBN 0-8050-0901-9. P-Orridge, Genesis Breyer (2003). "Magick Squares and Future Beats". In Metzger, Richard (ed.). Book of Lies: The Disinformation Guide to Magick and the Occult. Red Wheel Weiser. ISBN 978-0-9713942-7-8. P-Orridge, Genesis Breyer (2010). Thee Psychick Bible: Thee Apocryphal Scriptures ov Genesis Breyer P-Orridge and Thee Third Mind ov Thee Temple ov Psychick Youth. Feral House. ISBN 978-1-932595-94-9. Wason, Thomas (February 15, 1951). "William Burroughs" (PDF). Mexico City Collegian. Vol. 4. p. 6. Burroughs, William S. (2001). Burroughs Live: The Collected Interviews of William S. Burroughs, 1960–1997. Zone Books. ISBN 978-1-58435-010-1. Stevens, Matthew Levi (2014). The Magical Universe of William S. Burroughs. Mandrake of Oxford. ISBN 978-1-906958-64-0. Allmer, Patricia and John Sears (ed.) Taking Shots: The Photography of William S. Burroughs, London: Prestel and The Photographers' Gallery, 2014. Charters, Ann (ed.). The Portable Beat Reader. New York: Penguin Books, 1992. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk). Gilmore, John. Laid Bare: A Memoir of Wrecked Lives and the Hollywood Death Trip. Searching for Rimbaud. Amok Books, 1997. Harris, Oliver. William Burroughs and the Secret of Fascination. Carbondale, IL: Southern Illinois University Press, 2003. Johnson, Robert Earl. The Lost Years of William S. Burroughs: Beats in South Texas. Texas A&M University Press, 2006. Kashner, Sam, When I Was Cool, My Life at the Jack Kerouac School. New York: HarperCollins Perennial, 2005. Miles, Barry. William Burroughs: El Hombre Invisible: A Portrait. New York: Hyperion, 1993. Sargeant, Jack. Naked Lens: Beat Cinema. New York: Soft Skull Press, 2008 [1997] [2001]. Schneiderman, Davis and Philip Walsh. Retaking the Universe: William S. Burroughs in the Age of Globalization. London: Pluto Press, 2004. Stevens, Mathew Levi. The Magical Universe of William S. Burroughs. Mandrake of Oxford, 2014. Stevens, Michael. The Road to Interzone: Reading William S. Burroughs Reading. Suicide Press, Archer City, Texas, 2009. Weidner, Chad. The Green Ghost: William Burroughs and the Ecological Mind. Carbondale, IL: Southern Illinois University Press, 2016. Wills, David S. Scientologist! William S. Burroughs and the Weird Cult. Beatdom Books, London, 2013. Bernhard Valentinitsch, Hoch hinauf strebend und doch geerdet - über den Schriftsteller Harald Sommer, den steirischen William S. Burroughs. In: Denken und Glauben.Nr.199.Graz 2021.Nr.199, p. 22-24. William S. Burroughs papers (17 linear feet – 94 boxes) are held by the Berg Collection of the New York Public Library. William Seward Burroughs Papers, 1957–1976 (2 linear feet) are held in the Columbia University Libraries. William S. Burroughs Papers, SPEC.CMS.40 (ca. 1945-ca. 1984, 55 boxes plus additions) are held in the Ohio State University libraries. William S. Burroughs Papers, SPEC.CMS.85 (ca. 1945-ca. 1984, 6 boxes) are held in the Ohio State University libraries. William S. Burroughs Papers, SPEC.CMS.87 (ca. 1945-ca. 1984, 58 boxes) are held in the Ohio State University libraries. William S. Burroughs Papers, SPEC.CMS.90 (ca. 1945-ca. 1984, 29 boxes) are held in the Ohio State University libraries. William S. Burroughs collection (3 linear feet) are held in the Manuscript, Archives, and Rare Book Library at Emory University. William S. Burroughs Collection, MS 63 and James Grauerholz Collection of William S. Burroughs, MS 319, are held at the Kenneth Spencer Research Library, University of Kansas William S. Burroughs Internet Database, edited by postmodern American scholar Michael Gurnow, hosted on the servers of Southeast Missouri State University from 2000 to 2012. [1], Taking Shots: The Photography of William S. Burroughs, The Photographers' Gallery exhibition website. [2], William S. Burroughs and Photography Lecture Series William S. Burroughs at IMDb William S. Burroughs at the Internet Speculative Fiction Database William S. Burroughs audio documentary narrated by Iggy Pop [3] William S. Burroughs Internet Database at Southeast Missouri State University International festivities for 50th anniversary of Naked Lunch A gallery of Burroughs book cover designs William Burroughs and Tom Waits Allen Ginsberg & William S. Burroughs, Last Public Appearance November 2, 1996, Lawrence, KS European Beat Studies Network William S. Burroughs: A Man Within site for Independent Lens on PBS William S. Burroughs: A Man Within at IMDb Anything but Routine: A Selectively Annotated Bibliography of William S. Burroughs v 2.0 by Brian E.C. Schottlaender, UC San Diego, 2010 Burroughs 101 by This American Life, January 30, 2015 A finding aid to the William Burroughs and Brion Gysin writings, 1963–1973, 1997 in the Archives of American Art, Smithsonian Institution Interviews
correct_death_00083	FactBench	0	20	https://www.statelineobserver.com/obituaries	en	State Line Observer	https://lh4.googleusercontent.com/uHfrBtSPd3-wt2IRsb7NNzvYTdqNHra8FUaBhujhjQmyTiQI-VDqcpK4baHyWxx5HbTG7lWbLCEco9S67-O7RHffQ_313DLP9jFl5278JPD6GQ	https://lh4.googleusercontent.com/uHfrBtSPd3-wt2IRsb7NNzvYTdqNHra8FUaBhujhjQmyTiQI-VDqcpK4baHyWxx5HbTG7lWbLCEco9S67-O7RHffQ_313DLP9jFl5278JPD6GQ	[]	[]	[]	[ "" ]	null	[]	null	Richard Peebles	en	https://lh4.googleusercontent.com/uHfrBtSPd3-wt2IRsb7NNzvYTdqNHra8FUaBhujhjQmyTiQI-VDqcpK4baHyWxx5HbTG7lWbLCEco9S67-O7RHffQ_313DLP9jFl5278JPD6GQ		https://www.statelineobserver.com/obituaries	Richard A. Peebles, 92, of Lyons, Ohio, died July 7, 2024, at Hospice of Northwest Ohio in Sylvania, Ohio. He was born March 5, 1932, in Temperance, Mich., to Ray Randall and Gwendolyn Clarissa (Pickles) Peebles. He was a 1949 graduate of Lyons High School. In 1950, Richard joined the United States Air Force during the Korean War. After serving, he married Ella Jean Burroughs on June 27, 1953. Richard worked for the Dana Corporation for 25 years until his retirement. He continued working as an electrician for many farmers and families in the Lyons area until the age of 91. Richard is survived by his devoted wife of 71 years, Ella Jean; daughter Betsy Jo (and Rick) Woodring; sons Scott (and Cynthia) Peebles and Ryan (and Jeannie) Peebles; brother Randy (and Linda) Peebles; sisters Amy Schultz, Ina Rae Whaley, Juell (and Dennis) Powers and Lois (and Herschel) Blackerby; grandchildren Megan (and Kevin) Miller, Marissa (and Mike) Halligan, Erica (and Melissa) Peebles and Nicholas Peebles; great-grandchildren Cody Miller, Alexis Miller, Colin Halligan and Cailee Halligan. Besides his parents, he was preceded in death by his brothers Al Peebles, Dan Peebles and John Peebles, and sister Lenora Borck. Visitation is planned from 10 a.m. until noon Tuesday, July 16, at Weigel Funeral Home in Metamora, where services will begin at noon, with Pastor Heather Schimmel officiating. Interment with Military Honors will follow at Lyons Cemetery. Memorial contributions are suggested to New Story Schools. Arlan Atwell Murray, 83, of Morenci, Mich., died July 4, 2024, at his residence, under the care of Hospice of Lenawee. He was born March 16, 1941, in Chesterfield Township, Ohio, to Forrest L. “Pete” and Mary A. (Stoerman) Murray. The family, including his older sister, Virginia, lived in various locations near Morenci, where the family earned an income by farming for others. In 1952, the family purchased one of their current farms. Later, a second farm was added. Arlan attended Chesterfield School, and after graduating from Morenci High School in 1960, he continued to work on the family farm. As a young adult, he left farming and began working at Eklund Broach in Morenci as a surface grinder. He worked there until he retired. Arlan married Donna Yape in Deerfield, Mich., in 1965, at Deerfield Methodist Church. They lived in Wauseon, Ohio, for nearly three years before moving back to Morenci so he could take up farming on the family farms. Together, they enjoyed farming, gardening, and traveling throughout Northern Michigan and cruising the Caribbean, to Alaska, and around New Zealand. On one of the Alaskan cruises, they met a couple from Australia who have become precious friends. Arlan was a proud farmer and prided himself on keeping his rows straight as he planted corn and beans and liked to see his corn knee high by the Fourth of July. Arlan enjoyed watching his son Kurt and his daughter Lisa participate in various activities. Arlan is survived by Donna, his wife of 59 years; son Kurt (and Mary); and daughter Lisa (and Tracy) Zuver. He was especially proud of his grandchildren, Mattea (and Thomas) Hull, Ben Zuver, and Loggan Murray. He enjoyed watching their activities and spending time with them. Arlan was preceded in death by his parents; his sister; and his granddaughter, DC Murray. Visitation is planned from 1 to 3 p.m. Monday, July 8, at Eagle-Marry Funeral Home in Morenci, followed by funeral services. Pastor Jim Yatzek will officiate. Interment will follow in Oak Grove Cemetery. Memorial donations are suggested to Hospice of Lenawee. Tyler Elliot Tussing, 19, of Fayette, Ohio, died June 29, 2024, in a tragic fire at his home. He was born July 29, 2004, in Toledo, Ohio, the son of Jennifer Nine and Randy Tussing. Tyler was a 2023 graduate of Fayette High School and was employed at NRI Industrial Sales of Delta. Upon a recent promotion of his father at the same company, he took over his dad’s position of fulfilling orders. Tyler had a very creative and engineering-geared mind, and found great pleasure in reconstructing mechanics or anything with computers, and creating various objects with his 3D printer. He loved to make music, specifically digital sounds, but also could play the piano and was teaching himself how to play the guitar. He loved to be in the company of his Husky, Rocky, who also perished in the fire. Tyler loved spending time with family and always encouraged game night. He is remembered as goofy, fun-loving, easy to talk to, and he was always eager to help others and loved to make others laugh. Tyler is survived by his parents, Jennifer Nine (and Devin Phares) of Toledo and Randy Tussing (and Charity McGuire) of Fayette; siblings Logan Tussing, 16, at home, Oliver Tussing, 1, at home, Sophia McGuire, 7, at home, and John Beach of Toledo, Ohio; paternal grandparents Linda Orel of Fayette and Richard Tussing of Napoleon, Ohio; paternal great-grandparents Bill and Lila Butts of Adrian, Mich., and Edith Tussing of Toledo; maternal aunt and uncle Laura (and Bill) Smith of Fayette; paternal aunt and uncles Richard Tossing of Toledo, Jeremy Tussing of Wauseon, Desiree Tussing of Napoleon, Jonathan Orel of Fayette, and Joshua Orel of Fayette; maternal cousins Aubrey, Cameron, Sadeze, Nathaniel, Alexis and Jase; and numerous paternal cousins. Tyler was preceded in death by his sister, Katie Tussing; his maternal grandparents Ruth Ann Beach and Charles Nine; and maternal great-grandmother Blanche Lucy Nine. Visitation for Tyler and Katie is planned from 11 a.m. to 1 p.m. Friday, July 5, at Eagle-Marry Funeral Home in Fayette. A graveside service will follow at 2 p.m. at Pleasant View Union Cemetery in Fayette, with Pastor Andy Reynard officiating. Memorial donations are suggested to the family or by donating through the crowdfunding link on the funeral home website. Katie Marie Tussing, 18, of Fayette, Ohio, died June 29, 2024, in a tragic fire at her home. She was born Nov. 25, 2005, in Wauseon, Ohio, the daughter of Jennifer Nine and Randy Tussing. Katie recently graduated in May with the Class of 2024 at Fayette High School. She was employed at NRI Industrial Sales of Delta, Ohio, alongside her father and brothers. There she worked as a photographer for their online sales division. Katie was known as an amazing person and gifted artist. She was skilled at drawing and painting, and she loved eating chocolate ice cream. She lived for her animals, all who lost their lives in the fire, including her two Huskies, Ash and Ellie, and two cats, Elsa and Pumpkin. Katie was a caring person and loyally dedicated to her family. Katie is survived by her parents Jennifer Nine (and Devin Phares) of Toledo and Randy Tussing (and Charity McGuire) of Fayette; siblings Logan Tussing, 16, at home, Oliver Tussing, 1, at home, Sophia McGuire, 7, at home, and John Beach of Toledo, Ohio; paternal grandparents Linda Orel of Fayette and Richard Tussing of Napoleon, Ohio; paternal great-grandparents Bill and Lila Butts of Adrian, Mich., and Edith Tussing of Toledo; maternal aunt and uncle Laura (and Bill) Smith of Fayette; paternal aunt and uncles Richard Tussing of Toledo, Jeremy Tussing of Wauseon, Desiree Tussing of Napoleon, Jonathan Orel of Fayette, and Joshua Orel of Fayette; maternal cousins, Aubrey, Cameron, Sadeze, Nathaniel, Alexis and Jase; and numerous paternal cousins. She was preceded in death by her brother Tyler Tussing; her maternal grandparents Ruth Ann Beach and Charles Nine; and maternal great-grandmother Blanche Lucy Nine. Visitation for Katie and Tyler is planned from 11 a.m. until 1 p.m. Friday, July 5, at at Eagle-Marry Funeral Home in Fayette. A graveside service will follow at 2 p.m. at Pleasant View Union Cemetery in Fayette, with Pastor Andy Reynard officiating. Memorial donations are suggested to the family or by donating through the crowdfunding link on the funeral home website. Sandra Kay Upcott, 75, of Morenci, Mich., died June 26, 2024, at ProMedica Toledo Hospital. She was born Oct. 27, 1948, in Pontiac, Mich., to Delbert and Dorothy Hardenburgh. On July 22, 1967, in Waterford, Mich., she married Terry Upcott, and he survives. Sandy was known to be always proper – a true lady. She was consistently involved in church and made sure that everyone there felt loved and welcomed. Any project that she took on was not complete until it was done to perfection. She did all of this with grace and humility, never wanting to be in the spotlight. She truly did not know her own worth. Her pride in her children and grandchildren was shared with anyone who would listen. She spent much time teaching them. Whether it was academic, personal, or spiritual, she made sure that they all had learned what they would need for this life. She always said, “I love you and Jesus loves you!”, making sure they knew that she loved Him, and He loves them. When she touched your life, whether it was in a big way or a small way, you knew that you were loved. She is survived by her husband Terry; children Pastor Terry C. (and Jennifer) Upcott and Tracy (and Floyd) Schell; 10 grandchildren; five great-grandchildren; brother Ethan (and Tammy) Hardenburgh; and sister Roxanne Hardenburgh. Along with her parents, she was preceded in death by a brother, Roger Hardenburgh; and a sister, Carolyn Newcombe. Visitation is planned from 10 a.m. until noon Monday, July 1, at Eagle-Marry Funeral Home in Morenci. Funeral services will follow at noon with Pastor John Rath of First Baptist Church in Hudson, officiating. There will be no burial, as cremation will follow. Memorial donations are suggested to First Baptist Church in Hudson. Jennavieve Ebersole, 16, of Bryan, Ohio, died June 25, 2024, the result of an automobile accident. She was born Sept. 1, 2007, in Wauseon, Ohio, the daughter of Eric Ebersole and Michelle (Lawson) Wasson. Jenna recently completed her sophomore year at Bryan High School. Jenna effortlessly captivated hearts with her free spirit and her great appreciation for humor. She loved to laugh as much as she loved to make others laugh, often followed by her self-proclaimed expression, “I’m so funny.” She had a contagious energy about her and despite her age, was always the most strong-willed, spontaneous, adventurous, and determined person in any room. Her life was consumed by the countless friendships that blessed her. She lived for her family and was a devoted aunt to many nieces and nephews. She spoke of them with such great joy which was often followed by her infectious smile causing her eyes to disappear. She adored them deeply as they brought out her tender side. She also had a special place in her heart for her beloved canine companions. Jenna leaves behind a legacy of living life to its fullest and reminds us that life is a gift, and to never take a single moment for granted. Jenna is survived by her mother Michelle (and Jacob) Wasson of Bryan; father Eric Ebersole (and Necole Lynch) of Fayette; maternal grandmother Barbara Staffey of Fayette; siblings Lacotus Ebersole of Chicago, Ill., Kylee (and José) Cordova of Bryan, McKenna (and Jordan) Robb of Bryan, Dylan Ebersole (and Jasmine Ramos) of Wauseon, Ethan Wasson of Bryan, Kiah Wasson (and Andrew Ehlers) of Bryan, Bradley Moser of Bryan, Calysta Wasson of Bryan, Peyton Ebersole of Bronson, Mich., Ashley Nofziger of Bryan; and numerous aunts, uncles, nieces, nephews and extended family members. She was preceded in death by her maternal grandfather Don Staffey and her paternal grandparents Loyal Ebersole and Irene Borton. Visitation is planned from 1 to 7 p.m. Sunday, June 30, at Eagle-Marry Funeral Home in Fayette. A private funeral service for the family will be held, with burial to take place in Pleasant View Union Cemetery in Fayette. Memorial donations are suggested to the Make-A-Wish Foundation. Homer Harry Keefer, 84, died June 2, 2024, at Fulton Manor in Wauseon, Ohio. He was a son of Alfred and Burdella (Brink) Keefer, born May 8, 1940, and was the sixth and last child born at the homestead located on US-20 in Fayette, Ohio. He married Marilyn Snow on July 11, 1959, and they were married for 35 years until her passing. Homer was a lifelong farmer in Fayette and didn’t move far from the homestead to make his home for 65 years. He resided there until a recent fall that resulted in a hospital stay and the move to a nursing home. Homer always took pride in Fayette FFA and proudly wore his jacket during his high school years. He showed registered Hampshire hogs, raised on the family farm, and received champion ribbons several years. He often spoke of Ed Green as an outstanding advisor and learned a lot from the agriculture and shop programs. Homer was a proud member of the Gorham Fayette High School Class of 1958. He had many fond memories of his classmates and often told stories of good times spent with all. During his last few weeks, he still mentioned their names and wondered how they all were doing. Homer attended every class reunion and enjoyed reminiscing. Homer and Marilyn were members of the Fulton County Pork Chop Club for many years and grilled a lot of sausages for the famous “fair sausage sandwich.” He also supported the pig scramble at the Fulton County Fair and took loads of feeder pigs to the fair, greased and ready to be caught by the kids to take home and raise. For many years he volunteered to cook sausage at Zone School for their Pancake and Sausage Supper fund raising project. He was a community person and had a big heart, willing to help anyone. He often volunteered for projects such as removing old bleachers at the school, helping neighbors farm, joining in a building project or cleaning up fallen trees. He enjoyed weekly trips to Shipsewanna and Topeka, Ind., hauling pigs and cattle with Farmer Brackman or Butch Opdycke to sell or bring home to raise, sometimes making two trips on the same day. Eventually his grandson Joshua came into tow and he was taught the process, even with the trip to the Cheese Factory and Yoder Meat Market to get cheese and German bologna that they would snack on the way home. Homer was an avid card player and never turned down an opportunity to play a game of cards at the family kitchen table, at Powers’ Station, Fayette Legion, Morenci Legion, card night with several local couples or many nights at Floyd Opdycke’s home. In recent years, Gary Rice served as his card playing partner, bragging about how good they were. Homer loved his grandchildren and was interested in their activities, especially if it was a sport or a 4-H project. He was planning to attend the Fulton County Fair this year to see the great-grandchildren show their hog and cattle projects. Even though in his later years getting around was not easy, he always wanted pictures that he proudly displayed. He told everyone he met about the kids’ accomplishments. Homer is survived by his three children, Janie Keefer of Fayette, Jeff (and LaWonda) Keefer of Fayette and Kelly (and Tracy) Bentley of Fayette; seven grandchildren, Joshua, Tiffany, Kara, Brandy, Samantha and Quintin; and great-grandchildren Garrett, Brink, Monroe, Grant, Jasper, Kadrin, McKaya, King, Leo, Levi, Louie, Logon and Ezmay; brother Ed Keefer; and numerous nieces and nephews. He was preceded in death by his parents; wife; brothers Harold and Curtis; sisters Bernice, Jeannie, Mary Lou and Luanne; granddaughter Amber Lea Stockman and great-granddaughter McKinley Jo Opdycke. Visitation is planned from 3 to 7 p.m. Wednesday, June 5, at Eagle-Marry Funeral Home in Fayette. A private funeral service for the family will be held with burial to take place in Pleasant View Union Cemetery in Fayette. Memorial donations are suggested to the Fayette Volunteer Fire Association. Barbara Jo Foss, 70, of Fremont, Ind., and formerly of Morenci, Mich., died May 8, 2024. Barb was born Oct. 8, 1953, in Chatham, Ontario, Canada, the daughter of Morgan Presack Smith and Catharine Francis (Gallagher) Smith. Barb was a devoted mother, grandmother, wife, sister, aunt and a cherished friend to many. Raised in East Lansing, Mich., she loved the Spartans. She and her husband Kevin raised their family in Morenci. She was a member of the PTO, and met many dear friends while her children were in school. When her children were grown, Barb and Kevin moved to Clear Lake, their favorite place on earth. Her family was the center of her universe, and she showed unwavering love and support for each member. Whether cheering on at sporting events, attending school functions, or celebrating milestones, she was always there. She possessed a talent for sewing and found joy in creating. Barb and her sister Maureen began Beeyond Paper where they could help create beautiful pieces for their clients. She was known for her love of good food and great desserts. Her love for pink was a reflection of her vibrant personality, and it was evident in every aspect of her life. Her kindness, passion and genuine presence will be dearly missed by all who were fortunate enough to know her. In addition to Kevin, her husband of 38 years, Barb is survived by children Sean (and Shannon) Smith, Kevin (and (Lyndsey) Foss II, and Molly (and Rhett) Figley; seven grandchildren, Hailey, Gabriel, Natalie, Liam, Rogan, Eliza and Ruby; sisters Cathy (and Don) Schroeder and Maureen (and Bob) Phelps; and many nieces and nephews. She was proceeded in death by her brother, Morgan Smith. Visitation is planned from 4 to 7 p.m. Monday, May 13, at Eagle-Marry Funeral Home in Morenci. A Funeral Mass will be celebrated by Father Stephen Stanbery at 11 a.m. Tuesday, May 14, at Holy Trinity Catholic Parish in Assumption. Rite of Committal will follow in Our Lady of Fatima Cemetery. Kelly Jeanne Zuvers, 58, of Morenci, Mich., died May 8, 2024, at Fulton Manor in Wauseon, Ohio. Born Aug. 9, 1965, in Morenci, she was the oldest child of Jack and Georgia (Ford) Zuvers. Born with Down Syndrome, Kelly was one of the first graduates with special needs to receive a diploma from Morenci Area Schools. She graduated in 1986 and was a lifelong Morenci resident. During high school, Kelly began employment as a dishwasher at the Village Inn restaurant, where she worked several days a week for more than 25 years. She was a faithful member of Medina Federated Church and a lifetime member of the Hope Community Center in Adrian. A creature of habit, Kelly was regimented in her daily routines. She loved watching scary movies and was a fan of several television series including “Dukes of Hazard,” “The Waltons,” and “Little House on the Prairie.” She enjoyed reading so much that she took a book nearly everywhere she went. She also enjoyed playing video games. Eating was one of her favorite activities, and she always enjoyed going out of town shopping, knowing the trip would reward her with a meal out. Kelly’s unique happy disposition and fun-loving personality touched the lives of many in her community, and she received just as much love as she gave to others. She is survived by her mother Georgia Zuvers of Morenci; sister Kristy (and Mike) Shaffer of Morenci; brother Scott (and Natalie) Zuvers of Morenci; nieces and nephews McKenna Shaffer (and Dylan Leathers) of Odessa, Texas, and Mason Shaffer, Josette Zuvers, Emily Zuvers, Tessa Zuvers and Noah Zuvers, all of Morenci; and many aunts, uncles, cousins and extended family. She was preceded in death by her father, Jack; a nephew, Garrett Shaffer; and all of her maternal and paternal grandparents. Cremation will take place. Visitation is planned from 2 to 4 and 6 to 8 p.m. Tuesday, May 14, at Eagle-Marry Funeral Home, Morenci, as well as on Wednesday morning, from 10 a.m. until the memorial service begins at noon, with Pastor Darren Lemmon officiating. Inurnment will follow at Oak Grove Cemetery, Morenci. Memorial donations are suggested to Hope Community Center in Adrian or Medina Federated Church. Max Borton, 96, a lifelong resident of rural Fayette, Ohio, died May 7, 2024, while in the care of his family and CHP Hospice. He born at home in Fayette on Dec. 12, 1927, to Paul and Olive (Cousens) Borton. Max married the love of his life, the former Paula Rose Robison, on Dec. 30, 1945, and she preceded him in death Nov. 25, 2013. Max was a 1945 graduate of Gorham-Fayette High School. He was a proud lifelong farmer. He faithfully attended the Fayette Christian Church-Disciples. Max and Paula enjoyed their retirement years at their home on Black Lake in Onaway, Mich., in the summer, and at Okeechobee, Fla., in winters. Children and grandchildren remember visiting at Black Lake, where they enjoyed fishing and swimming. Surviving are four children, Greg (and RaeNel) Borton of Coldwater, Mich., Penny (and Dan) Creighton of Fayette, Gary (and Carol) Borton of Fayette, and Jennifer Borton of Wauseon, Ohio; 13 grandchildren, Jason, Andrew, Fielding, Wesley, Jadea, Mac, Abigail, Austin, Joshua, Jasmine, Lee, David and Allison; 28 great-grandchildren; a great-great grandson; two sisters, Helen (and Doyle) Sommers of Oregon, Ohio, and Martha Wyse of Archbold, Ohio; a brother, Dan (and Nancy) Borton of Columbus, Ohio; and sisters-in-law Iola Borton of Morenci and Beverly (and Roger) Knuckle of Fayette. Max was preceded in death by his parents; wife of nearly 68 years, Paula; brother, Wally Norton; two sisters, Sharon Borton in infancy and Polly Rousch; brothers-in-law, Roland Turnow and Sparks Wyse; and a son-in-law, Randy Merillat. Visitation is planned from 9 to 11 a.m. Saturday, May 11, at Fayette Christian Church-Disciples of Christ. Funeral services will begin at 11 a.m., led by Pastor Craig Bard. A celebration of life reception will follow the service until 3 p.m. at the Family Life Center, 306 E. Main St., Fayette. Max will be laid to rest next to his wife in a private committal service at Pleasant View Union Cemetery. Arrangements were made with Eagle-Marry Funeral Home, Fayette. Memorial donations are suggested to Fayette Christian Church-Disciples of Christ or the Fayette Volunteer Fire Association. Nancy W. Boyd, B.A., M.S., Ph.D., 88, of Sylvania, Ohio, died May 2, 2024, at Otterbein Sunset Village in Sylvania. Born June 10, 1935, in Hudson, Mich., she was the youngest of nine children from the union of Carroll and Mary (Dick) Cramer. Nancy lived her formative years on the family farm in Medina Township near the intersection of Munson Highway and Lime Creek Road. She attended and graduated from Gorham Fayette High School. Education was important throughout her entire life, and she received a bachelor’s degree from Bowing Green University, a master’s degree from Ohio State University, and ultimately earned a Ph.D. from Bowling Green State University. An accomplished teacher, she taught numerous foreign languages at Northview High School in Sylvania, Tecumseh High School and Toledo Public Schools, before serving as a English literature professor at her alma mater, BGSU. Throughout her life, Nancy had a passion for reading, and enjoyed cooking and knitting. She was blessed with various travels abroad, including visiting France and Norway. She possessed a lifelong admiration for her father’s farm and the farmers’ way of life, not only in the way they provided for their family, but in being good stewards of the earth’s natural resources. Her early life on the farm fostered her lifelong love of animals, as well as strong values that she put into practice in raising her family. She was known as a loving and wonderfully encouraging mother and grandmother. Nancy married the love of her life, Merle T. Boyd, on June 13, 1959, at the Morenci First Congregational Church. Her husband of nearly 65 years survives. Also surviving are their four sons, Greg Boyd of Riga, Mich., Jeff (and Julianne) Boyd of Toledo, Scott (and Krista) Boyd of St. Paul, Minn., and Michael (and Nora) Boyd of Minneapolis, Minn.; 12 grandchildren, Ivan, Tony, Mitch, Noah, Anna, Taylor, Parker, Lauren, Matilda, Molly, Elliot and Vivienne. She was preceded in death by her eight siblings, Arlo Cramer, Virginia Zehnfennig, Ivan Cramer, Lynn Cramer, Valewayne Cramer, Ruby Brito, Carlloyd Cramer and Norville Cramer. Visitation is scheduled at noon Monday, May 6, at Eagle-Marry Funeral Home in Morenci until the funeral service begins at 2 p.m., with Pastor Gregg Morrison officiating. Burial will follow in Oak Grove Cemetery in Morenci. Lynn William Elarton, 84, a resident of of Temperance, Mich., for more than 50 years, formerly of Morenci, Mich., died April 5 at the Hospice Center of Northwest Ohio, after many health complications. Lynn was born in 1939 to Earl and Evelyn Elarton. He grew up on a farm and enjoyed the small-town life, with its simplicity and friendships. Lynn was a veteran of the United States Army, serving in Hanoi, Germany, from 1955-57. He also worked as assistant superintendent serving the City of Morenci for years before becoming a wallpaper hanger and professional painter. He was employed with Chas. F. Mann Painting of Toledo, Ohio, and was a member of the Painter Union Local 7. In 1991, Lynn was involved in a horrific auto accident, which left him with many injuries, including a closed head injury. After a year of rehabilitation, Lynn fought his way back to independence through hard work, determination, and a lot of therapy. He enjoyed refinishing antique furniture and his family and friends throughout his life. He worked on the most challenging crossword puzzles and enjoyed reading the news. In 2015, Lynn moved to Temperance to be closer to his son for increased help and care. Lynn resided at Moongate Senior Apartments during his eight years in Temperance. There, he made many new friends. He also became friends with many people from Compelled Church in Temperance, the church where his son, Rev. Nate Elarton, is the lead pastor and founder. He loved his Wednesday morning visits with his friend Al Lawrence and others who would stop in, bring food, and check on him. Lynn loved his family and stayed connected through phone calls and visits. He will be remembered for his work ethic, quick wit, and fantastic storytelling ability. He was a kind, generous, loving friend, dad, brother and grandpa. He was constant and always available. Lynn is survived by the kids he had or raised as his own, Nathan (and Wendy) Elarton, Pam (and Kevin) Arquette, Mark (and Tricia) LeVeck, and Amy (and Bob) Boothman, son-in-law Mike Fee, daughter-in-law Darlene LeVeck; brothers Dennis and Larry (and Bonnie) Elarton; sister Karen (and Larry) Kast; 13 grandchildren and 15 great-grandchildren dearly. Lynn was preceded in death by his parents; brother Alan; his former wife and friend Patricia Murphy; stepsons Patrick Green and Steve LeVeck; and grandchildren Amber Darcie Fee and Josh LeVeck. The family will have a private graveside service at a later date. Roger Carl Beaverson, 85, of Belle Center, Ohio, died March 15, 2024, at Dublin Methodist Hospital. Roger was born Oct. 19, 1938, in Fayette, Ohio, to Carl and Grace (Zuvers) Beaverson. Roger married Brenda Sullivan on April 28, 1967, at the Belle Center United Presbyterian Church, and she survives. A veteran of the U.S. Army, Roger served in Korea during the Vietnam Era. After moving from northwest Ohio to Belle Center in 1965, Roger worked at the Herald-Voice newspaper for many years. He was a member of and deacon at the Belle Center United Presbyterian Church, a member of the American Legion Willard Stout Post 266 in Belle Center, and a co-founder of the Murray Griffin Memorial Park, also in Belle Center. Roger was a fan of all sports, but especially loved baseball. He attended the George Barr Baseball Umpire School in Lakewood, Fla., and from there went on to umpire in the Minor Leagues for a time. He enjoyed following the University of Cincinnati Bearcats football and basketball programs as well as the Cincinnati Reds. Roger loved pets, and always insisted on having a house dog or cat as well as many outside. After retiring from Honda in 2004, he very much enjoyed driving for his friends in the Belle Center Amish community. After his daughter’s diagnosis of Lupus SLE, Roger organized and hosted an annual Lupus Golf Outing fund-raiser for many years. In addition to his wife, Roger is survived by children Sheri Lynn (and Steve) Deerhake of Columbus, Ohio, Gregory James (and Wendy) Beaverson of Woodstock, Ohio, and Derin Carl (and Mayla) Beaverson of Rushsylvania, Ohio; five grandchildren, Gracie, Megan, Emily, Henry and Maya Beaverson; five sisters, Doris Leininger of Quincy, Mich., Carol Pfund of Wauseon, Ohio, Mary Ferris of Morenci, Mich., Mabel Hudson of Delta, Ohio, and Glenda Towers of Fayette. He is also survived by numerous nieces and nephews. He was preceded in death by his parents and brother Russell Beaverson. Funeral services were March 22, at Belle Center United Presbyterian Church. Burial followed in Fairview Cemetery, Belle Center, with veteran honors provided by members of the Logan County Honor Guard. Memorial contributions are suggested to the Michael J. Fox Foundation for Parkinson’s Research, P.O. Box 5014, Hagerstown, MD 21741-5014. Jack E. Sterling, 69, of Morenci, Mich., died March 25, 2024, at ProMedica Toledo Hospital after a lengthy illness. Jack was born Nov. 16, 1954, in Hudson, Mich., to Richard E. and Blanch I. (Wilcox) Sterling. He attended and graduated from Morenci Area High School, and almost immediately entered the United States Air Force, serving his country for 20 years. While in the Air Force, he married Patricia Ryan in Banbury, Oxfordshire, England, and she survives. Upon return to the United States, he worked at several businesses, eventually retiring from SKD in Jonesville, Mich. In his free time, Jack loved to tinker in his garage with a Budweiser in his hand, while listening to the radio. He was also a big dreamer, with plans this spring to grow a garden big enough to feed Morenci. He loved fishing and being on the boat, even though he was afraid of water. He loved his dogs and anything to do with family getting together. Jack is survived by his wife Trish; children Stephen (and Farra) Ryan, Lucie Mansfield, James (and Casey) Ryan, and Kim Sterling; grandchildren Evan Mansfield, Grace Ryan, Landon Mansfield, River Ryan, Logan Ryan, Remi Ryan, Ryder Ryan, Ridge Ryan, Alex Kendrick and Shawn Kendrick; four great-grandchildren; sister Kathy (and Larry) Cheesbro; and many nieces and nephews. He was preceded in death by his parents; son Jason Sterling; and sisters Linda Sterling, Karen Johnson and Peggy Birr. Visitation is planned from 4 to 7 p.m. Monday, April 1, at Eagle-Marry Funeral Home in Morenci. Memorial services will will begin at 11 a.m. Tuesday, April 2, also at the funeral home. Interment of his cremated remains will follow in Oak Grove Cemetery, Morenci. Memorial contributions are suggested to the family for future designation. Donna Fay Thompson, 73, of rural West Unity, Ohio, died March 23, 2024, in the comfort of her home surrounded by her loving family, while under the compassionate care of Elara Caring Hospice. Born July 31, 1950, in Wauseon, Ohio, Donna was the second oldest of seven children to the union of Franklin Monroe and Doris Mae (Short) Stamm. Donna grew up on a farm in northern Henry County and attended Archbold High School, where she earned a diploma in 1968. She married Larry Lowell Thompson on Sept. 26, 1970, at Central Mennonite Church in Archbold. They were blessed with three children and enjoyed over 53 years of companionship and cherished memories. Having a lifelong passion for children, Donna’s home was renowned in the local West Unity and Fayette communities as a loving haven for babysitting those of working parents. She also worked several years at Lauber Manufacturing. In more recent years, she was employed as a teller supervisor at the Farmers & Merchants State Bank branch in West Unity, from where she ultimately retired. Donna exhibited her creative talents in crafting dolls and outfitting them with her custom designs. Also skilled with the crochet needle, she is remembered for making and gifting blankets to newborns of her family and friends throughout the years. Recently she enjoyed creating picture art with diamond dots kits. Donna was a kind, thoughtful and spunky woman who found great interest in keeping involved and informed in the lives of those she cared for. She approached life one day at a time, a mindset that helped her persist through the tribulations of her six-month cancer diagnosis. A peace-loving person, Donna vowed to never go to sleep at night harboring any anger or ill feelings; she was determined to always find resolve. In addition to her husband, Larry, Donna is survived by daughter Christina (and Larry) DeAngelis of Cleveland Heights, Ohio; son Clint (and Joni) Thompson of West Unity; five siblings, Diane (and Lowell) Nafziger of Goshen, Ind., Curtis (and Kay) Stamm of Archbold, Sammy (and Joy) Stamm of Chillicothe, Ohio, Susie Stamm of Archbold, and Judith (and Jim) Estel of Wauseon; five grandchildren, Madison (and Tyler) Gray, Samuel Thompson, Everett Thompson, Nico DeAngelis and Alessandra DeAngelis; and one great-granddaughter, Vaira Gray. Preceding Donna in death were her parents; an infant daughter, Regina Thompson in 1971; and a brother, Terry Stamm in January 2024. All services will be private, and she will be laid to rest at Pleasant View Union Cemetery in Fayette. Arrangements were made with Eagle-Marry Funeral Home, Fayette. Memorial donations are suggested to Cleveland Clinic Cancer Research or Elara Caring Hospice. Ivan Russell Gillespie, 90, died March 6, 2024. He was born Sept. 28, 1933, to Forest and Gladys Gillespie (Gleckler). He grew up in Lyons, Ohio, and was the oldest of three children. Ivan married his beloved wife and high school sweetheart Joyce Lindsay in 1953. Ivan graduated as salutatorian from Lyons High School in 1951, the same year Joyce graduated from LHS as valedictorian. Ivan was very involved in high school activities including basketball, baseball and band. He was an avid builder of powered model planes, flying them over the cornfields near Lyons. After graduation, Ivan attended Bowling Green State University (BGSU), with Joyce moving with him to Bowling Green in 1953, after they married. While at BGSU, Ivan majored in industrial arts education, graduated in 1955, and became a certified teacher. At BGSU, he was a pitcher for the varsity baseball team, a member of the varsity basketball team, and a member of Phi Epsilon Kappa fraternity. After college graduation, Ivan and Joyce returned to Lyons where their two children, Dawn and Brad, were born. Ivan taught industrial arts and coached basketball and baseball at LHS. In 1962, the family moved to Traverse City, Mich., where Ivan again taught industrial arts and coached basketball at Traverse City High School. In 1966, the family moved to Nome, Alaska, where Ivan taught industrial arts and later became high school principal. The family later moved to Anchorage and North Pole/Eielson before Ivan and Joyce settled in Fairbanks, for 33 years. While in Eielson and Fairbanks, he served as principal of Ben Eielson High School, vocational education director for the Fairbanks school district, and principal of West Valley High School. During this time, he also served as a state board member for Alaska State Athletic Association. Due to Joyce’s health concerns, the couple moved to Anchorage in 2014, residing at the Alaska Pioneer Home. After Joyce’s death in 2014, Ivan moved to his last residence at the Primrose Retirement Community in Wasilla, Alaska. Ivan enjoyed traveling extensively with Joyce, visiting China, Australia, New Zealand, Tahiti, Fiji, Bora Bora, Venezuela, Panama, Aruba, the Bahamas, England, Scotland, Ireland and Europe. Hawaii was a frequent respite from the cold weather of Fairbanks and Ivan requested his ashes be partially spread there, joining his wife. Ivan enjoyed watching his children, grandchildren and great-grandchildren participating in sports and other activities. Ivan loved his boat and enjoyed many fishing outings to Valdez, Homer and Seward. He had a lifelong interest in building and tinkering with things and always had a project in the works. Ivan was a skilled pool player, golfed seasonally until he was 89, and thoroughly enjoyed his lunch time crossword puzzles with his Primrose friends. Ivan is survived by his son Brad (and Mary Beth); son-in law Dick Weyiouanna; grandchildren Bradley (and Michelle) Weyiouanna, Jay (and Tina) Gillespie, Claire Cropper, Noah Gillespie, Audrey (and Brett) Kolb, and Grace Gillespie; great-grandchildren Esau, Skye, Matteus, Malcolm, Jameson, and Wren. Ivan was preceded in death by his wife Joyce; daughters Denise and Dawn; brother Doyle; and sister Carol. A Celebration of Life is planned at the Wasilla Primrose Retirement Community on Saturday, March 23. Memorial donations are suggested to the Bowling Green State University athletic program. Joy Short, 86, of Fayette, Ohio, died March 16, 2024, at CHP Defiance Inpatient Hospice following a brief battle with cancer. She was born at home in Defiance, Ohio, on Jan. 3, 1938, the daughter of Clarence Joseph and Esther Marie (Walter) Hesselschwardt. She was raised in Defiance, where she also graduated from high school with the Class of 1956. After high school, Joy worked in Defiance as an operator at United Telephone Company. Joy was introduced at a dance to Colenzo Jay Short, a resident of Fayette, and their instant attraction to each other ultimately led to marriage on May 30, 1958, in Delaware Bend, Ohio. Together, they raised four children and shared more than 63 years of wedded bliss, before his passing Oct. 15, 2021. After settling in Fayette, Joy worked briefly at Wannemacher's Rexall Drugstore before assuming the role of bookkeeper in her husband’s business, Short’s Cabinet shop. This allowed her the privilege of staying home to perform her most important job—serving as a mother to her four children. Active in her community, Joy was involved as a member of the Fayette Firebelles and the Child Conservation League (CCL). She was steadfast in her values as a lifelong Roman Catholic and she was heavily involved in her faith community, Our Lady of Mercy Church. She served her parish as a member of the Altar Rosary Society, a friendly hostess for its annual fall festival, and a Sunday Offering counter. She proudly volunteered for years at the St. Vincent DePaul Society. Joy also enjoyed being outside doing yard work and gardening, each season canning and freezing the excess of her plentiful harvest. She was blessed with travels throughout all of the 50 states as well as several countries abroad. Over the last 20 years, Colenzo and Joy spent winter seasons at South Padre Island, Texas. There they met numerous winter Texans and formed tight bonds with them that led to gatherings together even in the summer months. She loved crossword puzzles and square dancing, and had a love for music. Joy is survived by children Jerry (and Linda) Short of Fayette, Julie Schumacher of Cincinnati, Ohio, and Jon (and Judi) Short of Antwerp, Ohio, and a daughter-in-law, Brigid Short of Cincinnati; seven grandchildren, Kyle (and Mandy), Kurt, Kody (and Harley), TJ (and Erin), Sierra (and Anthony), Peyton and Alexandra; a step-grandson, Alex; six great-grandchildren, Scarlett, Mercy, Ryker, Tate, Amara and Enzo; and a step-great granddaughter, Nyara; siblings Jan (and Floyd) Layman, John Hesselschwardt, Jane (and Orville) Clark; a sister-in-law, Shirley Stuckey; and many nieces and nephews. In addition to her parents and husband, Joy was preceded in death by two sons, Terri Lee Short and Jeffrey Allen Short; a brother, James Hesselschwardt; and a son-in-law, Mark J. Schumacher. Visitation will begin at 2 p.m. Wednesday, March 20, at Eagle-Marry Funeral Home in Fayette, concluding with a Rosary at 7 p.m. Joy will lie in state at Our Lady of Mercy Catholic Church in Fayette from 10 a.m. Thursday until Funeral Mass is celebrated at 11 a.m. by Rev. Father Bill Pifher. Rite of Committal will follow in Pleasant View Union Cemetery. Memorial donations are suggested to Our Lady of Mercy Church Parking Lot Fund, CHP Hospice, or Heartland Hospice/Laurels. Joshua Douglas Anders, 33, of Wauseon, Ohio, died Feb. 29, 2024, at St. Vincent Mercy Medical Center in Toledo, Ohio. He was born Jan. 18, 1991, to Paul and Theresa (Leonowicz) Anders. Josh attended and graduated from Tecumseh High School. He then served his country in the United States Army. On March 9, 2022, he married Stephanie Simpkins in Wauseon, and she survives. Josh was a plumber by trade. Josh was a family man and loved to take care of his family in any way he could. His grandmother, Patricia Gloss, was the love of his life, along with his granddaughter and his K-9 son, Duke. He was the “mean” but very over-protective brother to Jessie. Josh took pride in his work as a plumber and worked hard for everything he had, never taking a handout from anyone. He was a “firecracker,” a one-of-a-kind person who was very generous to anyone in need. In his free time, he loved anything Harry Potter and loved to play disc golf. Josh is survived by his parents, Paul (Marolyn Perry) Anders and Theresa (Donald) Adners-Hughes; wife Stephanie; sons Eli Fowler and Nolan Fowler; daughter Kaydence (and John) Sawyer; granddaughter Greenlee Sawyer; sisters Jessie Anders (and Adam Warner) and Kayleigh (and Mackenzie) Moore; grandparents Dennis (and Phyllis) Anders and John Leonowicz; mother-in-law Carol (and Matthew) Dunn; father-in-law John (and Debbie) Simpkins; brothers-in-law Matthew (and Megan) Simpkins and Brandon (and Ashley) Frederick; sisters-in-law Haley Simpkins and Matea (and Kyle) Minion; nieces Piper Warner and Madelyn Barnhart; and nephews Crue and Case Simpkins, Grayson Warner, Kye Minion, Brody Frederick and Noah Moore. He was preceded in death by a grandmother, Patricia Gloss; and a niece, Miley Marie Barnhart. Visitation is planned from 2 to 8 p.m. Thursday, March 7, at Eagle-Marry Funeral Home in Morenci. Funeral services begin at 11 a.m. Friday, March 8, with Pastor Maryann Reimund officiating. Cremation will follow services. Memorial contributions are suggested to the family for future consideration or through the crowd funding link on Josh’s obituary page. Larry L. Hand, 75, of Fayette, Ohio, died Feb. 25, 2024, at the University of Toledo Medical Center, following months of ailing health. He was born April 4, 1948, in Wauseon, Ohio, to Melvin “Fuzz” and Mildred “Mid” (Town) Hand. Larry lived his early life near Birmingham, Ala., where he attended Hewitt High School and met the love of his life, the former Brenda Gayle Layfield. They married three years after first meeting on Jan. 5, 1968, in Pinson, Ala. Later that year, they moved to Fayette to be near Larry’s family, and together they raised three sons and enjoyed 56 years of cherished memories as husband and wife. In Larry’s early working career, he was employed at Hayes-Albion in West Unity, Ohio, and Fayette Tubular Products before he was given an opportunity to work as a hearing aid specialist. Larry later owned and operated the Hearing Center of Northwest Ohio in Wauseon and Bryan, alongside his wife Brenda, for 17 years until 2019. Larry loved classic cars and owned several throughout the years. He also liked to fish and golf. His main passion in life was his family, whom he was most proud of, and they ranked second only to his love for Jesus Christ, his Savior. He lived his life serving and loving others, and always exemplified Christian values. In addition to his wife, Larry is survived by sons, Kerry (and Dianna) Hand of Ney, Ohio, Shawn (and Sheila) Hand of Fort Wayne, Ind., and Craig (and Stacy) Hand of Bryan, Ohio; four brothers, Melvin Hand of Austin, Texas, Tony (and Deana) Hand of Fayette, Mike (and Debbie) Hand of West Unity, and Ronnie (and Petra) Hand of Germany; grandsons Shay Hand and his mother, Sandy Lash of Kendallville, Ind., and Jesse Hand of Bryan. In addition to his parents, Larry was preceded in death by a sister, Sherry Dietrich, and a brother, Donald Hand. Visitation is planned from 11 a.m. until 1 p.m. Friday, March 1, at Eagle-Marry Funeral Home in Fayette, with the funeral service beginning at 1 p.m. Pastor Dan VanArsdalen will officiate. Burial will follow in Pleasant View Union Cemetery in Fayette. Memorial donations are suggested to the American Kidney Fund. James (Jim) R. Sproull, 92, of Palmetto, Fla., died Feb. 9, 2024. Jim was born March 18, 1931, in Morenci, Mich., to George L. and Eva M. (Myers) Sproull. Following high school graduation (1949), he enlisted in the U.S. Air Force where he served as an aircraft mechanic until honorably discharged in 1953. He married his high school sweetheart, Marilyn J. Emerson, in 1951. Following military service, Jim and Marilyn joined in-laws Waldo and Alison Emerson as co-owners of Rapids Food Market in Grand Rapids, Ohio, where he was the meat cutter for 18 years. While in Grand Rapids, Jim was a member of Alva N Sidle Post 232 American Legion, founding member of the Grand Rapids Area Swimming Pool board, Zenobia Shrine Jeepster Unit, and an honorary member of Masonic Lodge 289. He also served the community as a volunteer fireman, later serving as fire chief. After selling the grocery store, the couple wintered in Florida for several years, and returned to Grand Rapids where Jim worked as a millwright for a few summers. Later he spent several summers working for Kenny Bostleman building log homes before retiring permanently to Palmetto, Fla., in 1990. He was an active member of the Piney Point community, and was a member of the Square Club. Throughout his life Jim's hobbies included restoring a Ford Model T, western square dancing, golf, playing cards and home maintenance. He was often called upon by family and friends to solve problems and help make renovations and repairs. As one of his children bragged, "My Dad can fix anything!" He also had the unique ability to read the newspaper, watch television, and take a nap—all at the same time. One of his favorite sayings was, “Now let’s not get all excited here.” Jim is survived by daughters Susan (and Barry) Summers of Catoosa, Okla., and Michele Sproull of Marquette Mich.; grandchildren Lindsay (and Andrew) Metzger of Longview, Texas, Andrew Summers of Catoosa, Okla.; great-grandchildren Alexander and Ian Metzger, also of Longview, Texas; nephew Greg and nieces Gwynne, Gretchen and Amy. Jim was preceded in death by his wife Marilyn (2017); his parents; his brother Jacques; sister Jacquelin Ebersole; and nieces Becky, Jane and Gennifer. In accordance with Jim’s wishes there will be no memorial services. He will be laid to rest at Oak Grove Cemetery in Morenci, Mich. Memorial contributions are suggested to the following organizations: Grand Rapids Volunteer Fire Department (17706 Wapakoneta Road, Grand Rapids, Ohio 43522), Alva N. Sidle American Legion Post 232 (12580 River Road, Grand Rapids, Ohio) or Zenobia Shrine Jeepsters (8048 Broadstone Blvd, Perrysburg, Ohio 43551). Ryan Neal Hanawalt, 48, of Manitou Beach, Mich., died Feb. 3, 2024, at the University of Michigan health services in Ann Arbor after a lengthy illness. He was born Oct. 5, 1975, in Morenci , Mich., to John F. and Victoria J. (Woodby) Hanawalt. Ryan graduated from Morenci Area High School and on June 27, 1998, he married Angie Atkinson at Rollin Baptist Church, and she survives. He worked in the oil industry for Certarus on the Special Projects Team. First and foremost, Ryan was a family man, spending any time he could with family. He was a lover of anything outdoors – whether it be camping, fishing, or hunting. He loved Michigan Wolverine football, and at Christmas time, would binge watch the Christmas Story and Christmas Vacation. Ryan was known as a hard worker and a very down to earth, simple man. He had a witty sense of humor and loved to make people laugh and smile. Ryan was a man who never met a stranger. He is survived by his wife of 25 years, Angie; son Chaise Hanawalt; daughter Cadence Hanawalt; brother Cody Hanawalt; brother-in-law Jeremy (and Liz) Bolenbaugh; sister-in-law Ashley (and Matt) Wilson; father- and mother-in-law, Parke and Penny Atkinson; aunt Pamela Rump; cousin Sherry (and Steve) Miles; and many nieces and nephews. Along with his parents, he was preceded in death by his grandparents Ford Hanawalt and Caroline Schoonover and Frank and Phyllis Woodby; and an uncle, Larry Rump. Visitation is planned from 4 to 7 p.m. Monday, Feb. 12, at Anderson-Marry Funeral Home in Adrian. Funeral services will begin at 11 a.m. Tuesday, Feb. 13, also at the funeral home, with Pastor Allen Muck, officiating. The family asks that everyone attending the funeral please wear University of Michigan clothing. Cremation will follow services. Memorial donations are suggested to Angie Hanawalt for future designation. Rebecca “Becky” Sue Bismack, 58, of Morenci, Mich., died Jan. 31, 2024, at home with the support of her family and under the care of Hospice of Lenawee. Becky was born April 14, 1965, in Morenci, the fifth of Richard Lloyd and Arleta “Donelda” (Edmonson) Ford’s six children. She graduated in 1983 from Morenci Area High School. For more than 20 years, Becky worked at Consumers Energy in several roles. She started out as a meter reader and went on to become a substation operator before she retired in 2021. On Oct. 5, 2002, Becky married Bill Bismack and they celebrated more than 14 years together before his death in 2017. Becky’s attention to detail and organization was evident in her meticulous lawn. She enjoyed mowing, mulching leaves and making sure no random sticks were laying around. You could drop by any time and find her house and truck in excellent condition, too. Becky was an experienced shopper in the Amish community with Shipshewana being one of her favorite places to go. She was also a collector of Boyd Bears. She was known as a very positive person and would often tell others how blessed she was in life. Her love and kindness radiated out to her family and friends. Becky was a favorite aunt who treasured the times spent with her nieces and nephews. She is survived by siblings Randy (and Lynn) Ford of Schoolcraft, Mich., Robert (and Kathy) Ford of Morenci, Roger (and Carla) Ford of Morenci, and Rhonelda (and David) Craig of Clayton; and many nieces and nephews. Becky was preceded in death by her parents; husbands David McCullough and Bill Bismack; brother Ronald Ford; son Dustin McCullough; and stepson Kurt McCullough. Visitation is planned from 11 a.m. to 1 p.m. Monday, Feb. 5, at Wagley Funeral Home, Adrian. Services will start at 1 p.m. with Dr. Susan Liberadzki officiating. Burial will follow at Packard Cemetery in Seneca Township. Memorial contributions are suggested to Hospice of Lenawee. Marion Lester Mannschreck, 88, of Morenci, Mich., died Jan. 26, 2024. Marion was born March 13, 1935, on the family farm near Morenci to the late Lester and Florence Mannschreck. Graduating from Morenci High School in 1953, Marion attended the agricultural school at Michigan State University before joining the Army. He always said he served in Japan for a year and a half during the only peace time our nation has known. He was proud of his service and developed a great admiration for the Japanese people. Following an honorable discharge from the Army in 1957, Marion began farming on a small 135-acre farm. He eventually farmed 500 acres and raised beef cattle for 45 years. During the winters Marion worked in various factories until purchasing the Standard Oil Agency in Morenci. He ran that business for approximately 10 years and afterwards worked for Pennington Gas Company for another 10 years. Marion enjoyed playing tennis, ping-pong and golf. He enjoyed travel through much of the United States including Alaska and Hawaii, as well as in Japan, England, France, Mexico and Canada. Marion was always up for a card game and enjoyed cribbage, euchre and blackjack. While living at Brookdale Senior Living home in Adrian for the last two and a half years, he enjoyed jigsaw puzzles, Bingo, and blackjack. Marion was known as a hardworking, intelligent, loving and supportive man who possessed a great sense of humor. He was a member of the United Methodist Churches in Morenci and Adrian. Marion is survived by his children Jack (and Ruth), Jill (and Neil) and Beth (and Dan); nine grandchildren, Jennica, Inessa, Danelle, Garret (and Brittany), Lacey (and Jacob), Jeremiah (and Sara), Benjamin, Sarah (and Jeff) and Jonathan; eight great-grandchildren, Damian, Madison, Elizabeth, Liam, Amos, Ezra, Asher and Magnolia; four step-children, Tammy (and Brad), Don (and Lynn), Lisa (and Tim) and Jack. Marion was preceded in death by his wife of 35 years, Carol, and his wife of seven years, Lorraine. A Celebration of Life is planned at 11 a.m. Saturday, Feb. 10, at Adrian First United Methodist Church, 1245 W. Maple Ave., Adrian. The service will be live-streamed through the church’s website. A private burial will take place at a later date. Thomas Henry Orban, 71, of Port Orange, Fla., died Jan. 24, 2024. Tom was born March 6, 1952, to Eugene and Marjorie Orban (nee Myerholtz), of North Morenci, Mich. In his early years, he attended Sacred Heart Catholic School in Hudson, Mich., and then graduated from Morenci Area High School. He enjoyed music, hanging out with friends at Lime Lake, and riding his motorcycle. He took a cross-country road trip on his BSA. He discovered why many students he didn't know would greet him by name – they knew him from his role in the school play – Tom Jones. He later attended Ferris State College, spent a summer in Atlanta, and in 1975 graduated from Michigan State University. He remodeled a house with his brother John while both were in college. Tom enjoyed cooking, and was known to bake black raspberry pies, with berries picked from his back yard. Tom was a master carpenter. He built custom cabinetry and custom mouldings, and he worked on historical restorations, including the dome at University of Michigan Law School, which was a mosaic of exotic woods. He built his first home in Lansing, Mich., and his second home in Leslie, Mich. He constructed many beautiful pieces of furniture including tables, entertainment centers, hutches, a display case, and a roll-top desk which was a collaboration with his father who fabricated the sliding top portion. Tom worked with local builders, as well as through his company, Bear Construction. He was a member of the United Brotherhood of Carpenters and Joiners of America. Tom married Jacqueline Laird on Valentine's Day, and they were together for 33 years until her death in 2012. After retiring to Florida, he enjoyed traveling, singing in the choir, and volunteer work at Catholic Church of the Epiphany. He was a 3rd degree member of the Knights of Columbus. Tom was known as a wonderful husband, brother, and friend who is loved and missed by his family and friends. Tom is survived by brothers and sisters James (and Chris) Orban, Liz Orban (and Frank Chao), Susan Orban, Deborah Orban, Rebecca Orban, John (and Laurie) Orban, Margaret Walker, and Paul Orban, and his dear friend Mary Carlson. He was predeceased by his parents; wife Jackie; sister Cecelia Orban; and nephew James Clay Orban. Funeral Mass will take place in Port Orange, Fla., and burial will be at Oak Grove Cemetery, in Morenci. Robert E. Derby, 70, of Lyons, Ohio, died at his home Jan. 18, 2024. He was born Feb. 4, 1953, to Richard and Alberta (VanCoppenolle) Derby in Wauseon, Ohio. Robert became an ironworker in 1978. He was a longtime member of the Ironworkers Union Local 55. Robert had a lifelong passion for cars. It was common to run into him at local car shows where he liked to show off his Trans Am and his Camaro. Robert’s vast knowledge of construction and automobiles made him popular with people who needed help, and he never failed to lend a hand. He often joked that he was busier in retirement than while he was working. When he wasn’t busy helping others, he enjoyed being outdoors, binge watching shows with his dogs, and spending time with his grandkids. He took pride in family traditions including the threshers convention, the Fulton County Fair, and Halloween. Robert was known as a lover of birds and trees. Robert is survived by his wife Shelby (Call) Derby; brother Mike Derby and sister Jean (and James) Miller; daughters Sarah (and Chris) Harvey and Ashley Ehrsam; six grandchildren, Claire Druschel, Celia Druschel, Kendra Ehrsam, Megan Ehrsam, Bobby Ehrsam and Aaron Ehrsam. He was preceded in death by his parents and stepfather Arthur Haupricht. Visitation is planned from 3 to 7 p.m. Monday, Jan. 22, at Eagle-Marry Funeral Home, Morenci. Funeral services will begin at 11 a.m. Tuesday at Eagle-Marry Funeral Home, Morenci. In lieu of flowers, consider hanging a bird feeder or planting a tree in his memory. Monetary contributions can be made to Hospice of Northwest Ohio or The Arbor Day Foundation. Gary Driscoll, 80, of Adrian, Mich., died Dec. 30, 2023, at his home, surrounded by his loving wife while under the care of Hospice of Lenawee. Gary was born Oct. 15, 1943, in Morenci, the son of Hal and Florence (Hunter) Driscoll. Gary lived his formative years in Morenci and graduated from Morenci Area High School with the Class of 1961. He furthered his education at Adrian College and ultimately obtained a master’s degree later in life from Siena Heights University. He married the love of his life, Carolyn Oxenger of Morenci, on Sept. 4, 1966, in Fremont, Ind. Together they raised two children and shared more than 57 years of memories. Never idle, Gary was a good provider for his family. He worked as an educator, first working at Waldron Area Schools and later Adrian Public Schools where he taught history, math and business. While teaching, he coached basketball and football in Waldron, and basketball at Adrian. In the 1970s Gary also started selling life insurance, and worked for Gleaner’s Life Insurance Company for decades. Gary was an avid sports fan and loved to watch all televised sports. A successful businessman, he had a serious personality and enjoyed socializing with and helping other people. He was blessed with travels around the world during his tenure at Gleaners. Gary found peace at his cabin on Crystal Lake where he enjoyed listening to his oldies and country music while watching the eagles fly. In addition to his wife, Carolyn, Gary is survived by daughter Kristy Miller (and Ed Lewis) of Somerset Center, Mich.; son Brandon (and Heidi) Driscoll of Kingsville, Ontario; sister Carolyn (and John) Messimer of Brooklyn, Mich.; grandson Ewan Driscoll; and numerous nieces, nephews and extended family members. He was preceded in death by his parents and a sister, Jeanette (and John) Leech. Cremation will take place and private family services will be held. To best honor his memory, friends are asked in lieu contributing to a charity to pay forward an act of kindness to humanity. Arrangements were made with Anderson-Marry Funeral Home, Adrian. Janet Leona Vernier of Piedmont, Okla., peacefully entered her eternal rest with God on Dec. 24, 2023, in Oklahoma City, Okla. She was born to Harvey and Gladys (Quidort) King on Jan. 5, 1935, in Mill Creek Township, Williams County, Ohio. She was a graduate of Chesterfield High School in Ohio. Janet married Duane Owen Vernier, who was the love of her life, on May 20, 1955. Their marriage life verse was Joshua 24:15 “… but as for me and my house, we will serve the Lord.” Janet worked at Ohio Art Company in Bryan, Ohio, and then as a teacher’s aide in the Morenci Area School system in Morenci, Mich. In 1986, Janet and Duane moved to Bethany, Okla., and were blessed with the opportunity to work together at Bethany First Church of the Nazarene for many years prior to retirement. Duane and Jan were blessed with six children who they raised in Morenci. Her children and family were extremely important to her, and she always looked forward to special times when the family would get together. Her family was truly one of her passions. She enjoyed family vacations, gardening, reading, and building puzzles. She also enjoyed being able to spend time in Branson, Missouri, prior to retiring. She was a lifetime member of the Church of the Nazarene and an avid reader of the Bible with an unwavering faith in God. For many years she developed the Christmas and Easter service programs for Morenci Church of the Nazarene which were enjoyed by many people in the church and community. She is survived by her husband, Duane; children Reginald Vernier of Newton, Ill., Stephen Vernier (and Rebecca) of Yukon, Okla., Ricky Vernier of Woodstock, Va., Cynthia Vernier of Piedmont, Okla., Pamela (and Michael) Schafer of El Reno, Okla., and Douglas (and Donna) Vernier of Warr Acres, Okla.; grandchildren Veronica Vernier, Kimberly Vernier, Andrew Vernier (and Tara), Austin Vernier, Travis Vernier, Tiffany Vernier, Tabitha (Vernier) Ferris (and Ben), Shawn Vernier; Christopher Schafer (and Jami), Melissa (Schafer) Morris (and Tyler), Sarah Vernier (and Corbin Brown), and Rachel Vernier; great-grandchildren Isabel Martell, Alena Whetherholt, Leo Vernier, Xander Vernier, Ricky Ferris, Jasmine Ferris, Elizabeth Ferris, Arianna Ferris, Merida Ferris, Jasymne Gurley-Dungan, and Jack Morris. She was preceded in death by her parents, Harvey and Gladys King, and siblings Gerald King, Marlene Mock Moriarity, and her twin sister, Janette Vernier; and daughter-in-law, Lorie O. Vernier. Funeral services will begin at 10 a.m. Thursday, Dec. 28, at Calvary Church of the Nazarene in Bethany, with Rev. Jim Hill officiating. Interment will be at Bethany Cemetery. Roberta Jean (Bobbie) Betz, 69, of Morenci, Mich., died Dec. 10, 2023, at Toledo Hospital, surrounded by her family after a battle with cancer less than one year after being diagnosed. She was born May 17, 1954, in Hudson, Mich., the daughter of Robert Huff and the late Shirley (Shay) Hall. Bobbie was a 1972 graduate of Morenci Area High School and a lifelong resident of Morenci. She worked at the former Sheller Globe Sheridan manufacturing company in Wauseon, Ohio, for 27 years. After Sheridan, she worked at Lenawee Medical Care Facility in Adrian for almost 11 years where she truly enjoyed her interaction with the residents until she retired in 2019. Bobbie had a smile that could light up a room and her most cherished times were spent with her family, children and grandchildren. She was a hard worker and did all she could to provide for and support her family. In retirement, she enjoyed gardening and canning during the summer months. Bobbie never turned down the opportunity to have her children and grandchildren over for tacos on Sunday. She married Greg Betz on Feb. 14, 1998, in Laughlin, Nevada, and he survives. In addition to her husband, she is survived by her two children, Kellie (and Mark) Seyfried of Holt, Mich., and Brad Osborn of Morenci; her daughter-in-law, Melissa Osborn of Montpelier, Ohio; and three stepchildren, Mike Betz of Clare, Mich., Christina Betz of Adrian, and Brian (and Kristy) Betz of Morenci; her father, Robert Huff of Morenci; siblings Linda (and Fred) Dusseau of Yuma, Ariz., Vic (and John) Maginn of Fayette, Ohio, Allen (and Carol) Huff of Sand Creek, Mich., and Denise Huff of Addison, Mich.; sister-in-law Deb (and Rod) Rutledge of Florida; 10 grandchildren and one great-grandchild; and numerous nieces, nephews and extended family members. Bobbie is preceded in death by her mother, Shirley Hall; father-in-law and mother-in-law Melvin and Betty Betz; sister Teresa Pontious; nephew Brian Gilson; and sister-in-law Sharon McDowell. Funeral services will begin at 3 p.m. Friday, Dec. 15, at Anderson-Marry Funeral Home, Adrian, with Rev. William VanValkenburg officiating. Burial will follow in Oak Grove Cemetery in Morenci. Visitation is planned from 4-7 p.m. Thursday. Memorial contributions are suggested to St. Jude’s Children’s Research Hospital or the American Cancer Society. Roger Alan Wolf, 85, of Morenci, Mich., died Dec. 10, 2023, in the same 172-year-old farmhouse in which he was born, with loving family by his side. Roger was born Aug. 8, 1938, the only child to Harold and Minnie (Thomas) Wolf. He graduated from Morenci High School in 1956. Roger was a tremendous athlete, starring in both football and baseball. As a pitcher, he once posted 21 strikeouts in a 7-inning game, for the first time in Morenci sports history. Roger earned a full scholarship to Michigan State University in both football and baseball. His college sports career was cut short by the need to assist on the family farm. After returning home, Roger continued to exercise his competitive nature, trying out for the Toronto Blue Jays baseball club, and becoming a softball legend in southeast Michigan. Roger dedicated himself to the family farm, primarily in partnership with his father. They raised multiple crops and animal species, but were best known for their work in the dairy industry. To grow in his knowledge of farming, Roger was chosen by MSU in 1969 to participate in a 30-day “Kellogg Tour” to learn more about worldwide agriculture. In his farming career, he saw the development of farming from horses to horsepower. Roger possessed a tireless work ethic and was respected by his peers. He was a loving provider for his family and in his later years, Roger attended all the events he could to cheer on his grandchildren and support their many interests. Roger is survived by his wife of 62 years, Karen; children Wendee (and Russ) Schlarf, Wess (and Beth) Wolf, and Wynelle (and Joe) Grady; grandchildren Stuart (and Claire), Sawyer (and Susanna), Tasha (and Dave), Austin (and Naomi), Clayton (and Sierah), Hayze (and Bailey), Nate (and Jess), Natalie (and Will), Mackenzie (and Joey), Max and Makayla; great-grandchildren Isaac, Kylie, Rylee, Kree, Lander, Lorelai, Lovelyn, Loreina, Palmer and Baker. Visitation is planned Saturday, Dec. 16, from 11 a.m. until the time of funeral services at 2 p.m. in Eagle-Marry Funeral Home, Morenci. Committal services and burial will follow in the family plot at Porter Cemetery on Packard Road. Memorial contributions are suggested to any organization that supports the growth and success of the agriculture industry or Hospice of Lenawee County. Bryan “Pete” Richard Jones, 71, of Manitou Beach, Mich., died Oct. 23, 2023, from complications of Parkinson’s Disease. Pete was born March 4, 1952, in Adrian, Mich., to Paul and Rosemary (Kaetzel) Jones. Pete attended Onsted Community Schools and went on to serve his country in the United States Navy on the USS Diamond Head and was released from tour of duty with Honorable Service. On Dec. 1, 1973, Pete married Hilda J. Moore at Medina Federated Church. They celebrated their upcoming anniversary with a cruise with family and friends to Alaska in July. They were blessed with four children and created many memories as their family grew. Pete had a strong work ethic, and he demonstrated this trait while working at American Chain & Cable for 10 years. From there he went to work at General Motors at the Delphi Plant and later Lansing Delta where he retired after 31 years. When it was time to relax Pete enjoyed being outdoors, often camping with family and friends in Michigan, Ohio and Tennessee. He was an avid hunter in both gun and bow season and had the patience to fish year-round and a couple of his treasures are mounted in his home. Pete was a skilled carpenter and often had side jobs where he worked on building houses and finishing out trim work. He loved his family greatly, and you could count on Pete and Hilda being in the bleachers at their children and grandchildren’s school and sporting events. In addition to his wife, Hilda, Pete is survived by children Waylon (and Kristie) Jones, Jeremiah Jones, Amanda (and Daniel) Nadeau and Hilary (and Jason) Mead; seven grandchildren, Clayton, Genevieve and Gregory Jones, Hanalei, Coltan and Luke Nadeau and Jovyn Mead; brother Paul Jones; and brother-in-law Earl (and Teresa) Burgess. Pete was preceded in death by his parents; brother Jeff Jones; in-laws Leo and Polly Burgess; sister-in-law Dinah Moore and brother-in-law James Moore. A gathering of family and friends is planned from 4 to 7 p.m. Thursday, Nov. 16, at Wagley Funeral Home, Adrian. Pete will be laid to rest privately at Oak Grove Cemetery at a later date. Memorial contributions are suggested to Autism GRACE of Lenawee, or Venmo to: https://venmo.com/u/AutismGraceofLenawee. Lesley Nicole Taylor, 37, of Morenci, Mich., passed into the arms of Jesus at Michigan Medicine, University of Michigan, Oct. 31, 2023, with her loving family by her side. She was born in Morenci on March 5, 1986, to Dwight and Ruth Ann (Jones) Mansfield. Lesley attended and graduated from Morenci Area High School and furthered her education by attaining a master’s degree in special education. On June 22, 2013, she married Scott M. Taylor, and he survives, along with their daughters, Quinn and Kinsley. Lesley worked as a special education mathematics teacher at Blissfield Schools, then went to work for Lenawee Intermediate School District as a special education consultant. She is a member of Fayette Church of the Nazarene. Family was most important to Lesley. Her husband and daughters were her life. Lesley also enjoyed being an aunt. She supported every aspect of her nieces’ and nephews’ lives. Lesley went above and beyond for those she loved. Her compassionate nature and desire to help others also showed in her teaching. She was available for her family and students day or night. On Oct. 22, 2022, Lesley and her family received the devastating news that she had cancer. Lesley fought the disease, relying on her faith in Jesus Christ. For over a year, she never gave up on her faith and fight for life. Left to cherish Lesley’s memory are her husband Scott; daughters Quinn and Kinsley; parents Dwight and Ruth Ann; brothers Jason (and Jody McCaskey) and Chris (and Amy) Mansfield; nieces and nephews Evan, Landon, Brynn and Bree Mansfield; father-in-law Mike (and Robyn) Taylor; mother-in-law Kim (and Phil) Pitters; sisters- and brothers-in-law Nancy Shamplo and her children, Josh (and Stephanie) Taylor and their children, Kendrick (and Kelsie) Taylor and their child, and Jessie (and Kyle) Kruse and their children. She was preceded in death by her paternal and maternal grandparents. Visitation is planned from noon until 8 p.m. Friday, Nov. 10, at Fayette Church of the Nazarene. Graveside services begin at 10 a.m. Saturday, Nov. 11, at Oak Grove Cemetery in Morenci. Memorial services will follow the graveside service at Fayette Church of the Nazarene at 11:30 a.m. Rev. Andy Reynard will officiate. Memorial contributions are suggested to the family to be used for the future education of Quinn and Kinsley. Eagle-Marry Funeral Home in Morenci is assisting the family with arrangements. Lisa Marie Keefer-Bible, 56, of rural Fayette, Ohio, died, Oct. 25, 2023, at the home of her parents while under the care of CHP Hospice. Born April 18, 1967, in Adrian, Mich., she was the first-born daughter of Carl and Janice (Moyer) Keefer. She graduated from Gorham-Fayette High School in 1986 and was a lifelong resident of Fayette. Lisa was known as a hard worker, beginning employment immediately after high school at Dana Corporation in Archbold, and working there until its permanent closure in 2011. She then attended Ross Medical and earned certification as a medical assistant. She most recently worked at ConAgra in Archbold. In addition to her full-time employment, she also worked part-time for several years at The Bake Shop near Fayette. Always giving of herself, Lisa frequently volunteered at the Fayette Food Pantry. She was proud of her vast collection of souvenir shot glasses. Her greatest joy came from simply being in the company of her family and friends. Lisa was admired for her strong-willed determination, her selflessness, her gentle kindness to everyone she encountered, and her infinite capacity to unconditionally love other people. Lisa stoically faced her battle with cancer with unwavering grace, and she firmly relied on her faith for acceptance of God’s plan for her. She is survived by her parents; daughter Miranda Bible (and Alex Conrad) of Fayette; sister Michelle (and Gary) Coon of Port Clinton, Ohio; grandchildren Kaden, Alice, Zoey and Xander; nephew Mitchell Coon; and numerous extended family members. She was preceded in death by her maternal grandparents Ada and Kenneth Moyer; paternal grandparents Denver and Bessie Keefer; maternal uncles Jerry and Burt Moyer; and paternal uncles and aunts John Keefer, Denver R. Keefer, Lorraine Patterson and Irlene Patke. A funeral service will begin at 4 p.m. Wednesday, Nov. 1, at Eagle-Marry Funeral Home in Fayette, with Pastor Kim Repp officiating. Cremation will follow. Visitation is planned from 1 p.m. until the service begins. She will be laid to rest at a later date in Pleasant View Union Cemetery in Fayette. Memorial donations are suggested to Normal Memorial Library in Fayette. Doris Lee (Moore) Crowell, 90, of Lyons, Ohio, died Oct. 12, 2023, at Fairlawn Haven Nursing Home in Archbold, Ohio. Doris was born on Oct. 16, 1932, in Appomattox, Virginia, the youngest of Robert William and Mary Elizabeth (Grow) Moore’s five children. She graduated from Appomattox High School in 1952 and became employed with the state in Richmond. It was during this time that she met Charles Lewis Crowell while he was stationed in Williamsburg as a Navy Seabee. Doris and Charles were married Nov. 27, 1954, and made their home in Lyons, Ohio. They celebrated more than 40 years together before his death Sept. 9, 1995. Throughout her life, Doris was an active person. When her children were young, she served as a leader for the Cub Scouts and Campfire Girls. She also served as Worthy Matron of Eastern Stars on two occasions and was a member for 60 years. Doris was an active member of Ohio Homemakers Community and Education for 60 years, was president (multiple times) of the Lyons Live and Learn Club and served on the O.H.C.E. council. She also belonged to and often served in leadership roles in the Lyons Literary League, Lyons Historical Society and Lyons Senior Citizens. Doris’s patriotism was a central part of who she was, serving as president of the VFW Ladies Auxiliary for 19 years and as a member for 44 years. Doris was a member of the Lyons Christian Church and served as the service director for more than 25 years, often helping with funeral dinners. Doris treasured her family and the many memories they shared. She also valued her many friendships and church family. She is survived by children Steve (and Cindy) Crowell, Linda Blausey, Cathy Cordes, Robert (and Debbie) Crowell and Richard (and Laura) Crowell; 10 grandchildren and seven great-grandchildren. Doris was preceded in death by her parents; husband Charles; a son-in-law; and two grandsons and a granddaughter. Funeral services for Doris were Oct. 16 at Wagley Funeral Home, Adrian, with Pastor Heather Schimmel officiating. Burial followed at Royalton Township Cemetery in Lyons. Ruth Ann Lynch, 61, of Fayette, Ohio, died Sept. 17, 2023, at St. Vincent Mercy Medical Center, with loved ones at her side. She was born July 26, 1962, in Monroe, Mich., to Edward Lojewski and Sara (Worrick) Judson. She was raised in the southeast Michigan area. Ruth married William Lynch and started a family in 1980 in Monroe, Mich. Although their relationship ended, later in life they became good friends. Ruth moved to the Fulton County area when she was around 30 and decided to make Fayette her home, roughly 28 years ago. She worked as a waitress in a couple different restaurants, but most would know her from her time working at Mel’s Place (Melody’s) where she worked for about 20 years. In her free time, Ruth loved to spend time with family and friends. She enjoyed going to festivals and seeing live bands. She always went all out decorating for the holidays, her children loved seeing all the fun and interesting things she would put out. Ruth was a busybody, always had to be on the move, whether she was shopping, thrifting, or yard sale hopping. It was hard to keep her in one place. But when she had to stay home, she enjoyed putting together puzzles, diamond painting, and playing games on her phone. Ruth is survived by children Sararita Lynch, Casie (and Dave) Miller and Torrance Lynch; grandchildren Emerald, Bryce, Ryan, Kaia, Destiny, Bryanna, Ethan, Caleb, Zayden, Sophie and Jakstan; great-granddaughters Evelyn and Vivian; siblings Roberta, Marie, Edward (and Rita) and Paul. Along with her parents she was preceded in death by her baby sister, Sararita Francine; uncles J.L. and Jr.; and a granddaughter, Sophia, in infancy. Funeral services were Sept. 26 also at Eagle-Marry Funeral Home in Fayette. Pastor Vicki Schnitkey officiated. Cremation will follow. Memorial contributions are suggested through Crowdfunding to assist with funeral expenses. Thomas C. Smith, 79, of Morenci, Mich., died Sept. 2, 2023, at his residence. He was born July 16, 1944, in Morenci, to the late Charles and Grace (Watters) Smith. On June 14, 1969, he married Betsey J. Trowbridge in Rollin Center, Mich., and she preceded him in death Dec. 23, 2018. On Oct. 7, 2023, Tom would have married his fiancée, Joyce Stevens. Tom graduated from Morenci High School. He served his country in the United States Navy, retiring as Chief Petty Officer after 20 years. He also taught electronics in the Detroit area after his Navy retirement. Tom loved his family and going to his grandkids' sporting events, however, being the jokester he was, would always pick on his grandkids – especially Zachary about his slow truck. His brother Jim was also a target of his pranks. Tom loved his Jeep Wrangler, hunting and fishing, and the outdoors in general. Going up north to the cabin, his dog Maddie, baseball, and guns were other interests of his. He was a member of the Morenci Congregational Church and recently started attending Blissfield Baptist Church with his fiancée. Tom was also a member of the Morenci Sportsman’s Club, the Morenci American Legion, and the NRA. Surviving is his fiancée, Joyce Stevens; daughters, Michelle (and Richard) Stevens and Monica (and Dennis) Blackwell; five grandchildren, James Thomas “JT”, Zachary, Wyatt, Alex and Will; and brothers, James and John Smith. His parents and wife preceded him in death. Visitation is planned from 3 to 8 p.m. Thursday, Sept. 7, at Eagle-Marry Funeral Home – Morenci Chapel. Funeral Services will start at 1 p.m. Friday, Sept. 8, also at the funeral home. Interment will follow in Oak Grove Cemetery in Morenci. Memorial contributions are suggested to the Morenci American Legion or the Lenawee Humane Society. Betty J. Kunkle, 93, of rural Fayette, Ohio, died July 26, 2023, at Fulton Manor in Wauseon, Ohio. She was born April 7, 1930, to Dewey and Mildred (Keener) Newhouse. Betty married the love of her life, Gahlon W. Kunkle, on Jan. 21, 1951, in Swanton, Ohio. They shared nearly 63 years of love and memories before his passing Nov. 11, 2013. Betty is remembered as a loving, proud, and strong-willed farmer’s wife. She took care of the needs of the family, including delivering hot meals to those working in the fields. Betty also served as an independent sales consultant, offering Tupperware, Beeline Fashions and Fuller Brushes throughout the years. She enjoyed belonging to bowling and card clubs, tending to her annual flower gardens, and being a reliable spectator at the sporting events of her grandchildren. In recent years, she enjoyed the companionship of her beloved Chihuahua, Peanut. Family was a priority to Betty, and no matter how busy she was, she always made time for her kids and grandchildren, whom she loved to jokingly tease. Betty was a member of the Fayette United Methodist Church, and the Order of the Eastern Star. She is survived by three sons, Dewey (and Ivy) Kunkle of Fayette, Alan (and Christa) Kunkle of Fayette, and Roy (and Barb) Kunkle of Morenci, Mich.; daughter Joyce (and Tony) Watson of Waldo, Wis.; eleven grandchildren, DJ, Ben, Adam, Nathan, Jessie, Merissa, Glen, Gahlon, Jason, Ruben and Dillon; and 18 great-grandchildren. In addition to her parents and husband, Betty was preceded in death by a grandson, Shane Alan Kunkle. Funeral services will begin at 1 p.m. Monday, July 31, at Eagle-Marry Funeral Home in Fayette, with Pastor Reid Short officiating. Burial will follow in Pleasant View Union Cemetery. Visitation is planned from 11 a.m. Monday at the funeral home until the service begins. Memorial donations are suggested to the SAK Memorial Fund, Gorham-Fayette Volunteer Fire Association, or the Fayette United Methodist Church. Ronald Lee Lichtenwald, 69, a lifelong resident of Fayette, Ohio, died unexpectedly July 22, 2023, in Angola, Ind. Ron was born Jan. 4, 1954, in Hudson, Mich., the son of Douglas Leo and Irene Louise (Kutzley) Lichtenwald. On March 24, 1972, in Fayette, he and his beautiful bride Melody Jean Wilson were united in marriage at Our Lady of Mercy Catholic Church. Ron, a proud entrepreneur, alongside his wife co-owned and operated Mel’s Place in Fayette for more than 27 years, selling the business in his recent retirement in 2020. He also started a trucking company—Borderline Express—with his son Doug, and Ron still loved to drive. One of his favorite pastimes was camping, and he was a seasonal camper at Hickory Acres in Edgerton, where he was renown as the “Pajama Man.” A man of routine, Ron enjoyed his daily morning podcasts while enjoying “drinking a cigarette and smoking coffee”—likely the only downtime of his day. His greatest passion was his family, and he loved doting on his grandchildren, and he was always giving to them of his time and talents as a self-proclaimed “Jack of All Trades.” Ron never knew a stranger with his outgoing personality and his infectious and charming smile. He proudly wore his heart on his sleeve, and lived by the words “Fly High, and Keep on Truckin’” Ron is survived by his wife of 51 years, Melody; sons Douglas (and Alecia) Lichtenwald of Fayette and Andy (and Autumn) Lichtenwald of Fayette; daughter Sarah (and JR) Asbury of Fayette; siblings David (and Becky) Lichtenwald, Kathy Amos, and Karen (and Curtis) Bentley all of Fayette; 11 grandchildren, Tori, Tara, Damon, Kruez, Jared, Justin, Alyssa, Aryn, Marcus and Jaelynn; four great-grandchildren, Kembryl, Thane, Tatum, and Paisley; sisters-in-law Ella Lichtenwald of Cape Canaveral, Fla., Charity (and Mike) Slyker of Fayette, Val (and Dan) Sweigart of Doraville, Ga., Ivy (and Dewey) Kunkle of Fayette, Angel (and David) Towers of Camden, Mich., and Felicia (and Bob) Stockman of Fayette; numerous in-laws and extended family. In addition to his parents, he was preceded in death by brother Allan Lichtenwald; sister Vicki Lichtenwald; grandson Andrew Lichtenwald; nephews Shane Kunkle, Adam Lichtenwald and Tony Higgins; brother-in-law Billy Amos; and step-fathers Walter Jay Grau and Ed Figgins. Funeral services are planned at 11 a.m. Friday, July 28, at Fayette Family Life Center in Fayette, with Pastor Vicki Schnitkey officiating. Burial will follow in Pleasant View Union Cemetery in Fayette. Visitation is scheduled from 2 to 8 p.m. Thursday, July 27, also at the Family Life Center. The family suggests memorial donations be given to the AJL Memorial Fund. Arrangements were handled by Eagle-Marry Funeral Home, Fayette. Judith Ann Donaldson, 85, of Woburn, Mass., died June 21, 2023, after a courageous battle with cancer. Born in Hudson, Mich., Judy was the daughter of Ralph and Elizabeth (Fisher) Moine. She was raised and educated in Morenci, Mich., and was a graduate of Morenci High School. She raised her own family in Hudson before moving to Toledo, Ohio, in the late 1970s. Judy moved to Massachusetts in 2013 and built a community of strong and loyal friendships. Judy spent her career in administrative positions in educational settings, working for school superintendents and headmasters for decades. She was the epitome of organization and was considered the amicable and hospitable gateway to information and resources in every institution in which she held a position. Judy was a revered figure at Maumee Valley Country Day School in Toledo, where she worked for more than 30 years and for several heads of school. Hers was often the warm and welcoming face that greeted students, faculty, staff and families as they entered the front door. Judy knew everything about Maumee Valley, and she loved sharing her knowledge with the community. After moving to Massachusetts, Judy worked at the Winchester Public Library for many years as a library page, where her friendliness and organizational skills continued to make an impact on those around her. Judy always took care to learn as much as she could about everyone, a character trait she carried right up to her last days in the hospital. She valued every individual and wanted to convey that to them. Judy dedicated herself to a life of service in various capacities. In Toledo, she volunteered at David’s House Compassion, an AIDS service organization, as a hospice volunteer. She loved spending time with the residents and their families, offering respite and kind words as they worked through their illness. For 34 years, Judy was a proud member of AA and helped many, many others in that community. She had a supportive warmth that people relished; she always made space for everyone and strongly believed in listening with an open mind and heart. Judy was passionate about letting others realize their worth. Upon moving to Massachusetts, Judy quickly became a leader, running the Tuesday night meetings at a local church, as well as attending other group meetings throughout the week. She built a strong legacy in her AA work, with friends near and far who sought her out for support, comfort and friendship. Judy loved and valued her AA family so much. She considered her career in AA as one of her greatest achievements. In her spare time, Judy was an avid reader and crafter. Her favorite pastimes were drinking coffee while reading a great novel, stitching of all kinds, and spending time with friends and family. She also worked hard to learn about Boston sports teams and became very adept at discussing the Patriots, Bruins and Celtics. She ignored the Red Sox. Judy loved the family tradition of a Super Bowl Sunday, replete with Blue Ribbon BBQ and dozens of questions about how football works. Judy fiercely loved her family. She always rooted, both out loud and quietly, for each family member and wanted to see them live their best life; she was constant in her praise and love for everyone. Judy was a special person who made each family member feel important and unique. Judy is survived by son Rick (and Michelle) Donaldson; daughters Liz Donaldson and Shawn (and David) Donaldson Macannuco; grandchildren Mike Donaldson, Tony (and Maegan) Sofo, Jr., Caroline (and Austin) Sofo Wild, Jude, Will and Luke Macannuco; great-grandchildren Sawyer Donaldson and Ella Louise Wild. Judy was preceded in death by her parents, sister Sally Allen and grandson Nick Donaldson. Memorial donations are suggested to the Autism Housing Pathways (https://autismhousingpathways.org/donate/) or St. Jude’s Research Hospital (https://www.stjude.org/donate/), two organizations Judy held dear to her heart. A memorial service is being planned for a later date. Tommy A. Rupp, 76, of Fayette, Ohio, died July 6, 2023, at his home. He was born Jan. 30, 1947, in Wauseon, Ohio, to Levi and Laura (Miller) Rupp. He attended and graduated from Chesterfield High School. On Feb. 4, 1978, he married Judith DeWulf at Olive Branch Church near Fayette, and she survives. Tom was a farmer in Chesterfield Township for many years; planting crops, and tending animals including milk cows, sheep, geese and chickens. He also held various manufacturing jobs, worked at Auto Zone, was a Fayette schools bus driver, and eventually retired from the Village of Fayette water treatment plant. When Tom wasn't busy working, he enjoyed fishing, camping and gardening. He was a devout Christian, serving on the ways and means committee at Fayette Church of the Nazarene and delivering Meals on Wheels as part of the church. Tom loved all sports, especially the Ohio State Buckeyes, and coached many sports teams for Fayette over the years. He was a great family man and enjoyed any type of baked good Judy made. In addition to his wife, Tom is survived by daughter Angela (and Brian) Roe; grandchildren Kyle, Kelsie (and Brandon) Reeves, Kendal Kuhn, Kyle Kuhn, and Asia and Luke (and Alison) Laguio; sisters Elaine (and Joe) Nofziger and Emagene (and Robert) Stuckey; and brother William Rupp. Along with his parents, he was preceded in death by a daughter, Kimberly Sue Fruchey-Laguio; brothers Robert, Pete and James Rupp; and sisters Betty Falkenberg, Judith Metz and Laurene Rupp. Funeral services are set for noon Saturday, July 15, at the Fayette Church of the Nazarene, with Rev. Andy Reynard, officiating. Visitation is planned from 10 a.m. until the time of service, also at the church. Interment will follow in Pleasant View Union Cemetery in Fayette. Monetary contributions are suggested to Fayette Church of the Nazarene. Eagle-Marry Funeral Home in Fayette is assisting the family with arrangements. Jane L. Stiriz, 85, of Fayette, Ohio, died July 2, 2023, at Cambrian Assisted Living in Tecumseh, Mich. She was born in Wauseon, Ohio, to Earl and Fern (Kesler) Lane on July 18, 1937. Jane lived her formative years in Delta and was a 1955 graduate of Delta High School. Jane married Donald L. Stiriz on April 22, 1956. Together they raised six children and enjoyed more than 60 years of love and memories until his death April 9, 2017. Devoted in her Christian faith, Jane attended Trinity Lutheran Church in Delta and Wauseon where she taught Sunday School. In later years she attended the Fayette Christian Church-Disciples of Christ and most recently, the West Franklin Methodist Church. Jane’s passion was to be a teacher, and for many years she influenced the lives of many young children at Sunny Day Preschool in Delta. She was an active and proud Girl Scout Leader when her daughters were younger. In 1994, Jane and Don settled in Fayette, where they instantly became pillars of the business community. Together they owned and operated the Gaslight Inn restaurant for several years, restored several Victorian-era homes into bed and breakfasts, operated an antique mall, and were active with the Chamber of Commerce. They owned The Pizza Place with restaurant locations in Delta, Fayette and Stryker, Ohio, and Morenci, Mich. Jane earned the title of Fayette Citizen of the Year in 1998, and she and Don were crowned Bull Thistle Queen and King in 2010. An accomplished musician, Jane was notably skilled with the accordion, was an avid pianist, and played the dulcimer. She publicly entertained with several groups, including the Dulcimer Group and Musical Grandmas. Her zest for fine arts was also fulfilled through her time in volunteering at the Fayette Opera House where she once served as president of the Fayette Fine Arts Council, as well as through her efforts in creating and organizing what became the annual Fayette Fall Festival. Jane loved reading, peaceful walks, and hosting Victorian tea parties. Surviving Jane are five daughters, Susan Bach of Sand Creek, Mich., Patricia (and Michael) Turpening of Wauseon, Ohio, Kristen Runyon of Fayette, Connie Stiriz of Adrian, Mich., and Jodi (and Dennis) Bird of Lancaster, Ohio; a son, Rick (and Stacey) Stiriz of Delta; 16 grandchildren, Jesse, Jacob, Sarah, Jordan, Melissa, Ross, Jonah, Josiah, Gracie, Taylor, Tessa, Alyssa, Lane, Kyle, Sydney and Dylan; and 14 great-grandchildren, Forrest, Freeda, Charlie, Logan, Lillian, Hayden, Theo, Ezekiel, Asher, Elijah, Olivia, Jayden, Wayland and Everly; and two siblings, Ann Schaffner of Dexter, Mich., and Dick Lane of Sheridan, Mich. In addition to her parents and husband, she was preceded in death by a brother, Robert Lane. Funeral services will begin at 1 p.m. Friday, July 7, at Eagle-Marry Funeral Home in Fayette, with Rev. Bill VanValkenburg officiating. Burial will follow in Zion Cemetery in York Township. Visitation is planned from 11 a.m. until the service begins. Memorial donations of books or money are suggested to the donor’s local library or to the Fayette Fine Arts Council. Evelyn Marie Fox, 76, of Hudson, Mich., died Saturday, June 10, 2023, at ProMedica Toledo Hospital. She was born in Hoxie, Ark., on Sept. 25, 1946, to Charles R. Seabolt and Hazel L. Jacobs, and raised by Veda St. John. Evelyn attended Pittsford High School. On June 6, 1964, she married Robert D. Fox in Ransom, Mich., and they recently celebrated 59 years of marriage. After raising her children and starting them in school, she went back to school at Jackson Community College, and eventually graduated from Hillsdale College, earning bachelor degrees in elementary education and English. She then studied at Siena Heights University, nearly completing her master’s degree. Evelyn began teaching at Morenci Area Schools, retiring in 1998 after 24 years. Evelyn had many loves in her life, especially her family, her students and reading. She had a genuine thirst for knowledge, reading any type of book she could. She was known to read the first and last chapter of a book, then read the entire book to see if it lived up to the plot. She would also donate her used books to anyone who needed them. The students at the school were very important to her. She would often spend her own money buying anything a student may need, from school supplies to clothing. She did this of her own choosing and never sought any type of recognition. Often no one knew where the money came from. She was a fabulous cook and baker. Evelyn would give anyone her baked goods just to make them happy. She was a huge Elvis Presley fan, loved flowers and gardening, Happy Dragons, classic cars and television, and was a collector of angels and antiques. Her Pekingese dogs were another love of her life. Surviving are her husband Robert; children Kari and Heath (and Kimberly) Fox; grandchildren Myleigh (and Michael) Harger, Jonathan Boulis, and Katera and Eryn Fox; great-grandchildren Cameron McCloe, Killion Bable and Barrett Harger; brothers Charles and John Seabolt; and sisters Janice Klaus, Darci Jakeway, Cathy Shingledecker and Sue Deroeck. She was preceded in death by her parents; step-mother Claretta Seabolt; sister Joy Hodges; and brothers Tom and Carl Seabolt. Cremation will take place and a memorial service will begin at 2 p.m. Saturday, June 17, at Eagle-Marry Funeral Home in Morenci, with Rev. Bill VanValkenburg officiating. Visitation is planned from 1 p.m. until the time of service. Memorial contributions are suggested to Morenci Kiwanis Club for the backpack program. Giovanni Stella, 91, of Morenci, Mich., died May 28, 2023, at Fulton County Health Center in Wauseon, Ohio, with his family by his side. Born April 2, 1932, in Kilsyth, West Virginia, he was the son of Ferdinando and Josephine (Cinotti) Stella. Spending his formative years in the foothills of West Virginia, Giovanni eventually moved and settled in the Detroit area, finding work at Ford Motor Company. Giovanni graduated from Mackenzie High School. He continued his education at the Henry Ford Trade School in Dearborn, Mich., and completed his electrical apprenticeship. On June 10, 1961, Giovanni married the former Elizabeth Smith in Kilsyth, W.V. She survives to cherish nearly 62 years of love and memories. Elizabeth and “Johnny”, as Mrs. Stella affectionately referred to him, have three sons, Giovanni (“Jon”) A. Stella of Cleveland, Ohio, Greg Stella, and Andrew Stella (and Kim Massaro) of Mosherville, Mich. In 1991, he retired from his position as maintenance supervisor with Ford Motor Company in Dearborn, after 42 years of service. Giovanni maintained several jobs throughout his lifetime, sometimes two at a time. He worked in production, metal finishing, and in small electrical shops. The Stella family lived in Detroit, Farmington and Livonia, before settling in Morenci. Giovanni began farming after he moved his family to the Morenci area. He served as a volunteer during the construction of Stair Public Library, where Mrs. Stella was the director for many years. He refurbished the shelving and built the circulation desk with his son, just to name a few projects. He was a faithful and active member of Our Lady of Mercy Catholic Church in Fayette. There he spent many hours volunteering with his good friend, Jim VanAssche, who preceded him in death. In his spare time, you could find Giovanni gardening, volunteering and working on his numerous projects. He was also a member of M-156 Sodbusters Farm Bureau Community Action Group. In addition to his beloved wife, Liz, and their three sons, Giovanni is survived by his siblings Rose Ann Vanover of Beckley, W.V.; Ferdinando (and Carol) Stella of Sartell, Minn.; and Luigi Stella of Daniels, W.V.; grandson Nikolas Stella of Grand Rapids, Mich.; and sister-in-law Sylvia Hall of Centreville, Va. Giovanni was preceded in death by his brother Pasquale Stella; sister Carolina Click; sister-in-law Mary Stella; and brothers-in-law James Vanover, Maynard Click and Robert Hall. Cremation will take place and a graveside service and Rite of Committal are planned at 11 a.m. Saturday, June 17, in Oak Grove Cemetery, Morenci. Memorial contributions are suggested to two of the places that Giovanni used his time, talents, and efforts to support with his heart – Stair District Library, 228 W. Main St., Morenci, Mich., or Our Lady of Mercy Catholic Church, Fayette, Ohio. Arrangements were made with Eagle-Marry Funeral Home, Morenci. George Augustus Glendening, 95, of Morenci, Mich., died May 20, 2023, at the home of his daughter in Montpelier, Ohio. George was born Aug. 28, 1927, in Pittsford, Mich., the son of Miles and Margaret (Emerich) Glendening. He married Verena Grace Clymer on Feb. 28, 1954, in Pittsford, and she preceded him in death Sept. 6, 2014. George attended Pittsford Area Schools and served in the Merchant Marines and Army during the Korean Conflict. He enlisted in the Merchant Marines at the age of 16, as an oiler, seaman and messman to the captain. George was the first to be drafted out of Hillsdale County to serve during the Korean Conflict. During his time in the military, he met his lifelong friends Harry, Max and Lou. He was employed with Campbell Soup Company for many years and retired from Eklund Broach, in Morenci. In his free time, George enjoying being outside with activities including hunting, fishing and camping with the family. George always had dogs throughout his married life with Sammy being his sidekick and companion after Verena passed away. George is survived by son Gary (and Cindy) Glendening of Cottonwood, Ariz.; daughters Penny (and Rick) Nivison of Pittsford and Glenda (and Paul) Smith of Montpelier; three grandchildr
correct_death_00083	FactBench	2	81	https://www.independent.co.uk/arts-entertainment/films/features/william-s-burroughs-revealing-the-man-within-2112736.html	en	William S Burroughs: Revealing the man within?	https://www.independent.…h=1200&auto=webp	https://www.independent.…h=1200&auto=webp	[ "https://static.independent.co.uk/static-assets/images/newsletter/film/film.png", "https://static.independent.co.uk/static-assets/images/mobile-stores/Apple_TV_Plus.png", "https://static.independent.co.uk/static-assets/images/mobile-stores/Apple_TV_Plus.png", "https://www.independent.co.uk/img/icons/google.sv...	[]	[]	[ "Higher Education", "Iggy Pop", "Narcotics", "University Of The Arts London", "Internal" ]	null	[ "The Independent" ]	2010-10-21T11:14:05+00:00	Yony Leyser's new documentary seeks to find 'a man within' the controversial writer, wife killer and drug addict. But can anybody reveal this better than Burroughs himself? Matilda Battersby finds out	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/arts-entertainment/films/features/william-s-burroughs-revealing-the-man-within-2112736.html	One of America’s most celebrated literary figures is a man who shot his wife in the head, abandoned his son and had a heroin habit which spanned five decades. William S Burroughs, one third of the Beat generation’s literary tripartite (with Allen Ginsberg and Jack Kerouac), is the subject of a new feature-length documentary, screened this week at the BFI London Film Festival, seeking to shed new light on the author through previously unseen Super 8 home movies and VHS tapes donated by his friends. “I called the film William S Burroughs: A Man Within because Burroughs used the term ‘a man within’ twice in Naked Lunch,” Yony Leyser, the film’s 26-year-old director, explains, adding: “I wanted to look at the man, not the writing.” The 90 minute documentary is divided into segments reflecting Burroughs’ various obsessions - cats, guns, drugs, rent boys etc- , and only briefly mentions the writer’s huge back catalogue, the most famous of which are Naked Lunch, Queer and Junkie. The documentary includes rare footage of Burroughs and Ginsberg together, some fantastic examples of Burroughs’ one-liners and rather a lot of talking by his celebrity associates, including Genesis P-Orridge, Peter Weller, Patti Smith and Iggy Pop. Leyser is clearly a big Burroughs fan. “I got kicked out of university for an art piece which criticised the dean of students. I did it because I was frustrated at not being able to critique the status quo in the way that Burroughs had,” he explains. After his expulsion Yeyser went to Lawrence, Kansas, the sleepy university town where Burroughs lived out his twilight years, on a mission to find out more. It took him five years to complete the interviews, source footage and bring the film to edit. On screen Burroughs appears elderly and emaciated. He spent most of his 83 years drunk or high - something friends say helped assuage the guilt of having killed his second wife, Joan Vollmer. The story goes that while in Mexico in 1951 Vollmer drunkenly proposed a game of William Tell, placed a gin glass on her head and was fatally shot between the eyes when her husband misfired. Despite Yeyser’s conviction that his is a balanced documentary, it is striking that Vollmer’s death is addressed in extremely generous terms. Vollmer is presented by Burroughs’ friends as a woman who was suicidal and out of her mind. The film discusses rumours that at the time of her death Burroughs had been having affairs with local men, but they largely exonerate Burroughs, blaming Vollmer’s Benzadrine habit. “What kind of woman asks her husband to [point a gun at her]?” Yeyser says. “People say she was quite f**** up herself. It’s not like Burroughs wanted to kill her.” After Vollmer’s death Burroughs was bribed out of a Mexico jail and given a suspended sentence in absentia. Deciding not to challenge his friends’ sympathetic portrayals of the incident, the documentary appears to have applied yet another lenient sentence. The tempestuous relationship Burroughs had with his only child, William “Billy” Burroughs Jr, is also mentioned only in passing despite their division having been very publicly outlined in Billy’s own writing, before his early death from liver failure aged 33. The film is a quirky series of pictures of an evidently charming Burroughs who injects heroin with the locals in Manhattan, befriends rock stars, writes some good novels and in his latter years enjoys shooting bullets at cans of spray paint to make art. It barely scratches the surface, let alone reveals ‘a man within’ but despite this is an interesting film to watch. When Burroughs’ own hell of a life is so vibrantly laid down in books like Queer and Junkie, it seems ambitious that a film should seek to provide greater insight. Perhaps a better title would be ‘a man without’ as what the film does nicely is to provide pictures to accompany Burroughs’ enduring words.
correct_death_00083	FactBench	3	59	http://authorscalendar.info/wbburrou.htm	en	William S. Burroughs			[ "http://authorscalendar.info/pix/bwlogo.jpg", "http://authorscalendar.info/pix/ylamainos.gif", "http://authorscalendar.info/pix/banneri.gif", "http://i.creativecommons.org/l/by-nd-nc/1.0/fi/88x31.png" ]	[]	[]	[ "" ]	null	[]	null					null	American writer of experimental novels, who lived long times in Mexico City, Tanger, Paris, and London. William S. Burroughs' homosexual themes in The Naked Lunch (1959) and the frankness with which he dealt with his own experiences as a drug addict sparkled the last major obscenity trial in the U.S., but won him a following among writers, musicians, and film makers. Burroughs produced the bulk of his writing after he moved to London and took an apomorphine cure under the direction of Dr John Dent. "You know how old people lose all shame about eating, and it makes you puke to watch them? Old junkies are the same about junk. They gibber and squeal about the sight of it. The spit hangs off their skin, and their stomach rumbles and all their guts grind in peristalsis while they cook up, dissolving the body's decent skin, you expect any moment a great blob of protoplasm will flop right out and surround the junk. Really disgust you to see it." (from The Naked Lunch, the restored text edited by James Grauerholz abd Barry Miles, Grove Press, 2001, p. 6) William Seward Burroughs II was born in St. Louis, Mo. into a successful business family. His mother, Laura Lee, was a direct descendant of Robert E. Lee, his grandfather the inventor of the Burroughs adding machine. The Burroughs Corporation ultimately merged with the Sperry Corporation to create Unisys. By the time of Burroughs's birth, his father Mortimer had already sold his stock in the company. After six years at the private Community School, Burroughs sent to the John Burroughs School. He also spent some time at the Los Alamos Ranch School for boys. "As a boy," he later recalled, "I was much plagued by nightmares. I remember a nurse telling me that opium gives you sweet dreams, and I resolved that I would smoke opium when I grew up." (quoted in 'The Name Is Burroughs' by James Grauerholz, in Word Virus: The William S. Burroughs Reader, edited by James Grauerholz and Ira Silverberg, introduction by Ann Douglas, 1998, Grove Press, p. 5) At the age of 14, he read Jack Black's You Can't Win. This autobiographical account of hobo life had a profound effect on his world view and later influenced The Naked Lunch. Burroughs graduated in English literature from Harvard University in 1936. During this period he lost his heterosexual virginity in an East St. Louis brothel. However, he had also recorded his homosexual fantasies in a diary at Los Alamos. Burroughs traveled in Europe, where he studied medicine in Venice for a year. While in Austria he married a Jewish woman who wanted to escape the Nazis. After returning to the United States Burroughs studied anthropology at Harvad. In the early 1940s he lived in New York City and worked for an advertising agency. When the war began, Burroughs joined the army. He was trained as a glider pilot, but was discharged as unfit for service in 1942. The major reason was his relationship with a hustler named Jack Anderson. Burroughs had amputated one of his little fingers after Anderson left him. Rejecting his background, Burroughs plunged into an alternative life-style that included drugs, odd jobs, and bisexuality. While working in the shipyards of New York, he became addicted to heroin, or what he called Opium Jones, G(od's) O(wn) (Medicine). Drug addiction was not new in the family. Burroughs's uncle Horace used morphine. He committed suicide in 1915. In the mid-1940s Burroughs befriended with Allen Ginsberg and Jack Kerouac, with whom he would be linked as key figures in the Beat Movement. He was named in Jack Kerouac's novel On the Road (1957) as Old Bull Lee. "He was an exterminator in Chicago, a bartender in New York, a summons-server in Newark. In Paris he sat at café tables, watching the sullen French faces go by. In Athens he looked up from his ouzo at what he called the ugliest people in the world. In Istanbul he threaded his way through crowds of opium addicts and rug-sellers, looking for the facts. In English hotels he read Spengler and the Marquis de Sade. In Chicago he planned to hold up a Turkish bath, hesitated just two minutes too long for a drink, and wound up with two dollars and had to make a run for it" (On the Road, Penguin Books, 1976, p. 143) With Joan Vollmer, his common law wife, Burroughs moved to Texas, where he grew cotton and marijuana crops. To avoid legal problems, they moved to Mexico City. Joan could no longer get Benzedrine, instead she drank cheap tequila. To her friends she said that her days were numbered. In September 1951 Burroughs killed Vollmer accidentally. They were partying in a room above a bar when he announced the assembled company he would perform shooting in the Wilhelm Tell style. Vollmer placed a water glass on top of her head, and Burroughs shot at it from about six feet away with the gun he carried – missing tragically and Vollmer fell dead. Burroughs was never tried for the accident. Their son William Burroughs III died at the age of 32 from drink and drug abuse. The author have said: "I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realization of the extent to which this event has motivated and formutalted my writing." (quoted in Literary Outlaw: The Life and Times of William S. Burroughs by Ted Morgan, W. W. Norton & Company, 2012, p. 213) It has been said, that Ginsberg's opus Howl! was written after a dream of Joan. Burroughs lived for a time in Tangier in a male brothel. Ginsberg and Kerouac visited Tangiers in 1957. In 1959 Burroughs published The Naked Lunch, which was banned in 1962; the ruling was overturned in in 1965 by the Massachusetts Supreme Court. Now the work is accepted as a modern classic. Norman Mailer said in its 1962 blurb: "Naked Lunch is a work of great beauty, great difficulty, and manically exquisite insight. I think that William Burroughs is the only American novelist living today who may conceivably be possessed by genius." Much of the structure of the book was planned by Allen Ginsberg, who gathered the scraps of paper that he found scattered around in Burroughs's room. The narrative consists of twenty-one satirical pieces that purport to lay bare the horrors of reality: hence the title. "Let them see what they eat." It featured such characters as Dr Benway, a mad scientist dedicated to Automatic Obedience Processing, and the Lobotomy Kid, who manufactures the Complete All-American male, a blob of jelly. Some critics compared Burroughs' humor to that of Jonathan Swift. First it was published by Olympia Press in Paris. In England it appeared in 1964, as part of Dead Fingers Talk, an amalgam which also included The Soft Machine and The Ticket That Exploded. The nightmarish visions of William Lee, a junk addict contains science fiction, biological fantasy, disgusting images, and sick jokes. "May all your troubles be little one as one child molester says to the other." (Naked Lunch, p. 118) It also tries to find from the use of drugs and homosexuality a philosophical statement – addiction is seen as a metaphor of the human condition. The plotless novel was a tough challenge for the Canadian film director David Cronenberg, whose science fiction films often deal with biological mutations. "Given an impossibly difficult text to film, Cronenberg made an excellent decision to avoid the kind of ponderous, literal (mis)reading of a classic American novel that marks, for instance, Joseph Strick's Ulysses. Instead, he used the entire Burroughs opus and the legendary biography as the interpretation for his film that became a brilliant response to the novel, rather than an adaptation per se." (The Encyclopedia of Novels into Film by John C. Tibbetts and James M. Welsh, foreword by Robert Wise, second edition, 2005) Cronenberg added in the film scenes from Burroughs' life, accidentally shooting of his wife, literary friends who have much similarities with Ginsberg and Kerouac, and an American expatriate couple, referring to Paul and Jane Bowles. In Paris Burroughs' address at 9, rue Git-le-Coeur was known as "the Beat Hotel," but his focus had began to shift to another kind of literarure. He became friends with the painter Brion Gysin, who influenced his fiction, especially his 'cut-up' technique. Burroughs' ideas on writing has never been orthodox. "My basic theory is that the written word was actually a virus," he once said, "that made the spoken word possible. The word has not been recognized as a virus because it has achieved a state of stable symbiosis with the host, though this symbiotic relationship on now breaking down, for reasons I will suggest later." (The Job: Interviews with William S. Burroughs by Daniel Odier, John Calder, 1984, p. 12) Burroughs moved in the mid-1960s to London, where he studied Scientology and started to use the E-Meter, a piece of equipment that operated like a lie detector and was developed by the Scientologists. Ali's Smile / Naked Scientology (1972) collected Burroughs's opinions on the movement. Following an apomorphine treatment devised by Dr. John Yerby Dent, Burroughs temporarily freed himself from his heroin addiction. Most of the 1960s, Burroughs' boyfriend was Ian Sommerville, a mathematician, who operated Paul McCartney's studio at 34 Montagu Square. Burroughs used the studio for his experimental 'Hello, Yes, Hello' tapes. "He was very interesting but we never really struck up a huge conversation," recalled McCartney. "I actually felt you had to be a bit of a junkie, which was probably not true. He was fine, there never was a problem, it just never really developed into a huge conversation where we sat down for hours together." (Paul McCartney: Many Years From Now by Barry Miles, Vintage, 1998, p. 241) In the 1970s Burroughs returned to New York, where he got hooked on heroin again. Eventually he settled in the small university town, Lawrence, Kansas. When he moved into the town he brought along his favorite cat, Ruski, a Russian Blue. Soon after his arrival he was befriended by three or four stray cats. A longhaired orange female was named Ginger. She mated with Ruski and produced "the orange litter," which included Calico Jane.Cat-doors were arranged to allow the animals to come in and go out at will. Burroughs' house on Learnard Avenue was a modest two-bedroom cottage built in 1929 from a Sears & Roebuck house kit. Over the years the most frequent visitors were the poets John Giorno and Allen Ginsberg. Usually Burroughs woke early in the morning, took his methadone, and fed his cats which took up considersable time. He liked to walk in his garden in the afternoon, and practice knife throwing. After the first vodka-and-Coke and a few puffs on a joint he had a quiet moment to write in his journal. Burroughs was was a light sleeper. In case of trouble, he had his pistol under the covers. In 1983 Burroughs became a writer in residence to the university and devoted to his spare time to a vegetable garden. His last years Burroughs lived with cats (Calico Jane, Ruski, Fletch, Horatio, Smoky, Ed, Ginger, Wimpy, et al.) and handguns and rifles. He also exhibited "action paintings" produced by taking potshots at tins of paint. William S. Burroughs died of heart failure on August 2, 1997, in Lawrence. In his works Burroughs developed with painter Brion Gysin a cut-up method, that employed cutting and blending several random texts into one hybrid narrative. Thus Burroughs has attempted to avoid conventional language patterns and to restructure readers consciousness. He began writing in the 1930s, but his first book, Junkie: Confessions of an Unredeemed Drug Addict, came out in 1953 under the pen name William Lee – he did not want to upset his parents. Part of the sequel, Queer (1985), Burrough wrote already in 1952. The book was not published until decades later due to its homosexual content. The Naked Lunch was completed after Burroughs's treatment for drug addiction. Other works include The Soft Machine (1961), Nova Express (1964), and The Wild Boys (1971). Christopher Isherwood proclaimed Burroughs' Cities of the Red Night (1981) as a masterpiece. Although it mixed a virus plague and CIA with a missing boy, intergalactic conspiracy, and an eighteen-century pirate captain, it is considered one of Burroughs' most coherent novels. However, while writing the book, he underwent several operations in an effort to close an abdominal cyst and spent much of his time and money on drugs. In the sequels of The Red Night trilogy, The Place of Dead Roads (1983), a western where cowboys are gay, and The Western Lands (1987), Burroughs also depicted a deadly virus plaguing humankind, "inexorably headed for extinction." The Yage Letters, published in 1963, was based on Burroughs' travels through the Amazon region of South America in search for the drug yage, the notorious "final fix". The Wild Boys was set in the year 1988. Adolescent guerrilla packs of specialized humanoids are routing the forces of civilized nations and ravaging the earth. When wholesale slaughter erupts, the battle continues underground where the survivors evolve into The Wild Boys, hordes of pitiless homosexual warriors who move in and destroy the cities. Burroughs has warned of the "Control Machine," forces of conformity that would destroy the unique qualities of the individual. In Nova Express and The Ticket That Exploded they are agents from other space and a virus from Venus. Material for his novels the author has borrowed from all areas of popular culture. In science fiction his influence can be seen in the works of J.G. Ballard, Michael Moorcock, John T. Sladek, Norman Spinard, and others. Overt pastiches of his works include Barrington J. Bayley's The Four-Color Problem (1971) and Philip José Farmer's The Jungle Rot Kid on the Nod(1968).Apart from the bands (Soft Machine, Dead Fingers Talk), which took their names directly from his works, David Bowie, Debbie Harry, REM, Nirvana, and others have paid homage to Burroughs. The writer is also found from the cover of the famous Beatles album Sergeant Pepper's Lonely Hearts Club Band (1967). Burroughs even appeared in an advert for Nike and in a strange documentary film from 1994 by Kevin Hull, which depicted the search of Albert Einstein's brain – finally a Japanese scholar Kenji Sugimoto finds the bulk of it preserved in two glass jars, owned by a pathologist named Thomas Harvey. In Drugstore Cowboy Burroughs acted Matt Dillon's elder brother. His other films include Twister and U2 music video Last Night on Earth. Burroughs recorded with Laurie Anderson, Kurt Cobain, and Michael Stipe. He has been credited of coining the music term "heavy metal." (The New Rolling Stone Encyclopedia of Rock & Roll, edited by Patricia Romanowski and Holly George-Warren, Rolling Stone Press, 1995, p. 432) The novella Blade Runner: A Movie (1979), had nothing to do with Ridley Scott's film, based on Philip K. Dick's novel. Burroughs' work, set in New York City ("a city which has come to represent all cities") in the year 2014 and exploring welfare and Medicare apocalypse, was written as a treatment for an adaptation of Alan E. Nourse's science fiction book The Bladerunner (1974), published by Ballantine. Noteworthy, Nourse interest in the medical field was natural because he was a trained doctor. Burroughs suggested that his book was "about a second chance for Billy the blade runner, and for all humanity." (quoted in The Ridley Scott Encyclopedia by Laurence Raw, Scarecrow Press, 2009, p. 64) At the end of the credist in the movie, Scott acknowledges the borrowing of the title from Burroughs and Nourse. For further reading: City of Words by T. Tanner (1971); The Incarnate Word by C. Nelson (1973); The Garden and the Map by J. Vernon (1973); Naked Angels by J. Tytell (1976); William Burroughs: The Algebra of Need by Eric Mottram (1977); Literary Outlaw: The Life and Times of William S. Burroughs by Ted Morgan (1988); Everything is Permitted: The Making of 'Naked Lunch', edited by Ira Silverberg (1992); Women of the Beat Generation by Brenda Knight (1996); Gentleman Junkie: The Life and Legacy of William S. Burroughs by Graham Caveney (1998); The Beat Generation by Jamie Russell (2002); Blondie, From Punk to the Present: A Pictorial History, edited by Allan Metz (2002); Literary Outlaw: The Life and Times of William S. Burroughs by Ted Morgan (2012); The Stray Bullet: William S. Burroughs in Mexico by Jorge García-Robles; translated by Daniel C. Schechter (2013); William S. Burroughs Cutting up the Century, edited by Joan Hawkins and Alex Wermer-Colan; contributing editors: Charles Cannon, Tony Brewer, and Landon Palmer (2019); William S. Burroughs & the Cult of Rock 'n' Roll by Casey Rae (2019); Understanding William S. Burroughs by Gerald Alva Miller, Jr. (2020); Fever Spores: the Queer Reclamation of William S. Burroughs, edited by Brian Alessandro and Tom Cardamone (2022); Burroughs Unbound: William S. Burroughs and the Performance of Writing, edited by S. E. Gontarski (2022) Selected works: Junkie, 1953 (unexpurgated version in 1977; see also Nelson Algren's novel The Man with the Golden Arm ) - Nisti (suom. Jaakko Yli-Juonikas, 1987) Naked Lunch, 1959 - Alaston lounas (suom. Risto Lehmusoksa, 1971) - Film 1991, directed by David Cronenberg, starring Peter Weller, Judy Davis. A story about a drug-addicted writer who kills his wife accidentally and flees to his paranoid fantasies. Exterminator, 1960 (with B. Gysin) Minutes To Go, 1960 (with S. Beiles, G. Corso, B. Gysin) The Soft Machine, 1961 The Ticket That Exploded, 1962 The Yage Letters, 1963 (with Allen Ginsberg) Dead Fingers Talk, 1963 Roosevelt After Inauguration and Other Atrocities, 1964 (as Willy Lee) Nova Express, 1964 Time, 1965 Health Bulletin, 1965 Exterminator!, 1967 So Who Owns Death TV?, 1967 (with C. Pelieu, C. Weisser) They Do Not Always Remember, 1968 Ali's Smile, 1969 The Dead Star, 1969 The Last Words of Dutch Schultz, 1969 The Electronic Revolution, 1970 The Wild Boys: A Book Of The Dead, 1971 - Hurjat pojat: kuolleiden kirja (suom. Kari Lempinen, 1983) Ali's Smile / Naked Scientology, 1972 Exterminator!, 1973 Port of Saints, 1973 Brion Gysin Let the Mice In, 1973 (edited by Jan Herman, with texts by William Burroughs & Ian Sommerville) White Subway, 1973 The Book of Breething, 1974 (ill. by Robert F. Gale) The Job: Interviews with William S. Burroughs, 1974 (with Daniel Odier) Snack... , 1975 (with E. Mottram) Sidetripping, 1975 (with Charles Gatewood) The Last Words of Dutch Schultz, 1975 (film script) The Retreat Diaries, 1976 (with The dream of Tibet by Allen Ginsberg) Colloque de Tangier, 1976 (with Brion Gysin) Cobble Stone Gardens, 1976 The Third Mind, 1978 (with B. Gysin) Dr. Benway, 1979 Blade Runner: A Movie, 1979 (nothing to do with the film) Ah, Pook Is Here and Other Texts , 1979 Letters to Allen Ginsberg, 1981 Streets of Chance, 1981 Early Routines, 1981 With William Burroughs: A Report from the Bunker, 1981 (compiled by Victor Bockris) Cities of the Red Night: A Boy's Book, 1981 (Cities of the Night, book 1) - Punaisen yön kaupungit (suom. Elina Koskelin, 2007) Mummies, 1982 (etchings by Carl Apfelschnitt) Sidetripping, 1982 Sinki's Sauna, 1982 The Place of Dead Roads, 1983 (Cities of the Night, book 2) - Kuolleitten katujen paikka (suom. Elina Koskelin, 2009) The Burroughs File, 1984 Ruski, 1984 The Four Horsemen of the Apocalypse, 1984 Queer, 1985 - Hämy (suom. Elina Koskelin, 2004) The Adding Machine: Collected Essays, 1985 The Piano Players, 1986 Routine, 1987 The Western Lands, 1987 (Cities of the Night, book 3) - Lännen maat (suom. Elina Koskelin, 2010) Apocalypse, 1988 (with K. Haring) The Cat Inside, 1988 (drawings by Brion Gysin) - Kissa sisälläni (suom. Elina Koskelin, 2005) Paintings and Drawings, 1988 The Black Rider, 1989 (with Tom Waits and Robert Wilson) Interzone, 1989 (ed. James Grauerholz) - Interzone (suom. Elina Koskelin, 2011) Tornado Alley, 1989 ( illustrations by S. Clay Wilson) Ghost of Chance, 1991 (illustrated by George Condo) Seven Deadly Sins, 1992 Paper Cloud / Thick Pages, 1992 The Letters of William S. Burroughs 1945-1959, 1993 (edited by Oliver Harris) My Education: A Book of Dreams, 1995 - Koulutukseni - unien kirja (suom. Elina Koskelin, 2012) My Kind of Angel: I. M . William Burroughs, 1998 (edited by Rupert Loydell) Word Virus: The William Burroughs Reader, 1998 (edited by James Grauerholz and Ira Silverberg) Conversations With William S. Burroughs, 1999 (edited by Allen Hibbard) Last Words: The Final Journals of William S. Burroughs, 2000 (edited and with an introduction by James Grauerholz) - Viimeiset sanat (suomentanut Elina Koskelin, 2012) Burroughs Live: The Collected Interviews of William S. Burroughs, 1960-1997, 2001 (edited by Sylvère Lotringer) The Yage Letters Redux, 2006 (4th ed., edited and with an introduction by Oliver Harris) And the Hippos Were Boiled in Their Tanks, 2008 (with Jack Kerouac, written in 1945; afterword by James W. Grauerholz) - Ja virtahevot kiehuivat altaissaan (suom. Sami Heino & Elina Koskelin, 2010) Everything Lost, The Latin American Notebook of William S. Burroughs, 2008 (general editors: Geoffrey D. Smith and John M. Bennett; volume editor, Oliver Harris) Rules of Duel, 2010 (with Graham Masterton) Rub Out the Words: The Letters of William S. Burroughs 1959-1974, 2012 (edited by Bill Morgan) Everything Lost: the Latin American Notebook of William S. Burroughs, 2017 (rev. ed.; editors Geoffrey D. Smith, John M. Bennett, and Oliver Harris) Don't Hide the Madness: William S. Burroughs in Conversation with Allen Ginsberg, 2018 (edited by Steven Taylor; photos by Allen Ginsberg) Queer, 2022 (edited and with an Introduction by Oliver Harris) Some rights reserved Petri Liukkonen (author) & Ari Pesonen. 2008-2023.
correct_death_00083	FactBench	2	15	https://www.encyclopedia.com/people/literature-and-arts/american-literature-biographies/william-s-burroughs	en	William S. Burroughs			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about William S. Burroughs", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about William S. Burroughs", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	William S. Burroughs [1] Novelist, multimedia artist For the Record… [2] Selected discography [3] Sources [4] William S. Burroughs [5] is one of the most significant writers of the twentieth century.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/literature-and-arts/american-literature-biographies/william-s-burroughs	Personal Full name William Seward Burroughs; born February 5, 1914, in St. Louis, MO; died of a heart attack, August 2, 1997, in Lawrence, KS; son of Mortimer P. (a businessman) and Laura (Lee) Burroughs; married Ilse Herzfeld Klapper, 1937 (divorced, 1946); married Joan Vollmer, January 17, 1946 (died September 7, 1951, of an accidental gunshot wound); children: (second marriage) William Seward, Jr. (died March 3, 1981). Education: Harvard University, A.B., 1936, graduate study, 1938; attended University of Vienna, 1937, and Mexico City College, 1949-50. Career Writer. Advertising copywriter in New York City, early 1940s; has also worked as bartender, exterminator, and private detective. Appeared in films, including Bill and Tony, 1962; Towers Open Fire, 1963; The Cut-Ups, 1965; Opium Jones, 1967; Prologue, 1970; Underground and Emigrants, 1976; Energy and How to Get It, 1981; Poetry in Motion, 1982; Cooked Diamonds, 1982; Kerouac, 1983; Burroughs, 1983; This Song for Jack, 1983; Decoder, 1984; What Happened to Kerouac?, 1985; It Don't Pay to Be an Honest Citizen, 1985; Home of the Brave, 1986; William S. Burroughs: Commissioner of Sewers, 1986; The Beat Generation: An American Dream, 1987; Bloodhounds on Broadway, 1989; Drugstore Cowboy, 1989; Heavy Petting, 1989; Rub Out the Word, 1989; Twister, 1989; A Thanksgiving Prayer, 1990; Naked Making Lunch, 1992; The Life and Times of Allen Ginsberg, 1993; Even Cowgirls Get the Blues, 1993; Glitterbug, 1993; A Junky's Christmas, 1994; Ah Pook Is Here, 1994; and Ghosts at No. 9. Made appearances in music videos. Military service: U.S. Army, 1942. Awards, Honors National Institute of Arts and Letters and American Academy, award in literature, 1975, named member, 1983; the Nova Convention, a four-day arts festival held in New York city in 1978, and the Final Academy, held in London in 1982, were organized as tributes to Burroughs. Writings NOVELS (Under pseudonym William Lee) Junkie: The Confessions of an Unredeemed Drug Addict (bound with Narcotic Agent by Maurice Helbrant), Ace Books (New York, NY), 1953, published separately under name William S. Burroughs, 1964, unexpurgated edition published as Junky, Penguin (New York, NY), 1977. The Naked Lunch (also see below), Olympia Press (Paris, France), 1959, published as Naked Lunch, Grove (New York, NY), 1962, restored text edition, 2001. The Soft Machine (also see below), Olympia Press (Paris, France), 1961, revised edition, Grove (New York, NY), 1966. The Ticket That Exploded (also see below), Olympia Press (Paris, France), 1962, revised edition, Grove (New York, NY), 1967. Dead Fingers Talk (contains excerpts from NakedLunch, The Soft Machine, and The Ticket That Exploded), Calder/Olympia Press (Paris, France), 1963. Nova Express (also see below), Grove (New York, NY), 1964. The Wild Boys: A Book of the Dead (also see below), Grove (New York, NY), 1971, revised edition, Calder (London, England), 1979. Exterminator! Viking/Seaver (New York, NY), 1973. Port of Saints, Covent Garden Press (London, England), 1973, Blue Wind Press (Berkeley, CA), 1979. Short Novels, Calder (London, England), 1978. Blade Runner: A Movie, Blue Wind Press (Berkeley, CA), 1979. The Soft Machine, Nova Express [and] The Wild Boys, Grove (New York, NY), 1980. Cities of the Red Night, Holt (New York, NY), 1981. The Place of Dead Roads, Holt (New York, NY), 1984. Queer, Viking (New York, NY), 1986. The Western Lands, Viking (New York, NY), 1987. Interzone, edited by James Grauerholz, Viking (New York, NY), 1989. Also author, with Jack Kerouac, of unpublished novel And the Hippos Were Boiled in Their Tanks. OTHER (With Brion Gysin) The Exterminator, Auerhaun Press (San Francisco, CA), 1960. (With Brion Gysin, Sinclair Beiles, and Gregory Corso) Minutes to Go (poems), Two Cities Editions (Paris, France), 1960, Beach Books, 1968. (With Allen Ginsberg) The Yage Letters, City Lights (San Francisco, CA), 1963. Takis (exhibition catalog), [New York, NY], 1963. (Under pseudonym Willy Lee) Roosevelt after Inauguration, F——You Press, 1964, published as Roosevelt after Inauguration and Other Atrocities, City Lights (San Francisco, CA), 1979. Valentine's Day Reading, American Theatre for Poets, 1965. The White Subway (also see below), Aloes Books (London, England), 1965. Health Bulletin: APO:33: A Metabolic Regulator, F——You Press, 1965, published as APO:33: A Report on the Synthesis of the Apomorphine Formula, Beach Books, 1966. (With Lee Harwood) Darayt, Lovebooks (London, England), 1965. Time (poems), "C" Press, 1965. (With Claude Pelieu and Carl Weissner) So WhoOwns Death TV? Beach Book Texts and Documents, 1967. They Do Not Always Remember, Delacorte (New York, NY), 1968. (Author of preface) Jeff Nuttall, Pig, Fulcrum Press (London, England), 1969. Ali's Smile, Unicorn Books (New York, NY), 1969. The Dead Star, Nova Broadcast Press (San Francisco, CA.), 1969. Entretiens avec William Burroughs, Editions Pierre Belfond (Paris, France), 1969, translation published as The Job: Interviews with William S. Burroughs, Grove (New York, NY), 1970, new edition, 1974. (With Carl Weissner) The Braille Film, Nova Broadcast Press (San Francisco, CA.), 1970. (With Brion Gysin) Third Mind, Grove (New York, NY), 1970. The Last Words of Dutch Schultz: A Fiction in the Form of a Film Script, Cape Goliard Press (London, England), 1970, Viking/Seaver (New York, NY), 1975. (With Claude Pelieu) Jack Kerouac (in French), L'Herne (Paris, France), 1971. Electronic Revolution (also see below), Blackmoor Head Press (Cambridge, England), 1971. (With Brion Gysin and Ian Somerville) Brion GysinLet the Mice In, Something Else Press (New York, NY), 1973. Mayfair Academy Series More or Less, Urgency Press Rip-Off, 1973. The Book of Breething (also see below), OU Press (Ingatestone, England), 1974, Blue Wind Press (Berkeley, CA), 1975, 2nd edition, 1980. (With Charles Gatewood) Sidetripping, Strawberry Hill (San Francisco, CA), 1975. (With Eric Mottram) Snack: Two Tape Transcripts, Aloes Books (London, England), 1975. Cobblestone Gardens (also see below), Cherry Valley (Wheaton, MD), 1976. The Retreat Diaries (also see below), City Moon (New York, NY), 1976. (Author of text) 23 Skidoo, first produced in New York, NY, at the Washington Square Methodist Church, April, 1978. Naked Scientology, Expanded Media Editions (Bonn, Germany), 1978. Doctor Benway: A Variant Passage from "The NakedLunch," Bradford Morrow (Santa Barbara, CA), 1979. Ah Pook Is Here and Other Texts: The Book of Breething,Electronic Revolution, Calder (London, England), 1979. Early Routines, Cadmus Editions (Santa Barbara, CA), 1981. Letters to Allen Ginsberg, 1953-1957, Full Court Press (New York, NY), 1981. A William Burroughs Reader, Pan Books (London, England), 1982. The Burroughs File (includes The White Subway,Cobblestone Gardens, and The Retreat Diaries), City Lights (San Francisco, CA), 1984. The Adding Machine: Collected Essays, Calder (London, England), 1985. (With Keith Haring) Apocalypse (catalog), George Mulder Fine Arts (New York, NY), 1988. Tornado Alley, Cherry Valley Editions (Cherry Valley, NY), 1988. William S. Burroughs: Paintings, Galerie Carzaniga + Ueker (Basel, Switzerland), 1989. William S. Burroughs: Exposition, 23 mars/21 avril1990, Galerie K. Paris, Le Galerie (Paris, France), 1990. Ghost of Chance, illustrated by George Condo, Library Fellows of the Whitney Museum of American Art (New York, NY), 1991. The Cat Inside, Viking (New York, NY), 1992. Everything Is Permitted: The Making of "Naked Lunch," edited by Ira Silverberg, Grove Weidenfeld (New York, NY), 1992. The Letters of William S. Burroughs: 1945-1959, edited and with an introduction by Oliver Harris, Viking (New York, NY), 1994. My Education: A Book of Dreams, Viking (New York, NY), 1995. Collected Interviews of William S. Burroughs, Autonomedia, 1997. (With James Grauerholz and Ira Silverberg) WordVirus: The William S. Burroughs Reader, Grove (New York, NY), 1998. My Kind of Angel: i.m. William Burroughs, edited by Rupert Loydell, Stride (Exeter, Devon, England), 1998. Conversations with William S. Burroughs, edited by Allen Hibbard, University Press of Mississippi (Jackson, MS), 1999. Last Words: The Final Journals of William S. Burroughs, edited by James Grauerholz, Grove (New York, NY), 2000. Burroughs Live: The Collected Interviews of William S.Burroughs, 1960-1997, edited by Sylvre Lotringer, Semiotext(e), 2000. Also author, with Claude Pelieu and Carl Weissner, of Fernseh-Tuberkulose, 1969, and of films, with Gysin, Towers Open Fire, 1963, with Antony Balch, Bill and Tony, 1966, and of The Cut-Ups. Contributor to books, including A Casebook on the Beat, edited by Thomas Parkinson, Crowell, 1961, and The Final Academy: Statements of a Kind, edited by Robert Fly, Final Academy, 1982. Also a contributor to Grand Street 59: Time (January 1997). RECORDINGS Call Me Burroughs, English Bookshop, 1965. William S. Burroughs/John Giorno, Giorno Poetry Systems, 1975. You're the Man I Want to Share My Money With, Giorno Poetry Systems, 1981. Nothing Here Now but the Recordings, Industrial Records, 1981. Break Through in Grey Room, Sub Rosa, 1987. Dead City Radio, Island Records, 1990. (And narrator) A Thanksgiving Prayer, Island Records, 1990. (With Kurt Cobain) "'The Priest' They Called Him," Tim/Kerr Records, 1993. Spare Ass Annie and Other Tales, Island Red Label, 1993. (With Tom Waits) The Black Rider, Island Records, 1993. Best of William Burroughs from Giorno Poetry Systems, Mouth Almighty/Mercury, 1998. The Name Is Burroughs: A Program of Readings from the Work of William S. Burroughs, selected and read by Teman Treadway, Library of Congress (Washington, DC), 1998. Contributor to Laurie Anderson: Mister Heartbreak, Warner Brothers, 1984. Also composer of song "Old Lady Sloan," recorded by Mortal Micronotz on the album The Mortal Micronotz, Fresh Sounds, 1982; and to Revolutions per Minute (The Art Record), Ronald Feldmann Fine Arts, 1982, and Life Is a Killer, Giorno Poetry Systems. Adaptations Burroughs's novel Naked Lunch was adapted for a film directed by David Cronenberg, produced by Jeremy Thomas, and released by Twentieth Century-Fox in 1991. Sidelights Called "one of the most enthralling personalities in American literature" by Alan Ansen in the Review of Contemporary Fiction, writer, poet, painter, performer, and rebel William S. Burroughs was a founder of the Beat Generation, a literary artistic movement that challenged the predominant middle-class beliefs of 1950s America. Referred to as a "literary outlaw" by his biographer, Ted Morgan, Burroughs was a distinct outsider not only to the bourgeois world which he so satirized, but even in artistic circles. His life was punctuated with the exclamation marks of his early drug addiction, the killing of his second wife, and his homosexuality. As Leon Lewis noted in the Dictionary of Literary Biography, however, "the legend surrounding Burroughs's life has tended to deflect attention from his actual accomplishments while intertwining the life of the man with his work in ways that require knowledge of both to make either intelligible. Lewis further commented, "[Burroughs's] influence on musicians, filmmakers, computer hackers, and others with antiestablishment agendas has frequently overshadowed his importance as a writer. However, his employment of a Joycean stream-of-consciousness narrative; his prefiguring of postmodernism in his fusion of disparate modes; his development of a novel that does not depend on traditional methods of shaping plot, characters, and dialogue; and his creation of a distinctly singular voice that combines several strains of American speech while retaining its own characteristic qualities should ensure his place in twentieth-century literature Vince Passaro noted in Harper's magazine shortly after Burroughs's death in 1997, that "such disturbing life details were little remembered" at the time of the writer's passing, as indeed were his actual accomplishments. Instead, according to Passaro, Burroughs "had been commercially morphed into the grand old man of American freakdom, the last living beatnik . . . , a cool face in a Nike ad, and a background vocalist on Tom Waits and Laurie Anderson records." This transformation was, however, far from the truth of Burroughs's life, according to Passaro: "In reality . . . Burroughs was a dangerous man, not only an actual killer but a theoretician of crime and resistance, someone who strove to forge the unspeakable into an art form. With his passing, the American literary world lost more than the thin, neatly dressed Beat icon that the mainstream obituaries described; it lost the last of its revolutionary modernists." Described by a critic for Publishers Weekly as a "crusty American expatriate junkie who looked like an insurance-company middle manager," Burroughs left behind an impressive list of achievements in a number of artistic forms. The author of over a dozen novels, including the acclaimed Naked Lunch, Queer, Junkie, The Soft Machine, The Ticket That Exploded, Nova Express, The Wild Boys, and Cities of the Red Night, he also wrote nonfiction, including a volume of letters that helps define the middle decades of the twentieth century. In addition to these works, he penned short stories and film scripts, recorded numerous readings of his own work, appeared in music videos and movies, and worked for many years toward the end of his life as a painter. Burroughs's fiction is noted for its nonlinear format, unresolved endings, and abrupt cuts and transitions. He also pioneered a genre he called "cut-ups," in which he interleaved his own text with random cuttings from newspapers and other media. As Jim Marks noted in Lambda Book Report, Burroughs's novels are a "weird mix of paranoia, violence, drug use and teenage homoerotic sexual fantasy." Indeed, for Marks, such a sexual fantasy "is the predominant element in Burroughs' writing." Others, including George Gessert, writing in Leonardo, find that Burroughs's writing owes less to literary influences such as James Joyce and Henry Miller than they do to the world of music and art. "To me," wrote Gessert, "[Burroughs's] novels of the late 1950s and 1960s do not recall Finnegan's Wake or The Tropic of Cancer so much as improvisational jazz and abstract expressionism." Gessert went on to note that, "like [the abstract expressionist painter Jackson] Pollock, who abandoned the concern for a permanent art, Burroughs saw permanence in literature as inappropriate to an age of instant annihilation, and he tried to create an emergency literature for breakthrough into a new culture." Middle-Class Roots It is ironic that such a rebellious, pioneering spirit came out of such a conventional upbringing. The grandson of the inventor of the adding machine, Burroughs was born in St. Louis, Missouri, in 1914. His family was intensely establishment. In addition to the fortune (lost by 1929) gained by the adding machine that bears the family name, Burroughs's mother also came from a staid, conservative background, the Lee family, which counted the Confederate general Robert E. Lee among its forebears. Laura Lee Burroughs's uncle helped to found the use of public relations by corporate America to battle the labor movement; she was the daughter of a Methodist minister and herself was well known for her three books on flower arranging. Burroughs's father, Mortimer P. Burroughs, was a gentleman who lived off the fortune brought in by his father's invention; he was a noted amateur landscape gardener and later, after the loss of much of the family money in the stock market crash of 1929, ran a gift and art shop called Cobblestone Gardens. An older brother was a Princeton University graduate and an architect who worked his entire life for General Electric. William Seward Burroughs was, however, cut out for a different path in life. He dropped out of his private boys' school in New Mexico two months before graduation because of depression brought on by rejection by another boy. The Los Alamos Ranch School was subsequently purchased by the U.S. government and turned into a research site for the building of the first atomic bomb. Jennie Skerl noted in Dictionary of Literary Biography that "as a youth Burroughs says he found himself alienated from a suburban social environment perceived as both boring and hostile. He felt his homosexuality was only part of the reason for his alienation, not the sole cause. Timid and solitary, he turned to extensive reading for solace and dreamed of becoming a writer." He began writing in his youth, but gave it up as a teenager, dismayed that he was unable to reveal the intimate details of his life, even in the pages of his diary. He would not begin writing again until 1938, and then only in a piecemeal manner. Attending Harvard University in the early 1930s, Burroughs majored in English and was remembered by other students primarily for the fact that he kept a live ferret in his room. Graduating in 1936, he went to Vienna, Austria, for a time, studying medicine and psychoanalysis. There he married Ilse Herzfeld Klapper, a union motivated not out of love but from a desire to help her emigrate from a Europe increasingly dominated by Adolf Hitler and the German Nazis. The couple divorced formally in 1946. Back in the United States, Burroughs worked at a variety of jobs, from an advertising copywriter to exterminator. For a time in 1938 he began writing again, collaborating with a friend, Kells Evins, on hard-boiled detective yarns which did not sell to the magazine market. During this time, despite a lack of success in placing his work, Burroughs began developing his pulp fiction and factual style as well as one of the characters that would make repeated appearances in his later work, Dr. Benway. Drafted into the army with the onset of World War II, Burroughs quickly received a disability discharge when it was learned that he had spent time in a mental hospital for slicing off part of a finger. These years of aimless drifting began to take more shape when he moved to New York and enrolled at Columbia University. There he met two younger men, Jack Kerouac and Allen Ginsberg, with whom he would establish a lasting connection. These three ultimately laid down the foundations of the Beat movement with its critical view of corporate America. Burroughs also completed his search for the ultimate outsider experience in America: in 1944 he became a morphine addict. Shortly thereafter, he met Joan Vollmer, a friend of Kerouac's girlfriend. He and Vollmer would, despite Burroughs's homosexuality, ultimately marry and have a son, William Burroughs II. In many ways Burroughs was a teacher to Ginsberg and Kerouac, who were about a decade younger and less experienced in the world and in literature. He introduced them to the outlaw culture he had discovered around Times Square in New York, and the pushers who supplied him with his drugs. But the younger men also influenced Burroughs; it was Kerouac who finally convinced the older man to start writing down his own life, especially his drug experiences. A Literary Outlaw From the middle of the 1940s to the end of the 1950s addiction was a way of life for Burroughs. His life was in fact almost totally determined by his drug use, both the availability of drugs and the legal problems ensuing because of his addiction. He fled New York with Vollmer to avoid a drug arrest, settling in Texas for a time. Then, after a spell in a drug rehabilitation center in Kentucky, he returned to Texas and his drug habit. He left Texas for Louisiana because of an arrest for drunken driving. In Louisiana he was arrested for possession of drugs and illegal firearms and escaped to Mexico City to avoid conviction. There, supported by a small allowance from his family, he began taking classes at the Mexico City University, and also continued with his drug habit in an environment where drugs were easier to find. By 1950 he had begun work on his first novel, Junkie: The Confessions of an Unredeemed Drug Addict. His time in Mexico, however, was cut short by domestic tragedy. Drinking heavily one day, Burroughs and his wife played a deadly game with a handgun. She placed a glass of gin on her head and he attempted to shoot it, like William Tell and the apple. In this case, however, he missed. The bullet struck Joan in the forehead and killed her instantly. The killing was finally ruled an accident, but Burroughs had to leave Mexico. His son, Billy, was sent to live with his paternal grandparents and Burroughs set off on a new round of travels, through South America in search of a legendary drug, yage, and then on to Tangier, Morocco, where young men and drugs were plentiful. Here he settled for several years. The death of his wife, however, left its mark on Burroughs. As he wrote in the novel Queer, the death "brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have had no choice except to write my way out." Meanwhile, Burroughs's first novel, Junkie, appeared in 1953, and was largely ignored by critics. As Skerl noted, however, the novel "lays the groundwork for later novels and is itself a complex work that deserves more attention." Many of the characters and themes of Burroughs's later work make their first appearance here. The book records the experiences of a drug addict or junkie, William Lee, who is a stand in for Burroughs himself. Critics later pointed out the significance of the use of the name "Lee," that of his mother's conservative family. But Bill Lee, Burroughs's protagonist, is a rebel, a seeker of adventure and of a life lived outside of traditional moral structures and strictures. Addiction, according to Burroughs, is what sets Lee free from the conventional social rules. In this debut novel Burroughs also experiments with new literary forms, imitating the deadpan style of the pulp magazines. In Tangier Burroughs was no less controlled by his addiction, but he still managed to write about a thousand pages of notes that he would later fashion into his rambling, nonlinear novels. He began to work on a fictional device he called the "routine," or "satirical fantasy improvised from a factual base," as Skerl described the technique. His Tangier notes were full of such routines, and they began to form the core of his fictional technique. From 1953 to 1959 there were no new publications, only these copious notes. However, by 1957 his drug habit had become so extreme that he again sought help, this time in London where he underwent what was known as the apomorphine cure. The treatment was successful, though Burroughs relapsed a few times. Yet by 1959 Burroughs was completely cured of his addiction to morphine and could now put the finishing touches on Naked Lunch, the novel by which he is best know. A Literary Explosion Like Junkie, Naked Lunch is on one level the record of a man's addiction to opiates. The book traces the effects of this addiction and its treatment and cure by the apomorphine treatment. "On the literal level the novel can be seen as the disjointed memories and hallucinations of withdrawal," according to Skerl. Again narrated by Bill Lee, the book opens with a first section that more or less looks at Burroughs's own life of addiction as seen in Junkie, and his ultimate settling in Tangier. But the book moves into fantasy in other sections in which Tangier is changed into the dystopic "Interzone," and social satire comes to the fore as does Burroughs's own form of pop philosophy and science. Routines or sketches are laid out in random order, thus prohibiting any sense of narrative continuity or sense of consistent point of view. It is possible, as more than one critic has mentioned, to pick up the novel and begin anywhere, or jump backward or forward at will. It is also filled with powerful sexual and bodily descriptions, strong language that kept the book from being published initially in the United States. Among the myriad themes explored in the novel is that of control. As Lewis observed in the Dictionary of Literary Biography, "Burroughs investigates the methods that people in positions of power or dependency use to influence others through the exertion of psychological, social, political, and sexual pressures." Thus he takes on the establishment through the fictional form of the three political parties of Interzone: the Liquefactionists, the Divisionists, and the Senders. The leaders of these parties are all "control addicts," as Burroughs describes them in the novel. The only force for good against these evil parasitic controllers is the radical Factualist party. Agent Bill Lee is a factualist, fighting his odd fight for human freedom by revealing the facts and the way things really are. It was not this subversive message, though, that caused legal and critical problems for the book. Lewis pointed out that "most of the criticism directed at Naked Lunch by literary critics and legal authorities has focused on Burroughs's graphic presentation of coarse physical detail and his apparent lack of a clear moral base in his portrayal of deviant social activities." But as Lewis went on to note," Burroughs's intentions, however, are neither to endorse nor directly to condemn the participants depicted in his routines, utilizing instead the shocking force of the portrayals as a means of undermining easy or habitual responses so that conventional judgment might be replaced by a new or deeper understanding of fundamental causes. The morality of his work is derived from his exploration of what he calls 'The Algebra of Need'—a phrase pointing toward the cynical exploitation of human desperation that might be understood in terms of the root meaning of algebra." Published in Paris in 1959, the novel was finally brought out by Grove Press in the United States in 1962. Together with Ginsberg's epic poem, Howl, published in 1956, and Kerouac's novel On the Road, published in 1957, Burroughs's Naked Lunch forms a triumvirate of works proclaiming the Beat ethos of disaffection and alienation. It earned a champion in the writer Mary McCarthy, who compared Naked Lunch to Lolita by Vladimir Nabokov, another book initially thought obscene. Other writers also rallied around Burroughs when Naked Lunch twice faced obscenity charges in the early 1960s and twice won, helping to break the stranglehold such laws had on creativity. Writing more than three decades later, Benjamin Weissman noted in the Los Angeles Times Book Review that with publication of Naked Lunch, Burroughs "locked himself and his readers into a blasted, playful zone, a sort of Jonathan Swiftmeets-Marquis de Sade 'humanoidspeak.'" Weissman further commented that the "voice of Burroughs' prose is a profound and prophetic dementia that continually blows people away, and like all great writing it disturbed a lot of people." For Weissman, this prose was a "surreal maelstrom of sex, violence and drugs all swirled together in a levelheaded cowboy vernacular." Alternately praised and reviled upon publication, Naked Lunch and Burroughs have since been inducted into the canon of American literature. Skerl concluded that the novel is a "brilliant work deserving of the critical attention it has received. It significantly contributes to the craft of fiction in subject matter and technique, thus gaining it a permanent place in the history of the novel and the history of the avantgarde." This world of control addicts and surreal exploration of the modern condition found further definition in the trilogy of novels that followed Naked Lunch: The Soft Machine, The Ticket That Exploded, and Nova Express. "In these books," according to Passaro, "Burroughs . . . developed an underground politics of shamanistic resistance to 1950s U.S. triumphalism." The author continued to draw on the notes and routines he had written in Tangier, but now threw in a new technique for making such surreal sketches even more random. Influenced by the "cut-up" technique of his friend and painter Brion Gysin—which derived from the Dada art movement of the 1910s and 1920s—Burroughs began cutting up his passages of prose and randomly inserting cuttings from other writers and media to create a collage effect, further accentuating the accidental nature of the narratives. This trilogy forms what Burroughs referred to as a "mythology for the space age." Such plot as there is for the trilogy revolves around the Nova Mob, superhuman and extraterrestrial forces from outer space who have controlled mankind for three thousand years, taking on the form of a parasitic virus. They control the world by making humans addicted to sex, power, and drugs. Throughout the trio of books, the Mob is fought by the Nova Police, and once again Agent Lee is in attendance on the side of good, trying to "wise up the marks," as Burroughs puts it in street parlance, or expose the Mob's operations and intentions to mankind. The series of novels ends, however, with the battle between the two forces at a stalemate. In all of these early books Burroughs consistently portrays addiction as a metaphor for the human condition, and the act of writing as a subversive, anti-control tactic. For Skerl, this trilogy, "taken as one work, is an achievement equal to Naked Lunch both in its innovation and its power." Yet Skerl also noted that Burroughs's extensive use of the cut-up technique "makes the trilogy inaccessible to many readers." An End to Exile Burroughs lived in Paris from 1959 to 1964 while writing his trilogy, then moved back to the United States. After the obscenity trials of Naked Lunch, he moved to London where he resided until 1974. From 1964 to 1971 Burroughs published no new novel-length work, as he had by now used up the pages of notes and routines accumulated during his days in Tangier. Instead he once again gathered new experiences out of which he could fashion longer fictional works. His next major novel, a science-fiction fantasy, was Wild Boys: A Book of the Dead, about a group of homosexual youths who smoke hashish and travel through both time and space, beyond normal societal controls. Told in eighteen scenes and in a more accessible genre style than his earlier fiction, Wild Boys is still concerned with the traditional Burroughs themes of personal freedom and independence from the shackles of society. Skerl noted that Wild Boys marked a new phase in Burroughs's work with a new mythology and metaphor. For Skerl, if addiction was the metaphor of the author's work up to the late 1960s, thereafter it was sexuality which serves as the "central metaphor." Burroughs began exploring the idea of sex and death as the biological trap in much of his later work. Exterminator!, published in 1973, continues in this more direct and simple style, but with even briefer scenes, and Port of Saints followed in 1975, which continues to develop similar themes and plots of the previous two novels, but also re-introduces themes and characters from Naked Lunch. Because of such an overlap and inter-connectedness between his fictional works, some critics have observed that all of Burroughs's work forms one giant novel. Amid this life lived on an artistic plane, personal tragedy continued to haunt Burroughs. His son, Bill, had become, like his father, a writer; also like his father he abused drugs and alcohol. For Bill such abuse turned into alcoholism that damaged his liver. Despite a transplant, Bill Burroughs died in 1981. By this time Burroughs had settled in Lawrence, Kansas, and was well on his way to becoming a cultural shibboleth. He made appearances on Saturday Night Live and started giving public readings of his work throughout the country, becoming the inspiration for a new generation of rebels and societal misfits. He also continued to publish new novels. His 1981 Cities of the Red Night features the private detective Clem Snide, who is trying to solve a case of ritual murder. Other stories and routines also pop up; one plot line is set a thousand years ago in the Gobi Desert, and the main story follows an eighteenth-century gang of homosexual pirates who are trying to set up free-spirited communities for themselves in South America. Burroughs employs genre styles from the detective to science fiction and boys' adventure tales in this novel. As usual, Burroughs elicited both praise and condemnation for his prose. Newsweek's Peter S. Prescott, for example, complained that "the inspiration behind [Cities of the Red Night] seems retarded: the masturbatory fantasies of a 12-year-old boy," while John Tytell in the American Book Review declared that the same work "is a powerful book and a hauntingly macabre entertainment." Burroughs joined the ranks of established and venerated American writers when he was invited to become a member of the American Academy and Institute of Arts and Letters in 1983. He accepted, and when asked to send material that could be included in an exhibit of the work of new members, Burroughs asked if they would be interested in one of the pieces of art he had begun to create by hanging bags or cans of paint on a plywood panel and using it for target practice with a shotgun. The Academy politely but firmly declined the offer. In 1984 Burroughs published a novel set in the 1890s, The Place of Dead Roads, and populated it with another gang of homosexual youths who wage war against the straight society. Called the "first gay western" by David Donnell in the Toronto Globe & Mail, the novel was panned by Anatole Broyard in the New York Times: "For a celebrated author to publish a novel as poor as The Place of Dead Roads requires a degree of collusion or encouragement on our part." In 1986 the novel Queer was published. Though Burroughs actually wrote the book as his second novel, he did not publish it for over three decades, supposedly because its homosexual content was too strong for most publishers. Passaro found that Queer "is the book that now seems to define [Burroughs] most." In it, according to Passaro, Burroughs first developed his "true comic-psychotic voice and his time-and character-shredding narrative style." Two further novels followed in the 1980s, The Western Lands and Interzone, edited by Burroughs's long-time friend, secretary, and promoter, James Grauerholz. If you enjoy the works of William S. Burroughs If you enjoy the works of William S. Burroughs, you may also want to check out the following books: Aldous Huxley, The Doors of Perception, 1954. J. G. Ballard, The Atrocity Exhibition, 1970. Francesca Lia Block, The Hanged Man, 1994. Burroughs's reputation continued to grow among a new generation of readers, partly spurred by his appearances in movies such as Drugstore Cowboy,My Own Private Idaho, and Even Cowgirls Get the Blues. His influence on music, especially rock and roll, could be seen by groups that took their names (Steely Dan, Soft Machine) from titles of or characters in Burroughs's novels. Even the phrase "heavy metal" that describes a type of rock music comes from Naked Lunch. As Lewis MacAdams noted in Rolling Stone, "[Burroughs] collaborated with U2, Kurt Cobain and Tom Waits. Burroughs came to embody a Luciferian spirit to generations of musicians, from Lou Reed to David Bowie to Patti Smith to Trent Reznor." More than simply an influence on music, though, Burroughs also collaborated on the critically acclaimed musical theater piece The Black Rider, with music by Tom Waits. Burroughs published mostly nonfiction toward the end of his life. His collected correspondence, The Letters of William S. Burroughs: 1945-1959, appeared in 1994, and his dream diary, My Education: A Book of Dreams, came out in the following year. At the time of his death in 1997, Burroughs was keeping a journal, which was published posthumously as Last Words: The Final Journals of William S. Burroughs. His passing brought a reassessment of his life and his works. "The importance of Burroughs's writing is undeniable," wrote Lewis in Dictionary of Literary Biography. Robert Cohen of the New York Times Book Review called Burroughs "arguably the most influential American prose writer of the last forty years." Yet, as Gessert asserted, "Burroughs is not for everyone. He wrote neither for those interested only in the mundane details of protected lives, nor for those who believe that some things should never be said." As Gessert further noted, Burroughs himself may be forgotten, but not the effects of his work: "He has already left such an indelible mark on culture that his anarchic spirit will enliven the arts whether or not his works are read. . . . He believed . . . that history can be changed by art." Biographical and Critical Sources BOOKS Bockris, Victor, With William Burroughs: A Report from the Bunker, St. Martin's Griffin (New York, NY), 1996. Burroughs, William S., Jr. and David Ohle, Cursed from Birth: The Short, Unhappy Life of William S. Burroughs, Jr., Grove (New York, NY), 2003. Caveney, Graham, Gentleman Junkie: The Life andLegacy of William S. Burroughs, Little, Brown (Boston, MA), 1998. Contemporary Literary Criticism, Gale (Detroit, MI), Volume 1, 1973; Volume 2, 1974, Volume 5, 1976, Volume 15, 1980, Volume 22, 1982, Volume 42, 1987, Volume 75, 1993. Contemporary Musicians, Volume 26, Gale (Detroit, MI), 1999. Cook, Bruce, The Beat Generation, Scribner (New York, NY), 1971. Dictionary of Literary Biography, Gale (Detroit, MI), Volume 2: American Novelists since World War II, 1978; Volume 8: Twentieth Century American Science Fiction Writers, 1981; Volume 16: The Beats: Literary Bohemians in Postwar America, 1983; Volume 152: American Novelists since World War II, Fourth Series, 1995. Dictionary of Literary Biography Yearbook: 1981, Gale (Detroit, MI), 1982. Gifford, Barry and Lawrence Lee, Jack's Book: AnOral Biography of Jack Kerouac, St. Martin's (New York, NY), 1978. Lotringer, Sylvere, Burroughs Live (Double Agent S), Semiotext(e)/MIT Press (Cambridge, MA), 2002. McNally, Dennis, Desolate Angel: Jack Kerouac, theBeat Generation, and America, Random House (New York, NY), 1979. Morgan, Ted, Literary Outlaw: The Life and Times ofWilliam S.Burroughs, Holt, 1988. Murphy, Timothy S., Wising up the Marks: The Novels of William S. Burroughs, University of California Press (Berkeley, CA), 1998. Parkinson, Thomas,Poets, Poems, Movements, UMI Research Press (Ann Arbor, MI), 1987. Skerl, Jennie, William S. Burroughs at the Front, edited by Robin Lydenberg, Southern Illinois University Press (Carbondale, IL), 1991. Sobieszek, Robert, A., Ports of Entry: William S. Burroughs and the Arts, Los Angeles County Museum of Art (Los Angeles, CA), 1996. Vernon, John, The Garden and the Map: Schizophrenia in Twentieth-Century Literature and Culture, University of Illinois Press (Champaign, IL), 1973. PERIODICALS Advocate, June 24, 1997, "10 Most Hated Books," pp. 91-96. Afterimage, January/February, 2004, Philip Fairbanks, "Gonzo Lives Underground," pp. 14-15. American Book Review, May-June, 1981, John Tytell, review of Cities of the Red Night; January-February, 2003, Victor Bockris, "Captain Burroughs," pp. 1, 4-5; March-April, 2004, Regina Weinreich, "Good Will Hunting," p. 25. American Spectator, October, 1993, review of The Letters of William S. Burroughs, pp. 80-82. Antioch Review, fall, 1995, Blaine Steele, review of My Education, p. 494. Artforum International, summer, 1995, Patrick McGrath, review of My Education, p. B21. Booklist, December 1, 1998, Raul Nino, review of Word Virus, p. 646; February 15, 2000, Ray Olson, review of Last Words, p. 1070. Economist, September 18, 1993, review of The Letters of William S. Burroughs, p. 98. Gay & Lesbian Review Worldwide, summer, 2000, Lester Strong, "Intimations of Mortality," pp. 49-50. Globe & Mail (Toronto, Canada), March 10, 1984, David Donnell, review of The Place of Dead Roads. Harper's, April, 1998, Vince Passaro, "The Forgotten Killer: The Work of William S. Burroughs, Once Dangerous Is in Danger Itself," pp. 71-75. Library Journal, November 15, 1994, Edward B. St. John, review of My Education: A Book of Dreams, p. 86; December 1998, William Gargn, review of Word Virus, p. 104; p. 85; March 15, 2002, William Gargan, review of William S. Burroughs Live, p. 80; April 1, 2003, Michael Rogers, review of Junky, p. 136. Los Angeles Times Book Review, June 18, 1995, Benjamin Weissman, "Dream Control," p. 15. New Republic, December 27, 1993, Robert Rustein, review of The Black Rider, p. 28. New Statesman & Society, September 3, 1993, Michael Horovitz, review of The Letters of William S. Burroughs, p. 38; October 27, 1995, Guy Mannes-Abbott, review of My Education, pp. 47-48. Newsweek, March 9, 1981, Peter S. Prescott, review of Cities of the Red Night. New York Times, February 15, 1984, Anatole Broyard, review of The Place of Dead Roads. New York Times Book Review, January 15, 1995, Robert Cohen, "Dispatches from the Interzone," pp. 9. 11. People, December 9, 1985, Campbell Geeslin, review of Queer, p. 24. Publishers Weekly, May 10, 1993, review of The Letters of William S. Burroughs, p. 60; August 28, 1995, review of Ghost of Chance, p. 105; January 10, 2000, Jeff Zaleski, review of Last Words, p. 54. Review of Contemporary Fiction, spring, 1994, Alan Ansen, review of The Letters of William S. Burroughs, pp. 272-273; fall, 1994, Steve Dickinson, review of Painting & Guns, p. 236; summer, 1995, Steven Moore, review of My Education, p. 227; spring, 1996, David Seed, review of Ghost of Chance, p. 150; spring, 1997, David Seed, review of My Education, pp. 169-170; fall, 2000, David Seed, review of Last Words, p. 146. Time, December 6, 1993, Charles Michener, review of The Black Rider, p. 93. Wilson Quarterly, summer, 1998, "The Last Modernist," p. 136. ONLINE Creem Magazine,http://www.creemmagazine.com/ (2003), Jeffrey Morgan, "William S. Burroughs: The Creem Interviews." Obituaries PERIODICALS Advocate, January 20, 1998, Gary Indiana, "William S. Burroughs (1914-1997)," p. 78. Economist, August 9, 1997, "William Burroughs," p. 77. Entertainment Weekly, August 15, 1997, L. S. Klepp, "Last of the Beats," p. 9. Lambda Book Report, October, 1997, Jim Marks, "William S. Burroughs (1914-1997)," p. 18. Leonardo, Volume 31, number 3, 1998, George Gessert, "William S. Burroughs (1914-1997)," pp. 238-240. Maclean's, August 18, 1997, "Died: William S. Burroughs," p.11. National Review, September 1, 1997, "Deathwatch," p. 18. People, August 18, 1997, "Word Addict," p. 90. Rolling Stone, September 18, 1997, Lewis MacAdams, "William S. Burroughs," pp. 52-54. Time, August 11, 1997, "Died: William S. Burroughs," p. 25. U.S. News & World Report, August 18, 1997, Joshua Wolf Shenk, "Then There Were None," p. 9.* William S. Burroughs Novelist, multimedia artist For the Record… Selected discography Sources William S. Burroughs is one of the most significant writers of the twentieth century. Books like Naked Lunch, Junky, The Soft Machine, Nova Express, The Ticket that Exploded, Cities of the Red Night, and The Western Lands pushed the form of the novel to its outermost limits and introduced previously-unexplored or taboo themes such as drug addiction, homosexuality, and systems of control. Published to great critical and legal controversy—Burroughs’first books were routinely banned for obscenity—his work early on won a small audience of writers, critics and enthusiasts that quickly grew. By the 1970s, Burroughs’ influence was being felt throughout the arts, by filmmakers, visual artists, and in particular musicians. His affect on music was beginning to be felt early in the decade when groups like Soft Machine and Steely Dan took their names from Burroughs’ books. Interestingly “heavy metal,” the name given to the music of groups like Led Zeppelin, Deep Purple, and Black Sabbath, was an expression coined by Burroughs around 1960. But it was the punk and new wave movements that adopted Burroughs as their godfather. His highly critical view of government, the mass media and middle class life in general matched the rebellious sensibilities of groups like the Sex Pistols, the Clash, the Dead Kennedys, Caberet Voltaire and Throbbing Gristle. It eventually became de rigueur for rock stars to visit—and be photographed—with Burroughs. His guests ranged from Frank Zappa to Lou Reed and from Blondie, to U2. Burroughs did not begin collaborating with popular musicians until the 1980s. However he began working systematically with tapes in the mid-1960s. The tape work grew out of writing techniques he developed, the fold-in and the cut-up: pages of writing would be folded or physically cut into pieces and recombined to form new juxtapositions of word and image. Burroughs tookthose ideas a step further with tape recordings. He recorded texts written by himself an other authors. He then rewound or fast-forwarded through the tape. At random points he inserted other texts, radio broadcasts, even noise recorded in the streets. Those tape “cut-ups” —like the written one—broke down the associational patterns of thought and enabled the creation of new, previously unthought patterns to emerge. Burroughs believed those associational patterns were largely imposed by outside powers like the mass media. Breaking down those patterns, Burroughs theorized, would be an important step in freeing man from the forces of control all around him. A selection of Burroughs’ tape experiments was released in 1981 by Throbbing Gristle’s Genesis P-Orridge on the album Nothing Here Now but The Recordings. Burroughs’ first album was a spoken word recording entitled simply Call Me Burroughs. On it he read from Naked Lunch and Nova Express. Unlike his friend Allen Ginsberg, who sang his own and others poems and songs at readings and on several recordings, reading was Burroughs’ essential modus operandi. He read excerpts of his work on several Giorno Poetry Systems albums; at public appearances he usually read selections from published or work-in-progress. In his frequent collaborations with musicians, Burroughs only sang on two pieces—” ‘T Ain’t No Sin” on Tom Waits’ The Black Rider and a thoroughly bizarre version of the Marlene Dietrich hit “Falling in Love Again” on Dead City Radio. Music made its first appearance on a Burroughs’ albums with Breakthrough in the Grey Room, which included pieces by the Master Musicians of Jajouka; one of his first appearances on a music album was the cut “Sharkey’s Night” on Laurie Anderson’s Mister Heartbreak released in 1983. Their association went back at least five years to their earlier work together with Giorno Poetry Systems and the Nova Conference. On “Sharkey’s Night” Anderson’s music provided the backdrop to Burroughs’ deadpan monologue. He appeared later in Anderson’s film Home of the Brave, in which he was her dance partner to the song, “Language is a Virus.” That piece, based directly on theories formulated at the time of his cut-up experiments, was just one example of the influence Burroughs was beginning to have on music at the time. For the Record… Born as William Seward Burroughs, February 5, 1914, St. Louis, MO (died August 2, 1997); married llse Klapper, Joan Vollmer. Education: Attended Harvard University, received BA. Met students Jack Kerouac and Allen Ginsberg in New York City, mid-1940s; published first book, Junkie, 1953; wrote Queer, early 1950s; first sections of Naked Lunch published, 1958; wrote cut-up novels, The Soft Machine, The Ticket That Exploded, and Nova Express, published, 1961-64; collaborated on series of films, including Towers Open Fire, with Anthony Balch, 1963; tape recorder experiments, 1964-68; appeared at Nova Convention, 1979; appeared on Saturday Night Live, 1981; published Cities of the Red Night, 1981; published Queer, 1985; appeared as old junkie in Gus Van Sant’s film Drugstore Cowboy; published The Western Lands, 1987; released Dead City Radio, Island Records, 1990; released Spare Ass Annie and Other Tales, IslandRecords, 1993; released “The ‘Priest’ They Called Him,” with Kurt Cobain, Tim/Kerr Records, 1993; released The Black Rider, with Tom Waits, Island Records, 1993. A 1981 appearance on Saturday Night Live led to Burroughs first full-blown musical project. The last piece he read was “Twilight’s Last Gleaming” from Nova Express. Music coordinator Hal Willner played “The Star-Spangled Banner” as background. The juxtaposition of the national anthem with Burroughs’ blackly satiric version of the sinking of the Titanic worked. Six years later, at the suggestion of Allen Ginsberg, Willner approached Burroughs about recording an entire album of similar material. Dead City Radio would be “the image of a true and great American writer with The Star-Spangled Banner’ behind him … a timeless album that would sound as if it could have been recorded tomorrow,” as Willner wrote in the album’s liner notes. One of the high points on the record is Burroughs’reading of “A Thanksgiving Prayer.” He gives thanks for everything most shameful in American life and history—the ruin of the environment, the slaughter of the Indians and buffalo, hate crimes— backed up with the kind of syrupy strings one is used to hearing behind inspirational platitudes mouthed on late night TV. In fact, Willner used old tapes of the NBC Symphony Orchestra on most of the cuts. Other musical contributions were made by John Cale, Steely Dan’s Donald Fagen, Sonic Youth, and Blondie’s Chris Stein. Willner also co-produced, Spare Ass Annie and Other Tales, which came out in 1993. Parts of the project closely resemble Dead City Radio’s string arrangements; the rest of the music was constructed by the Disposable Heroes of Hihoprisy, a collaboration suggested by Burroughs’ secretary, James Grauerholz. The union of Burroughs and hip-hop suggests the extent of the writer’s influence: just as in the 1960s Burroughs had openly appropriated texts by other writers for his cut-up novels, music like rap, hip-hop and electrónica cut-up and appropriated the work of other musicians by means of sampling technology. In 1993, Burroughs also released a record with Nirvana’s Kurt Cobain, “The Priest They Called Him.” The piece, originally published in the book Interzone, tells the story of a sick junky looking for a fix on Christmas Eve. Interestingly the piece appears under the title “The Junky’s Christmas” on Spare Ass Annie. The two are a study in contrasts. “Junky’s Christmas” is awash with nostalgia, sentimentality even. The sound behind “Priest” is the junk-sick feedback wall of Cobain’s guitar doing to “Silent Night” what Jimi Hendrix did to “The Star-Spangled Banner,” in the words of Rolling Stone’s Al Weisel. And six months before Cobain’s violent suicide, according to Graham Caveney’s Gentleman Junkie, Burroughs remarked of the Nirvana guitarist “There’s something wrong with that boy. He frowns for no good reason.” Perhaps the most fruitful of Burroughs’ musical collaborations was The Black Rider, a piece for stage directed by Robert Wilson with music and songs by Tom Waits. The premise for the play was an old German folk tale about a hapless marksman, Wilhelm, who makes a deal with the Devil to win a shooting contest and thereby the hand of the girl he loves. The Devil offers some magic bullets guaranteed to hit whatever the shooter desires. The catch: The Devil reserves the right to aim the last bullet however and without meaning to Wilhelm kills his new bride. The story has a sinister parallel to Burroughs’ own life. In the early 1950s in Mexico, he killed his wife trying to shoot a wine glass off her head in a drunken game of William Tell. Burroughs wrote the libretto forthe “opera” and his texts formed the basis of the songs Waits wrote. “William Burroughs was as solid as a metal desk and his text was the branch this bundle would swing from,” Waits wrote in the Black RiderWner notes. “His cut up text and open process of finding a language for this story became a river of words for me to draw from….” In addition to his brilliant vocal on “T Ain’t No Sin,” he contributed the lyrics, drawn from his own hard experience, for “Crossroads:” “Now, George was a good straight boy … but there was bad blood in him someway he got into magic bullets and that leads straight to Devil’s work, just like marywanna leads to heroin You think you can take those bullets of leave ‘em, do you? Just save a few for bad days.” The Black Rider, unlike Burroughs earlier musical albums, was more than a hodgepodge selection of earlier writing. The pieces were new, they were unified by the play’s story, and the music was composed by an artist as much as genius in his realm as Burroughs is in his, Tom Waits. In the last four years of his life, Burroughs did not work on any other musical projects. Less than a year after his death in August 1997, a four-CD set of readings he did for Giorno Poetry Systems was released. Selected discography Call Me Burroughs, 1965, re-released on CD on Rhino 1999. Nothing Here Now but The Recordings, Industrial Records, 1981. Laurie Anderson: Mister Heartbreak, Warner Brothers, 1984. Break Through In Grey Room, Sub Rosa, 1987. Dead City Radio, Island, 1990 (with Kurt Cobain), “The ‘Priest’ They Called Him,” Tim/Kerr Records, 1993. Spare Ass Annie and Other Tales, Island Records, 1993. (with Tom Waits), The Black Rider, Island, 1993 Best of William Burroughs —From Giorno Poetry Systems, Mouth Almighty/Mercury, 1998 Sources Books Caveney, Graham, Gentleman Junkie, Little Brown and Co., 1998. Periodicals Billboard, April 25, 1998. New York Times, November 14, 1993. Opera News, November 1993. Rolling Stone, November 25, 1993. Time, December 6, 1993. Additional information obtained from the liner notes of The Black Rider and Dead City Radio. —Gerald E. Brennan
correct_death_00083	FactBench	2	42	http://www.levity.com/corduroy/burroughs.htm	en	William S. Burroughs			[ "http://www.levity.com/corduroy/images/burroughs2.gif", "http://www.levity.com/corduroy/images/barstart.gif", "http://www.levity.com/corduroy/images/barindie.gif", "http://www.levity.com/corduroy/images/barmodern.gif", "http://www.levity.com/corduroy/images/barhistory.gif", "http://www.levity.com/corduroy...	[]	[]	[ "William Seward Burroughs", "Burroughs Death", "Died", "Call Me Burroughs", "Naked Lunch", "Junkie", "Interzone", "Bohemian Ink", "Jack Kerouac", "Beat Generation", "Brion Gysin" ]	null	[ "christopher d. ritter" ]	null	The Last Words of Dr. Benway in Memorium to William S. Burroughs	en			null	(1914-1997) William Burroughs was born on February 5, 1914, in St. Louis, Missouri, the grandson of the inventor of the Burroughs adding machine. After his graduation from Harvard, he lived in Chicago and New York on an income of two hundred dollars a month from his parents. He met Lucien Carr and Allen Ginsberg in New York City around Christmas 1943 shortly after Ginsberg began studying at Columbia, and Burroughs impressed them with his erudition, as well as his sardonic humor and reserved poise. Older than the others in the group, he took on the role of teacher, encouraging Kerouac and Ginsberg in their attempts to write fiction and poetry. Although Burroughs collaborated on a humorous sketch with a classmate, Kells Elvins, at Harvard and completed a short novel written in the style of Dashiell Hammett with Kerouac, both works were rejected by publishers, and Burroughs did not think of himself as a writer. Instead, his search for an identity led him to deliberately seek out a criminal life. In the hope that he would feel at home in a "community of outlaws," Burroughs began buying stolen goods, including morphine Syrettes, and became addicted to morphine. In 1947 he began to live with Joan Vollmer, another member of the group around the Columbia campus, and they had a son William S. Burroughs, Jr. Joan was addicted to Benzedrine, and they moved to New Orleans, Texas, and Mexico City where drugs were more easily obtainable. In the spring of 1950 Burroughs' old Harvard friend Kells Elvins visited him in Mexico City and talked him into writing a factual book about his drug experience as a "memory exercise." Burroughs set himself on a daily schedule, helped by injections of morphine. He finished the project in December, titled his book Junk, and set the manuscript to Lucien Carr in New York. Acting as an agent for both Burroughs and Kerouac. Ginsberg was able to get the book published as a pulp paperback in 1953 under the pseudonym "William Lee" with the lurid subtitle Confessions of an Unredeemed Drug Addict." On September 6, 1951, Burroughs accidentally killed his wife and was charged in Mexico City with criminal imprudence. His parents took over the care of Billy Junior and brought him to their home in Florida. Released on bail, Burroughs left Mexico and traveled in South America looking for a drug called yage. His letters to Ginsberg describing his experiences in the cities, jungles, and mountains of Ecuador and Peru were collected in his volume later published by City Lights as The Yage Letters (1963), which Burroughs thought would interest readers after the success of Aldous Huxley's The Doors of Perception in 1954. After Burroughs left South America, he settled in Tangier, where he could live cheaply and obtain the drugs he needed. Burroughs has said that the death of his wife gave him a literary vocation. He felt that he had been possessed by an invader, "the Ugly Spirit," who controlled him at the time of the accident and maneuvered him into a lifelong struggle, "in which I have had no choise except to write my way out." In February 1957 Kerouac came to visit him in Tangier and began to type the hundreds of handwritten pages of Burroughs' new book that Kerouac titled Naked Lunch. Writing it, Burroughs said he was "shitting out my educated Middlewest background once and for all. It's a matter of catharsis, where I say the most horrible things I can think of. Realize that--the most horrible dirty smily awful niggardliest posture possible. . . ."
correct_death_00083	FactBench	3	18	https://www.irishtimes.com/culture/books/the-priest-they-called-him-the-wild-and-crazy-life-of-william-s-burroughs-1.4793804	en	‘The priest they called him’: the wild and crazy life of William S Burroughs	https://www.irishtimes.c…=1200&height=630	https://www.irishtimes.c…=1200&height=630	[ "https://sb.scorecardresearch.com/p?c1=2&c2=8946263&cv=2.0&cj=1", "https://static.themebuilder.aws.arc.pub/irishtimes/1647534191733.svg", "https://www.irishtimes.com/resizer/v2/BTGUM2PQRQOLJ2MQAEZ7RVMT5M.jpg?auth=2c2ee2c1720d734c1cd39c03bd4d478fd93f43d55d247ed82404993e4480efa6&smart=true&width=1024&height=576",...	[]	[]	[ "" ]	null	[ "Derek Flynn" ]	2022-02-05T06:04:00+00:00	Probably the third most famous drug addict in literary history died 25 years ago today	en	/pf/resources/favicon.ico?d=139	The Irish Times	https://www.irishtimes.com/culture/books/the-priest-they-called-him-the-wild-and-crazy-life-of-william-s-burroughs-1.4793804	After Samuel Taylor Coleridge and Thomas DeQuincy, William Burroughs (who died on this day in 1997) is probably the third most famous drug addict in literary history. However, he was also hailed by Norman Mailer as “the only American writer who may be conceivably possessed by genius”. Born to a wealthy family in Missouri, Burroughs went to Harvard University. His early life seems to have been a sexually confusing time for Burroughs. Initially, he attended the Los Alamos Ranch School in New Mexico, which was a boarding school for wealthy students where – as he put it – “the spindly sons of the rich could be transformed into manly specimens”. This did not go according to plan, however, as his journals indicate that he was sexually attracted to another boy during his time there. Despite subsequently losing his virginity to a female prostitute in a brothel in St Louis, while at Harvard, he made regular trips to New York City, immersing himself in the gay subculture there. Luckily for Burroughs, after he graduated, his parents gave him a monthly allowance of $200. This meant that for the next 25 years, he didn’t have to work and was free to write. It was in New York that he met the other leading lights of the “Beat Generation” as they became known – Jack Kerouac and Allen Ginsberg. In 1944, Burroughs moved in with Joan Vollmer in an apartment they shared with Kerouac and his first wife. A friend of Burroughs from St Louis, Lucien Carr, killed another man who, Carr claimed, was stalking him and making unwanted sexual advances. He told Burroughs and Kerouac but they didn’t report it. At this time, Burroughs also began using morphine and became addicted. After a search of their apartment, police found letters between Burroughs and Ginsberg about a possible delivery of marijuana. This, combined with his involvement with Carr, meant that Burroughs was in trouble with the police. He and Vollmer – and their newly-born son, William S Burroughs, Jr – fled to Mexico. While living in Mexico, Burroughs shot and killed Vollmer in a drunken game of “William Tell” (something they referred to as their party piece) that went wrong. Burroughs was arrested and thrown in jail but his brother bribed officials to have him released on bail while he awaited trial for the charge of “culpable homicide”. Burroughs skipped bail and returned to the United States. He was convicted in his absence and was given a suspended sentence of two years in jail. Years later, Burroughs denied the “William Tell” story: “I had that terrible accident with Joan Vollmer, my wife. I had a revolver that I was planning to sell to a friend. I was checking it over and it went off – killed her. A rumour started that I was trying to shoot a glass of champagne from her head William Tell-style. Absurd and false.” Burroughs’s killing of Vollmer would be a turning point in his life, one that saw him begin writing in earnest: “I am forced to the appalling conclusion that I would never have become a writer but for Joan’s death ... the death of Joan brought me in contact with the invader, the Ugly Spirit, and manoeuvred me into a lifelong struggle, in which I have had no choice except to write my way out.” In 1953, Burroughs travelled to Tangier, Morocco. The easy availability of drugs there led him to stay. In the story, The Lemon Kid, Burroughs wrote about his early images of Tangier: “As a young child Audrey Carsons wanted to be a writer because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow pongee silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle.” The truth was somewhat less romantic. Burroughs became – as he wrote in the book, Junky – “a ghost in daylight on a crowded street”. He spent four years in Tangier working on the book that would finally make his name – Naked Lunch. The book was produced under the influence of marijuana and opiates. Naked Lunch used a style that Burroughs would go on to pioneer known as “cut-up technique”, where he cut up phrases and words to create new sentences as well as cutting different scenes together, even if they were out of context or didn’t make narrative sense. He described Naked Lunch as a book that could be cut into at any point. Burroughs later defended his “cut-up technique”: “People say to me, ‘Oh, this is all very good, but you got it by cutting up.’ I say that has nothing to do with it, how I got it. What is any writing but a cut-up? Somebody has to program the machine; somebody has to do the cutting up. Remember that I first made selections. Out of hundreds of possible sentences that I might have used, I chose one.” The novel would go on to be an influence on many writers and musicians, including David Bowie (who borrowed Burrough’s cut-up technique for his lyrics), and science-fiction authors such as William Gibson – not to mention being seen by many as a precursor to postmodernism. When Naked Lunch was eventually published by Olympia Press in 1959, it caused a huge controversy. The United States postmaster general classified it as “obscene” material and ruled that it could not be mailed to subscribers. Eventually, Massachusetts Supreme Judicial Court found that the book was not obscene. At this point, Naked Lunch had established Burroughs’s name. In 1966, Burroughs went to live in London to try and kick his heroin addiction through a revolutionary new withdrawal treatment being offered there. He wrote: “I awoke from The Sickness at the age of forty-five, calm and sane, and in reasonably good health except for a weakened liver and the look of borrowed flesh common to all who survive The Sickness.” Around this time, James Grauerholz, who was a big fan of the writers of the “Beat Generation” and Burroughs in particular, had the idea of sending Burroughs on a reading tour, akin to the rock tours undertaken by bands and singers. These were a huge success and would eventually support Burroughs throughout the next two decades. In 1976, Burroughs’s son, Billy – now suffering from alcoholism – was diagnosed with cirrhosis of the liver and had to have a liver transplant. Burroughs took care of his son for many months during this period. However, Burroughs Jr. couldn’t kick his alcohol addiction and died in 1981 having returned to drinking. At this point, Burroughs was once again addicted to heroin. From this time until his death, he went through a number of drug-free periods, only to eventually relapse again. In 1981, he moved to Laurence, Kansas, where he lived for the rest of his life. Throughout the ’80s and ’90s, Burroughs had a resurgence in popularity and recorded with a number of bands, including Nick Cave, Tom Waits and Kurt Cobain, as well as starring in a number of movies, such as Gus Van Sant’s Drugstore Cowboy. He died of complications from a heart attack in 1997. At the time, he was still on a methadone programme.
correct_death_00083	FactBench	2	8	https://www.irishtimes.com/culture/books/the-priest-they-called-him-the-wild-and-crazy-life-of-william-s-burroughs-1.4793804	en	‘The priest they called him’: the wild and crazy life of William S Burroughs	https://www.irishtimes.c…=1200&height=630	https://www.irishtimes.c…=1200&height=630	[ "https://sb.scorecardresearch.com/p?c1=2&c2=8946263&cv=2.0&cj=1", "https://static.themebuilder.aws.arc.pub/irishtimes/1647534191733.svg", "https://www.irishtimes.com/resizer/v2/BTGUM2PQRQOLJ2MQAEZ7RVMT5M.jpg?auth=2c2ee2c1720d734c1cd39c03bd4d478fd93f43d55d247ed82404993e4480efa6&smart=true&width=1024&height=576",...	[]	[]	[ "" ]	null	[ "Derek Flynn" ]	2022-02-05T06:04:00+00:00	Probably the third most famous drug addict in literary history died 25 years ago today	en	/pf/resources/favicon.ico?d=137	The Irish Times	https://www.irishtimes.com/culture/books/the-priest-they-called-him-the-wild-and-crazy-life-of-william-s-burroughs-1.4793804	After Samuel Taylor Coleridge and Thomas DeQuincy, William Burroughs (who died on this day in 1997) is probably the third most famous drug addict in literary history. However, he was also hailed by Norman Mailer as “the only American writer who may be conceivably possessed by genius”. Born to a wealthy family in Missouri, Burroughs went to Harvard University. His early life seems to have been a sexually confusing time for Burroughs. Initially, he attended the Los Alamos Ranch School in New Mexico, which was a boarding school for wealthy students where – as he put it – “the spindly sons of the rich could be transformed into manly specimens”. This did not go according to plan, however, as his journals indicate that he was sexually attracted to another boy during his time there. Despite subsequently losing his virginity to a female prostitute in a brothel in St Louis, while at Harvard, he made regular trips to New York City, immersing himself in the gay subculture there. Luckily for Burroughs, after he graduated, his parents gave him a monthly allowance of $200. This meant that for the next 25 years, he didn’t have to work and was free to write. It was in New York that he met the other leading lights of the “Beat Generation” as they became known – Jack Kerouac and Allen Ginsberg. In 1944, Burroughs moved in with Joan Vollmer in an apartment they shared with Kerouac and his first wife. A friend of Burroughs from St Louis, Lucien Carr, killed another man who, Carr claimed, was stalking him and making unwanted sexual advances. He told Burroughs and Kerouac but they didn’t report it. At this time, Burroughs also began using morphine and became addicted. After a search of their apartment, police found letters between Burroughs and Ginsberg about a possible delivery of marijuana. This, combined with his involvement with Carr, meant that Burroughs was in trouble with the police. He and Vollmer – and their newly-born son, William S Burroughs, Jr – fled to Mexico. While living in Mexico, Burroughs shot and killed Vollmer in a drunken game of “William Tell” (something they referred to as their party piece) that went wrong. Burroughs was arrested and thrown in jail but his brother bribed officials to have him released on bail while he awaited trial for the charge of “culpable homicide”. Burroughs skipped bail and returned to the United States. He was convicted in his absence and was given a suspended sentence of two years in jail. Years later, Burroughs denied the “William Tell” story: “I had that terrible accident with Joan Vollmer, my wife. I had a revolver that I was planning to sell to a friend. I was checking it over and it went off – killed her. A rumour started that I was trying to shoot a glass of champagne from her head William Tell-style. Absurd and false.” Burroughs’s killing of Vollmer would be a turning point in his life, one that saw him begin writing in earnest: “I am forced to the appalling conclusion that I would never have become a writer but for Joan’s death ... the death of Joan brought me in contact with the invader, the Ugly Spirit, and manoeuvred me into a lifelong struggle, in which I have had no choice except to write my way out.” In 1953, Burroughs travelled to Tangier, Morocco. The easy availability of drugs there led him to stay. In the story, The Lemon Kid, Burroughs wrote about his early images of Tangier: “As a young child Audrey Carsons wanted to be a writer because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow pongee silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle.” The truth was somewhat less romantic. Burroughs became – as he wrote in the book, Junky – “a ghost in daylight on a crowded street”. He spent four years in Tangier working on the book that would finally make his name – Naked Lunch. The book was produced under the influence of marijuana and opiates. Naked Lunch used a style that Burroughs would go on to pioneer known as “cut-up technique”, where he cut up phrases and words to create new sentences as well as cutting different scenes together, even if they were out of context or didn’t make narrative sense. He described Naked Lunch as a book that could be cut into at any point. Burroughs later defended his “cut-up technique”: “People say to me, ‘Oh, this is all very good, but you got it by cutting up.’ I say that has nothing to do with it, how I got it. What is any writing but a cut-up? Somebody has to program the machine; somebody has to do the cutting up. Remember that I first made selections. Out of hundreds of possible sentences that I might have used, I chose one.” The novel would go on to be an influence on many writers and musicians, including David Bowie (who borrowed Burrough’s cut-up technique for his lyrics), and science-fiction authors such as William Gibson – not to mention being seen by many as a precursor to postmodernism. When Naked Lunch was eventually published by Olympia Press in 1959, it caused a huge controversy. The United States postmaster general classified it as “obscene” material and ruled that it could not be mailed to subscribers. Eventually, Massachusetts Supreme Judicial Court found that the book was not obscene. At this point, Naked Lunch had established Burroughs’s name. In 1966, Burroughs went to live in London to try and kick his heroin addiction through a revolutionary new withdrawal treatment being offered there. He wrote: “I awoke from The Sickness at the age of forty-five, calm and sane, and in reasonably good health except for a weakened liver and the look of borrowed flesh common to all who survive The Sickness.” Around this time, James Grauerholz, who was a big fan of the writers of the “Beat Generation” and Burroughs in particular, had the idea of sending Burroughs on a reading tour, akin to the rock tours undertaken by bands and singers. These were a huge success and would eventually support Burroughs throughout the next two decades. In 1976, Burroughs’s son, Billy – now suffering from alcoholism – was diagnosed with cirrhosis of the liver and had to have a liver transplant. Burroughs took care of his son for many months during this period. However, Burroughs Jr. couldn’t kick his alcohol addiction and died in 1981 having returned to drinking. At this point, Burroughs was once again addicted to heroin. From this time until his death, he went through a number of drug-free periods, only to eventually relapse again. In 1981, he moved to Laurence, Kansas, where he lived for the rest of his life. Throughout the ’80s and ’90s, Burroughs had a resurgence in popularity and recorded with a number of bands, including Nick Cave, Tom Waits and Kurt Cobain, as well as starring in a number of movies, such as Gus Van Sant’s Drugstore Cowboy. He died of complications from a heart attack in 1997. At the time, he was still on a methadone programme.
correct_death_00083	FactBench	3	19	https://www.theguardian.com/books/1997/aug/04/fiction.williamburroughs	en	Struggles with the Ugly Spirit	https://assets.guim.co.u…allback-logo.png	https://assets.guim.co.u…allback-logo.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Fiction%2CBooks%2CCulture%2CWilliam+Burroughs" ]	[]	[]	[ "" ]	null	[ "James Campbell", "www.theguardian.com", "james-campbell" ]	1997-08-04T00:00:00	<p>Obituary: William S Burroughs</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/books/1997/aug/04/fiction.williamburroughs	William S Burroughs, who has died aged 83, was the hard man of Hip. His aims as a writer were traditional, to entertain and instruct, but the means he chose to express them were unclassifiable, sometimes indescribable, occasionally unspeakable. Some of Burroughs's books, his first, Junkie, and Cities of the Red Night, are recognisable as novels in the ordinary sense; but his most original work came in the form of what he called 'routines': short, surreal sketches which sometimes include real characters, but more often involve the products of Burroughs's weird imagination, such as Spare Ass Annie (who 'had an auxiliary asshole in the middle of her forehead') or the Lobotomy Kid. All his energy went into a battle with the agents of 'control' - call it 'police' in every form, including the thought police - and his strategies ranged from drugs to the notorious cut-up technique. Norman Mailer said of Burroughs that he was 'the only American writer who may conceivably be possessed by genius', but the compliment which he treasured above all others was an austere remark of Samuel Beckett's: 'He's a writer.' Burroughs was born in St Louis, Missouri, into a family that was well off but, as he repeatedly insisted, 'not rich'. His grandfather, after whom he was named, invented the adding machine, but the family had lost its connections to the company by the time of the Depression. None the less, Burroughs senior was sufficiently comfortable to allow his wayward son a monthly stipend of $200 from 1938 onwards. Burroughs read English at Harvard but his real studies began when he reached New York in the early 1940s and met the young men who would later be grouped as the Beat Generation: Jack Kerouac, Allen Ginsberg and Neal Cassady. Other members of this circle were David Kammerer and Lucien Carr, old friends from St Louis. Kammerer was stabbed to death by Carr in 1944, and Burroughs, as the first person to whom Carr turned, was held as a material witness to the crime - neither his first nor last encounter with the law. Another close friend of those days was Herbert Huncke, an old-time crook who later became a writer, under Burroughs's influence. From Huncke's circles Burroughs learned the art of rolling drunks and picking pockets in the New York subway. Burroughs was extremely sober in manner and appearance; his dress typically consisted of a grey three-piece suit, tie, and fedora hat. 'His whole person seemed at a glance completely anonymous,' he wrote about himself. 'Sometimes his face looked blurred...' When Huncke first met him, he mistook Burroughs for an FBI agent, but was soon turning him on to hard drugs. As reported by Huncke, Burroughs's response to his first shot of morphine was, 'That's very interesting... that's very interesting indeed.' In the late 1940s, he tried his hand at farming in Texas and Louisiana, growing tomatoes as a useful cover for his marijuana and opium crops. By this time he had met Joan Vollmer who, though he was homosexual and she was not, became 'Mrs Burroughs' (they were never formally married). Burroughs had previously wed a German Jewish woman, Ilse Klapper, in Europe, so that she could emigrate to the US and escape the Nazis. They divorced amicably some years later. The bond with Joan was close, but troubled. From her he received a sympathetic understanding probably never reproduced in a relationship with a man. She was a highly intelligent, attractive woman, brought low by a dependence on Benzedrine and drink. She had a daughter by a previous marriage and a son with Burroughs, William Burroughs III, also a writer, who died in 1981. Joan's life ended on a September afternoon in Mexico City in 1951. The couple had joined a drunken party in a flat above a bar. Burroughs was carrying a gun, and at some point said to Joan: 'It's time for our William Tell act. Put that glass on your head.' She did, and Burroughs fired an inch too low, killing her. He was bailed after a week in jail and when his Mexican lawyer skipped the country, having killed someone himself, Burroughs followed. He was never tried for the shooting but according to his biographer Ted Morgan, entered 'a nightmare that he would live for the rest of his days'. Ostensibly, Joan's death was an accident, but Burroughs was harried by the dreadful thought that, subconsciously, he had meant to kill her. In the introduction to the novel Queer, written in the 1950s but not published until 1985, he wrote with candour about his feelings: 'I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realisation of the extent to which this event has motivated and formulated my writing... The death of Joan brought me in contact with the invader, the Ugly Spirit, and manoeuvred me into a life-long struggle, in which I had no choice except to write my way out.' Burroughs began writing much later than Kerouac and Ginsberg. He was 39 when his autobiographical account of being a drug addict in New York and New Orleans, Junkies, was published in 1953 under the pseudonym 'William Lee' (a name he retained when referring to himself in his later work). Junkie is written in a straightforward prose reminiscent of Dashiell Hammett. Its first edition counts as one of the great curios of modern literature. Aimed at the popular markets the book came out back to back with another, Narcotic Agent, whose moral tone the publisher hoped would offset the scandalous Junkie. The law took no notice and neither did the reviewers, but it sold more than 100,000 copies. (It was later retitled Junky.) After two expeditions into the jungles of South America in search of the vegetable drug Yage, which he had heard bestowed telepathic powers on the user (it didn't), Burroughs moved to Tangier, intending to stay only a few weeks but remaining for several years. Drugs and sex were cheap. Burroughs met Paul Bowles and Brion Gysin, with whom he would later form an uncompromising avant-garde partnership in Paris. Skulking through the back alleys of Tangier, seeking a connection, Burroughs became known to locals as 'el hombre invisible'. His most famous book, Naked Lunch, was written there, fuelled by heroin and kif; but anyone who believes Burroughs glamorised drugs should be persuaded otherwise by reading the introductory 'Testimony concerning a sickness': 'I had not taken a bath in a year nor changed my clothes or removed them except to stick a needle every hour in the fibrous grey wooden flesh of heroin addiction... I did absolutely nothing. I could look at the end of my shoe for eight hours.' Burroughs told Kerouac that the writing he was doing in Tangier - apocalyptic, absurdly pornographic, comically violent - represented the act of 'shitting out my past'. Some of the routines are horribly funny, such as 'Displaced Fuzz', which features a pair of redundant policemen repossessing people's artificial kidneys. Naked Lunch is something of a cooperative enterprise: many of the routines emerged from letters to Ginsberg; Kerouac supplied the title; the manuscript was typed by these two and other visiting Beats, while the order of chapters came about by random selection. For Burroughs, the extreme edge of art, as of life, was the only place to be. 'The only way I can write narrative is to get right outside my body and experience it,' he told Ginsberg. 'This can be exhausting and at times dangerous. One cannot be sure of redemption.' Sections of the 'dangerous' book were published in the Chicago Review in 1958, leading to the suppression of the magazine by the university which sponsored it, and to a prosecution on the grounds of obscenity (the last major case of its type in the US). Meanwhile, the Olympia Press in Paris had published the entire novel. Olympia's rascally owner, Maurice Girodias, later admitted failing to pay Burroughs his royalties, but the author typically forgave him, pointing out that Girodias had published Naked Lunch at a time when no other firm would touch it. The book was published in Britain in 1964 by John Calder. Shortly before that, a protracted correspondence took place in the Times Literary Supplement, following a review of the Olympia edition under the headline 'Ugh...' Calder and the critic Eric Mottram defended the novel, but they were outnumbered by the disgusted, including Dame Edith Sitwell: 'I do not wish to spend the rest of my life with my nose nailed to other people's lavatories. I prefer Chanel Number 5.' By this time, Burroughs had moved even further out. He had discovered a new method of writing, which, he told Ginsberg imperiously, could not be explained 'until you have necessary training'. Gysin had stumbled on the cut-up technique while playing around with old newspapers and a pair of scissors in his room at the Hotel Rachou in rue Git-le-coeur in Paris, thereafter known as 'the Beat Hotel'. Burroughs, also a resident, extended the experiment, and soon the Olympia Press had published two cut-up novels, The Soft Machine (1961) and The Ticket That Exploded (1962). The trilogy was completed by Nova Express in 1964. As entertainment, the cut-ups are hard going, but seen in the context of Burroughs's obsessive desire to free his mind from 'control' - in this case, the control of 'word locks', or rigid conceptual structures governed by language - the experiments make more sense. Burroughs was off hard drugs by then (though still using cannabis and hallucinogens). He had been trying to kick the habit since the late 1940s. With the help of Dr John Dent in London, who administered an apomorphine cure, Burroughs finally freed himself from the biggest control agent of the lot. New experiments included the use of a dream machine, invented by Gysin, and Scientology, which Burroughs discussed in a book-length interview with Daniel Odier, The Job (1970). In the 1960s, Burroughs moved to London, where he lived in Duke Street, St James, central London. He contributed to publications as uncool as Mayfair and the hippy magazine International Times. He was prolific and generous. Another drug addict and Beat, Alexander Trocchi, gave me a copy of a short unpublished piece by Burroughs circa 1972 and suggested I call the author and ask for permission to use it in a little magazine I edited in Glasgow. Burroughs agreed readily, without mention of payment. The only word he spoke was 'Yeah,' which he drawled in response to everything I said. He returned to the US in 1974, living first in New York, in 'the Bunker', a disused locker room without windows on the Bowery, and then, from 1982 on, in Lawrence, Kansas. The books continued to flow - Cities of the Red Night, The Place of Dead Roads, My Education, Ghost of Chance - mixing science fiction, the western, the travel book, the dream journal and other genres. His publisher, Grove Press, has just completed a manuscript of Burroughs's previously unpublished writings to be released in 1998. Burroughs was also a painter, and his efforts in that medium are as idiosyncratic as in any other. He held several exhibitions of paintings on wood riddled with bullet holes ('shotgun art', he called it; he was also a member of the National Rifle Association). In 1996 a catalogue of his involvement with the visual arts was published, Ports of Entry: William Burroughs and the Arts. In Lawrence he was looked after by his long-term secretary James Grauerholz and a team of assistants. There was no other woman in his life after Joan. Her death continued to haunt him, and in 1992, with Ginsberg present, he underwent an exorcism ceremony at the hands of a Sioux medicine man to evict the Ugly Spirit which he believed had entered him at the time of Joan's death. His main affection in later life was reserved for his cats, and he published a small homage to his feline friends, The Cat Inside. Like many artistic revolutionaries, Burroughs became an icon late in life. Among rock stars, it became fashionable to seek him out. David Bowie, Mick Jagger, Frank Zappa and Patti Smith all sang for their supper at the Burroughs table in the Bunker, and he became an honorary godfather to the New York wave of punk. Less accessible than that of his Beat colleagues, the work of William Burroughs is likely to prove at least as enduring. He was modern man in extremis, an exemplar of alienation, constantly subverting his targets with satire. His extreme individualism never wavered. His first piece of writing, as a child, was called Autobiography of a Wolf. When grown-ups pointed out that the correct word was 'biography', Burroughs replied: 'No, I meant 'autobiography'.' And, he told his own biographer 75 years later, 'I still do.' William Seward Burroughs II, writer, born February 5, 1914; died August 2, 1997
correct_death_00083	FactBench	2	43	http://www03.zkm.de/burroughs/index.php/en/william-s-burroughs	en	the name is BURROUGHS − Expanded Media			[ "http://www03.zkm.de/burroughs/images/zkmlogo_e.png", "http://www03.zkm.de/burroughs/images/burroughs_s.png" ]	[]	[]	[ "William S. Burroughs", "Expanded Media", "ZKM \| Museum für Neue Kunst", "Ausstellung" ]	null	[ "Silke Altvater" ]	null	the name is BURROUGHS – Expanded Media Eine Ausstellung im ZKM \| Museum für Neue Kunst, Karlsruhe 24. März 2012 – 12. August 2012	en			null	1914 William Seward Burroughs II was born on 5.2.1914 in St. Louis, Missouri. His father, Mortimer Burroughs, was the son of William Burroughs I, an inventor, who perfected the mechanism of the calculator in the 1880’s and founded the international firm, Burroughs. 1927 He devoured the book, You Can’t Win by Jack Black, the memoirs of a professional thief and opium smoker, whose scenery and personages exerted a powerful influence on the 13-year-old. It would provide the model for Burroughs’ first novel, Junky. Attempts in writing. Burroughs feels to be an outsider and becomes aware of his homoerotic affinities. 1930 – 1931 William S. Burroughs’ parents sent him to the expensive boarding school, “Los Alamos” in New Mexico. The Los Alamos Ranch School was closed in February 1943, making room for the test ground of the “Manhattan Project”, the development of the first atom bomb by J. R. Oppenheimer. 1932 – 1936 William S. Burroughs was studying English literature at Harvard University in Cambridge, Massachusetts. In George Lyman Kittredge’s courses on Shakespeare, he learned entire passages by heart. 1936 – 1937 Burroughs went to Vienna and enrolled to study medicine at the university. In Dubrovnik he became friends with Ilse Klapper, a Jewish woman, who had fled the Nazis in Hamburg. When he went back to Dubrovnik, he decided to marry Ilse Klapper, in order to enable her to immigrate to the USA. The marriage took place in Athens and was dissolved a few years later in the U.S. 1938 With his boyhood friend, Kells Elvins, Burroughs moved into a small house in Cambridge, Massachusetts and signed up for courses on Navajo language and Mayan archeology. Together Burroughs and Elvins wrote the story, Twilight’s Last Gleaming, the depiction of a catastrophe at sea modeled on the Titanic and the Morro Castle. As a consequence, Burrough’s writer’s block, which had lasted for years, came to an end. 1939 In August, Burroughs went to Chicago and signed up for five lectures by Graf Alfred Korzybski, the author of the Theory of General Semantics. Burroughs went back to New York and met Jack Anderson there, with whom he began a sexual relationship. In despair at Anderson’s coldness and infidelity, Burroughs cut off the end of his little finger on his left hand with poultry shears. That led to his psychiatrist persuading him to have himself admitted to the Bellevue psychiatric clinic. 1942 – 1943 Burroughs lived in a pension in the run-down district of Chicago North Side. Here he found the milieu of Jack Black’s You Can’t Win. He found a job as an exterminator with A. J. Cohen Exterminators. Two friends from St Louis arrived in Chicago: Lucien Carr and David Kammerer. 1943 Carr shifted in the spring to Columbia University in New York, and Kammerer and Burroughs followed him. Lucien Carr met Jack Kerouac and Allen Ginsberg. He introduced his two new friends to Burroughs and Kammerer. Kerouac moved into the flat of his girlfriend, Edie Parker and Joan Vollmer. The flat became the focus of the newly formed circle of friends. The trio of Burroughs, Ginsberg and Kerouac was to form the heart of the literary Beat Movement. 1944 Carr stabbed his admirer, Kammerer, and confessed to Burroughs and Kerouac. Kerouac and Burroughs were arrested temporarily because they had not reported the murder. They processed the act in the jointly composed novel And the Hippos Were Boiled in their Tanks. The book was published after Carr’s death in 2008. 1945 On 6 August, the U.S. dropped the atom bomb, “Little Boy” on Hiroshima, followed by “Fat Boy” on Nagasaki on 9 August. In the dropping of the A bombs, Burroughs saw the end of culture. 1946 Burroughs hung around with junkies and hustler on Times Square. He got to know Herbert Huncke and Phil White and became dependant of morphine. Joan and Kerouac were taking increasing amounts of Benzedrine. Burroughs got arrested for forging morphine prescriptions and left the city. 1947 Intending to live as a farmer in New Waverley near Houston, Texas. In July, Billy Burroughs jun. was born. 1948 Burroughs went in for rehabilitation at the Federal Narcotics Farm in Lexington, Kentucky. Afterward he moved with his family to New Orleans and was soon hooked again. 1949 A search of Burroughs’ house, turned up marijuana and weapons. He was at risk of being locked up in Louisiana’s notorious penitentiary Angola. Burroughs and his family went on over the border to Mexico City, where he set up home in 1949. 1950 Burroughs studied Archeology of the Mayans and the Aztecs as well as anthropology at the Mexico City College. Burroughs began his first novel, with the working title of “Junk”. 1951 In the Bounty Bar, a student pub, Burroughs got to know Lewis Marker, a young student, with whom he went on a trip to Ecuador via Panama, searching for Yage, a hallucinogen which inspires visions and is said to strengthen telepathic abilities. The journey was a disappointment: Burroughs could not find any Yage and he did not succeed in forming an attachment to Marker. One week after his return a tragedy occurred which would mark Burroughs’ life from then on: he inadvertently shot his wife, Joan, in the head. She died a short time later. 1953 “Junk” appeared under the title, Junkie: Confessions of an Unredeemed Drug Addict,in Marchunder the pseudonym, William Lee. In December, Burroughs traveled with Alan Ansen to Tangiers in Morocco, his interest having been aroused by the novel, Let It Come Down, by Paul Bowles. 1954 Until 1956, Tangiers was an international zone. In this city, Burroughs could live freely and unmolested as a drug user and homosexual. Burroughs became strongly addicted to Eucodol (known today under the name Methadone). An intensive correspondence with Allen Ginsberg. In it, Burroughs wrote down a part of his new novel, which consisted predominantly of “Routines” and, with its working title, “Interzone”, introduced the name for the main setting, Tangiers, in Naked Lunch. He met Brion Gysin for the first time. 1956 Burroughs traveled to London, to Dr. Dent: successful treatment with his Apomorphine cure. In Tangiers he lieved in the Villa Muniria. The manuscript pages landed on the floor and compacted into a chaotic heap. The material that would flow into Naked Lunch but also into The Soft Machine and The Ticket That Exploded came about here. Allen Ginsbergs Howl was published. 1957 Kerouac arrived in Tangiers. He helped with the transcribtion of Burroughs’ manuscript and suggested the title Naked Lunch. Allen Ginsberg, Peter Orlovsky and Alan Ansen arrived for a visit and went on with the transcribing. Burroughs became better acquainted with Paul Bowles, his wife, Jane Bowles, and Brion Gysin. A stay in Denmark with Kells Elvins. Kerouac’s novel, On The Road, was published. The first extracts from Naked Lunch appeared in the Black Mountain Review. 1959 Burroughs lived in a room at the Beat-Hotel. In July, Maurice Girodias – now after all interested in Naked Lunch after the scandal around Big Table in the USA – required that he should deliver the print-ready manuscript for publication within a mere 10 days. Gysin and Beiles helped Burroughs to edit the final version. Burroughs met Ian Sommerville. 1960 In March, Burroughs left Paris and lieved in London. He was working on Soft Machine, The Ticket That Exploded and Nova Express. Ian Sommerville developed the Dreamachine based on an idea of Brion Gysin. The first Cut-Up collaborations: Minutes To Go (Paris) and The Exterminator (San Francisco) were published. 1961 In the summer, Burroughs, Sommerville, Portman, Ansen, Ginsberg, Orlovsky, Corso, Gysin, Bowles and finally Leary arrived in Tangiers. Burroughs made his first assemblage and began to compile Scrapbooks. 1962 Kells Elvins had died in New York. Burroughs took part in the International Literary Conference in Edinburgh. Naked Lunch was published by Grove Press. The Ticket That Exploded, the second part of the Cut-Up Trilogy, was published by Olympia Press. Burroughs shot the film, Towers Open Fire, with Antony Balch. 1963 In summer 1963, Burroughs was in Tangiers with Sommerville and PortmanAntony Balch shot a short film, William Buys A Parrot. 1965 Burroughs and Gysin in New York. They worked there intensively on The Third Mind. Burroughs gave a reading in Wynn Chamberlain’s flat at 222 Bowery for an audience of about 130, among them Frank O’Hara, Diane Arbus, Larry Rivers, Barnett Newman, Richard Avedon and Andy Warhol. 1966 In January, Burroughs went back to London and lived with Ian Sommerville in the Hotel Rushmore. Sommerville was working in a recording studio owned by Paul McCartney. That was also where Burroughs continued his recording experiments. On July 7, the Massachusetts Supreme Court declared Naked Lunch to be “not obscene” and therefore could be sold in the United States; with this finding, it abolished the censorship of literature. Burroughs lived in a flat in Dalmeney Court near Piccadilly Circus. Daevid Allen founded the rock band, Soft Machine, in London. 1967 Burroughs began working on his next novel, The Wild Boys. He developed an interest in Scientology and one he had enough of Scientology. 1968 The magazine, Esquire, invited Burroughs, together with Jean Genet, Terry Southern and Allen Ginsberg, to report on the the Democratic Party Convention and the protests. In New York, he met Jack Kerouac for the last time. In London, Burroughs was living with the “Dilly Boy” John Brady. 1971 The Wild Boys: A Book of the Dead was published by Grove Press in New York, and The Electronic Revolution by Blackmoor Head Press in Cambridge in a run of only 450 copies. 1972 Burroughs and Balch made the color film, Bill and Tony. Steely Dan, a rock group from Los Angeles that and took its name from Naked Lunch, published their first LP. 1974 Final return to the United States. Burroughs met James Grauerholz, who was to be his secretary and manager for the next 22 years. 1975 Burroughs began to write his new novel, Cities of the Red Night. 1976 February 5, Burroughs’ birthday, news reached him that Ian Sommerville had died in a car accident. In June, he moved into the Bunker, a large, windowless room at 222 Bowery, New York. 1978 The Nova Convention. As a celebration of Burroughs and his work, there were performances and readings by Allen Ginsberg, John Cage, Merce Cunningham, Anne Waldmann, John Giorno, Philip Glass, Laurie Anderson, Ed Sanders, Frank Zappa, Patti Smith, and Timothy Leary, among others. 1980 Burroughs was writing The Place of Dead Roads and was very often on the road giving readings; one of these took him to Lawrence, Kansas, where Grauholz was studying. 1981 His son, Billy Burroughs, died, aged 33. Antony Balch died in London. With the Bunker rent doubled, Burroughs decided to move with Grauerholz to Lawrence, Kansas. Cities of the Red Night was published. 1982 Burroughs bought a house at 1927 Learnard Avenue, in East-Lawrence. In October, Burroughs traveled to London to take part in The Final Academy with Gysin. 1983 Burroughs was inducted into the American Academy and Institute of Arts and Letters. Burroughs and John Giorno were accompanied by Grauerholz on a reading tour through Finland, Sweden and Denmark. Howard Brookner’s documentary film, Burroughs, was premiered at the New York Film Festival. The Place of Dead Roads was published. 1987 River City Reunion, a Beat Generation Poetry Festival in Lawrence, Kansas, with Ed Sanders, Diane di Prima, Ed Dorn, Allen Ginsberg, Marianne Faithfull, Timothy Leary, John Giorno, Jim Carroll, Robert Creeley, and many others appearing. The Western Lands, was published. Burroughs discovered the Shotgun Art. The first solo exhibition was presented at the Tony Shafrazi Gallery in New York in December. 1989 Burroughs had a part in Gus Van Sant’s Drugstore Cowboys. Numerous art exhibitions. 1990 Performance of The Black Rider, The Casting of the Magic Bullets, a music-theater by Robert Wilson’s, with music by Tom Waits and texts by Burroughs. In the 1990s Burroughs underwent a triple bypass operation and suffered a fracture of the pelvis a short time later. He lived in his house and garden on Learnard – or as he called it – Learn Hard Avenue, attended by friends and voluntary helpers. He took care of his cats, received visitors from all over the world, and regularly went out to the country to shoot.
correct_death_00083	FactBench	2	14	https://www.newworldencyclopedia.org/entry/William_S._Burroughs	en	William S. Burroughs	https://www.newworldency…avicon-32x32.png	https://www.newworldency…avicon-32x32.png	[ "https://www.newworldencyclopedia.org/images/nwe_header.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/8/8a/Burroughs1983_cropped.jpg/200px-Burroughs1983_cropped.jpg", "https://static.newworldencyclopedia.org/skins/common/images/Cc.logo.circle.png", "https://www.newworldencyclopedia.org/resources/...	[]	[]	[ "" ]	null	[]	null		en	https://static.newworldencyclopedia.org/favicon.ico		https://www.newworldencyclopedia.org/entry/William_S._Burroughs	William Seward Burroughs II (February 5 1914(1914-02-05)—August 2 1997; pronounced /ˈbʌroʊz/), more commonly known as William S. Burroughs was an American novelist, essayist, social critic, painter and spoken word performer. Much of Burroughs' work is semi-autobiographical, drawn from his experiences as an opiate addict, a condition that marked the last 50 years of his life. A primary member of the Beat Generation, he was an avant-garde author who affected popular culture as well as literature, helping to popularize themes of drugs and homosexuality during the countercultural period of the 1960s. In 1984, he was elected to the American Academy and Institute of Arts and Letters. Early life and education Burroughs was born in 1914, the younger of two sons of a prominent family in St. Louis, Missouri. His grandfather, William Seward Burroughs I, founded the Burroughs Adding Machine company, which evolved into the Burroughs Corporation. Burroughs' mother, Laura Hammon Lee (1888-1970), was the daughter of a minister whose family claimed to be related to Robert E. Lee. His maternal uncle, Ivy Lee, was an advertising pioneer later employed as a publicist for the Rockefellers. His father, Mortimer Perry Burroughs, ran an antique and gift shop, Cobblestone Gardens; first in St. Louis, then in Palm Beach, Florida. Burroughs attended John Burroughs School in St. Louis where his first published essay, "Personal Magnetism," was published in the John Burroughs Review in 1929.[1] He then attended The Los Alamos Ranch School in New Mexico, which was stressful for him. The school was a boarding school for the wealthy, "where the spindly sons of the rich could be transformed into manly specimens." [2]. Burroughs kept journals documenting an erotic attachment to another boy. These remained undiscovered, and in fact he kept his sexual orientation concealed well into adulthood. He was soon expelled from Los Alamos after taking chloral hydrate in Santa Fe with a fellow student. Harvard University He finished high school at Taylor School in St. Louis and, in 1932, left home to pursue an arts degree at Harvard University. During the summers, he worked as a cub reporter for the St. Louis Post-Dispatch, even covering the police docket. He disliked the work, and refused to cover some events like the death of a drowned child. He lost his virginity in an East St. Louis brothel that summer with a female prostitute he regularly patronized.[3] While at Harvard Burroughs made trips to New York City and was introduced to the gay subculture there. He visited lesbian dives, piano bars, and the Harlem and Greenwich Village homosexual underground with a wealthy friend from Kansas City, Richard Stern. They would drive from Boston to New York in a reckless fashion. Once, Stern scared Burroughs so much, he asked to be let out of the vehicle.[4] Burroughs graduated from Harvard University in 1936. His parents, upon his graduation, had decided to give him a monthly allowance of $200 out of their earnings from Cobblestone Gardens, a tidy sum in those days. It was enough to keep him going, and indeed it guaranteed his survival for the next twenty-five years, arriving with welcome regularity. The allowance was a ticket to freedom; it allowed him to live where he wanted to and to forego employment. -Ted Morgan, Literary Outlaw.[5] Burroughs's parents were not overly wealthy; they had sold the rights to his grandfather's invention and had no share in the Burroughs Corporation. Shortly before the 1929 stock market crash Burroughs's parents sold their stock in the Burroughs Corporation for $200,000.[6] Europe After leaving Harvard, Burroughs' formal education ended, except for brief flirtations as a graduate student of anthropology at Harvard and as a medical student in Vienna, Austria. He traveled to Europe, which proved a window into Austrian and Hungarian Weimar-Era homosexuality; he picked up boys in steam baths in Vienna, and moved in a circle of exiles, homosexuals, and runaways. There, he met Ilse Klapper, a Jewish woman fleeing the country's Nazi government. The two were never romantically involved, but Burroughs married her, in Croatia, against the wishes of his parents, in order to allow her to gain a visa to the United States. She made her way to New York City, and eventually divorced Burroughs, although they remained friends for many years.[7] After returning to the U.S., he held a string of uninteresting jobs. In 1939, his emotional health became a concern for his parents, especially after he deliberately severed the last joint of his left little finger to impress a man with whom he was infatuated.[8] This event made its way into his early fiction as the short story "The Finger." Beginning of The Beats Burroughs enlisted in the U.S. Army early in 1942, shortly after the Attack on Pearl Harbor brought the U.S. into World War II. But when he was classified as a 1-A Infantry, not an officer, he became dejected. His mother recognized her son's depression and got Burroughs a civilian disability discharge—a release from duty based on the premise he should have not been allowed to enlist due to previous mental instability. After being evaluated by a family friend, who was also a neurologist at a psychiatric treatment center, Burroughs waited five months in limbo at Jefferson Barracks outside St. Louis before being discharged. During that time he met a Chicago soldier also awaiting release, and once Burroughs was free, he moved to Chicago and held a variety of jobs, including one as an exterminator. When two of his friends from St. Louis, Lucien Carr, a University of Chicago student, and David Kammerer, Carr's homosexual admirer, left for New York City, Burroughs followed. Joan Vollmer In 1944, Burroughs began living with Joan Vollmer Adams in an apartment they shared with Jack Kerouac and Edie Parker, Kerouac's first wife. Vollmer Adams was married to a GI with whom she had a young daughter, Julie Adams. Burroughs and Kerouac got into trouble with the law for failing to report a murder. The murder involved Lucien Carr, who had killed David Kammerer in a confrontation over Kammerer's incessant and unwanted advances. During this time, Burroughs began using morphine and quickly became addicted. He eventually sold heroin in Greenwich Village to support his habit. Vollmer also became an addict, but her drug of choice was an amphetamine, Benzedrine, which was sold over the counter as a decongestant inhalant at that time. Because of her addiction and social circle, her husband immediately divorced her after returning from the war. Vollmer would become Burroughs’ common law wife. Burroughs was soon arrested for forging a narcotics prescription and was sentenced to return to his parents' care in St. Louis. Vollmer's addiction led to a temporary psychosis, which resulted in her admission to a hospital, and the custody of her child was endangered. Yet after Burroughs completed his "house arrest" in St. Louis, he returned to New York, released Vollmer from the psychiatric ward of Bellevue Hospital, and moved with her and her daughter to Texas. Vollmer soon became pregnant with Burroughs' child. Their son, William S. Burroughs, Jr., was born in 1947. The family moved briefly to New Orleans in 1948. Burroughs was arrested after police searched his home and found letters between him and Allen Ginsberg referring to a possible delivery of marijuana. Burroughs fled to Mexico to escape possible detention in Louisiana's Angola state prison. Vollmer and their children followed him. Burroughs planned to stay in Mexico for at least five years, the length of his charge's statute of limitations. Burroughs also attended classes at Mexico City College in 1950 in Spanish, "Mexican picture writing" and codices, and the Mayan language. In 1951, Burroughs shot and killed Vollmer in a drunken game of "William Tell" at a party above the American-owned Bounty Bar in Mexico City. He spent 13 days in jail before his brother came to Mexico City and bribed Mexican lawyers and officials, which allowed Burroughs to be released on bail while he awaited trial for the killing, which was ruled culpable homicide.[9] Vollmer’s daughter, Julie Adams, went to live with her grandmother, and William S. Burroughs, Jr. went to St. Louis to live with his grandparents. Burroughs reported every Monday morning to the jail in Mexico City while his prominent Mexican attorney worked to resolve the case. According to James Grauerholz two witnesses had agreed to testify that the gun had gone off accidentally while he was checking to see if it was loaded, and the ballistics experts were bribed to support this story.[10] Nevertheless, the trial was continuously delayed and Burroughs began to write what would eventually become the short novel Queer while awaiting his trial. However, when his attorney fled Mexico after his own legal problems involving a car accident and altercation with the son of a government official, Burroughs decided, according to Ted Morgan, to "skip" and return to the United States. He was convicted in absentia of homicide and sentenced to two years, which was suspended.[11] Birth of a writer Burroughs later said that shooting Vollmer was a pivotal event in his life, and one which provoked his writing: I am forced to the appalling conclusion that I would have never become a writer but for Joan's death…. I live with the constant threat of possession, for control. So the death of Joan brought me in contact with the invador [sic], the Ugly Spirit, and maneuvered me into a life long struggle, in which I have had no choice except to write my way out[12]. Yet he had begun to write in 1945. Burroughs and Kerouac collaborated on And the Hippos Were Boiled in Their Tanks, a mystery novel loosely based on the Carr/Kammerer situation that was left unpublished. Years later, in the documentary What Happened to Kerouac?, Burroughs described it as "not a very distinguished work." An excerpt of this work, in which Burroughs and Kerouac wrote alternating chapters, was finally published in "Word Virus," a compendium of William Burroughs' writing that was published after his death in 1997. Before Vollmer died, Burroughs had largely completed his first two novels in Mexico, although Queer would not be published until 1985. His first novel was adapted from letters he originally wrote to Ginsberg who encouraged him to think of writing a novel. Junkie was written at the urging of Allen Ginsberg, who was instrumental in getting the work published, even as a cheap mass market paperback. Ace Books published the novel in 1953 as part of an Ace Double under the pen name William Lee, retitling it Junkie: Confessions of an Unredeemed Drug Addict. (it was later republished as Junkie or Junky). After Vollmer's death, Burroughs drifted through South America for several months, looking for a drug called Yage, which promised the user an ability for telepathy. A book resulted from this time, The Yage Letters, published in 1963 by San Francisco's City Lights Books which comprised the letters between Burroughs and Allen Ginsberg. Naked Lunch During 1953, Burroughs was at loose ends. Due to legal problems, he was unable to live in the cities towards which he was most inclined. He spent time with his parents in Palm Beach, Florida, and New York City with Allen Ginsberg. When Ginsberg refused his romantic advances, Burroughs went to Rome to meet Alan Ansen on a vacation financed by his parents' continuing support. When he found Rome and Ansen’s company dreary, inspired by Paul Bowles' fiction, he decided to head for Tangier, Morocco.[13] In a home owned by a known procurer of homosexual prostitutes for visiting American and English men, he rented a room and began to write a large body of text that he personally referred to as Interzone Burroughs lived in Tangier for several months, before returning to the United States where he suffered several personal indignities; Ginsberg was in California and refused to see him, A. A. Wyn, the publisher of Junkie, was not forthcoming with his royalties and his parents were threatening to cut off his allowance. All signs pointed him back to Tangier, a place where his parents would have to continue the support and one where drugs were freely available; he spent the next four years there working on the fiction that would later become Naked Lunch, as well as attempting to write commercial articles about Tangier, but none were published until 1989 when Interzone, a collection of short stories, was published. Under the strong influence of a marijuana confection known as majoun and a German-made opioid called Eukodol (oxycodone), Burroughs settled in to write. Eventually, Ginsberg and Kerouac, who had traveled to Tangier in 1957, helped Burroughs edit these episodes into Naked Lunch.[14] Whereas Junkie and Queer were conventional in style, Naked Lunch was his first venture into a non-linear style. At around the time he was composing Naked Lunch, Burroughs was also exposed to Brion Gysin's cut-up technique at the Beat Hotel in Paris in September 1959, he began slicing up phrases and words to create new sentences.[15] At the Beat Hotel Burroughs discovered "a port of entry" into Gysin's canvases saying, "I don't think I had ever seen painting until I saw the painting of Brion Gysin."[16] The two would cultivate a long-term friendship that revolved around a mutual interest in artworks and cut-up techniques. Scenes were slid together with little care for narrative. Perhaps thinking of his crazed physician, Dr Benway, he described Naked Lunch as a book that could be cut into at any point. Although not science fiction, the book does seem to forecast—with eerie prescience—such later phenomena as AIDS, liposuction, autoerotic fatalities and the crack pandemic.[17] Burroughs's "Interzone" could be seen as a metaphorical stateless city, but the term probably was derived from the "International Zone" in Tangier, a city occupied after World War II by French, English, Spanish, and American expatriate communities, each with its own courts and administration. During this time in its history, Tangier was an international refuge for criminals, artists, drug smugglers and tax-evading tycoons. It was not an exaggeration to say everything could be had for a price. When in Tangier, Burroughs's son Billy, now a teenager, came to live with him at the insistence of his parents. It was Burroughs' lover, Ian Sommerville, who recognized that the boy was homesick and urged Burroughs to send him back to the U.S. and the surroundings he had grown up in. After several months with his father, Billy returned to Palm Beach to live with his grandparents again. Excerpts from Naked Lunch were first published in the United States in 1958. The novel was rejected initially by City Lights Books, the publisher of Ginsberg's Howl, and Olympia Press publisher Maurice Girodias, who had published English language novels in France that were controversial for their subjective views of sex and anti-social characters. But Allen Ginsberg worked to get excerpts published in Black Mountain Review and Chicago Review in 1958. Irving Rosenthal, student editor of Chicago Review, a quarterly journal partially subsidized by the university, promised to publish more excerpts from Naked Lunch, when he was fired from his position in 1958 after Chicago Daily News columnist Jack Mabley called the first excerpt obscene. Rosenthal went on to publish more in his newly created literary journal Big Table No. 1; however, these copies elicited such contempt, the editors were accused of sending obscene material through the United States Mail by the United States Postmaster General, who ruled that copies could not be mailed to subscribers. This controversy made Naked Lunch interesting to Maurice Girodias again, and he published the novel in 1959. After the novel was published, it slowly became notorious across Europe and the United States, garnering interest from not just members of the counterculture of the 1960s, but literary critics like Mary McCarthy. Once published in the United States, Naked Lunch was prosecuted as obscene by the Commonwealth of Massachusetts, followed by other states. In 1966 the Massachusetts Supreme Judicial Court declared the work "not obscene" on the basis of criteria developed largely to defend the book. The case against Burroughs's novel still stands as the last obscenity trial against a work of literature—a work consisting solely of words—prosecuted in the United States. The manuscripts that produced Naked Lunch also produced the later works The Soft Machine (1961), The Ticket That Exploded (1962), and Nova Express (1963). These novels feature extensive use of the cut-up technique, which influenced all of Burroughs subsequent fiction to a degree. During his friendship and artistic collaborations with Brion Gysin and Ian Sommerville the technique was combined with images, Gysin's paintings, and sound, via Somerville's tape recorders. Burroughs was so dedicated to the cut-up method that he often defended his use of the technique to editors and publishers, most notably Dick Seaver[18] at Grove Press in the 1960s and Holt, Rinehart & Winston in 1980s. The cut-up method, because of its seemingly random or mechanical basis for text generation, combined with the possibilities of mixing in text written by other writers without descending to plagiarism, to some extent de-emphasizes the traditional role of the writer as creator or originator of a string of words while simultaneously exalting the importance of the writer's sensibility as an editor. In this sense the cut-up method may be considered as analogous to the collage method in visual art. Paris and the ‘Beat Hotel’ Burroughs moved to a run down hotel in Paris' Latin Quarter neighborhood in 1959 when Naked Lunch was still looking for a publisher. Tangier with its easy access to drugs, small cliques of homosexuals, growing political unrest and odd collection of criminals became increasingly unhealthy for Burroughs.[19] He went to Paris to meet Ginsberg and talk with Olympia Press. In so doing, he left a brewing legal problem, which eventually transferred itself to Paris. Paul Lund, a former British career criminal and cigarette smuggler Burroughs met in Tangier, was arrested on suspicion of importing narcotics into France. Lund gave up Burroughs and some evidence implicated Burroughs in the possible importation into France of narcotics. Once again, the man faced criminal charges, this time in Paris for conspiracy to import opiates, when the Moroccan authorities forwarded their investigation to French officials. Yet it was under this impending threat of criminal sanction that Maurice Girodias published Naked Lunch, and it was helpful in getting Burroughs a suspended sentence, as a literary career, according to Ted Morgan, is a respected profession in France. The ‘Beat Hotel’ was a typical European style rooming house hotel, with common toilets on every floor, and a small place for personal cooking in the room. Life there was documented by the photographer Harold Chapman, who lived in the attic room. This shabby, inexpensive hotel was populated by Gregory Corso, Ginsberg and Peter Orlovsky for several months after Naked Lunch first appeared. The actual process of publication was partly a function of its 'cut-up' presentation to the printer. Girodias had given Burroughs only ten days to prepare the manuscript for print galleys, and Burroughs sent over the manuscript in pieces, preparing the parts in no particular order. When it was published in this authentically ‘random’ manner, Burroughs liked it better than the initial plan. International rights to the work were sold soon after, and Burroughs used the $3,000 advance from Grove Press to buy drugs.[20] Naked Lunch was featured in a 1959 LIFE magazine cover story, partly as an article that highlighted the growing Beat literary movement. The London years Burroughs left Paris for London in 1966 to take the cure again with Dr. Dent, a well known English medical doctor who spearheaded a painless heroin withdrawal treatment which utilized an electronic box affixed to the patient's temple. Keith Richards and Anita Pallenberg would take this same cure over a decade later from Dr. Dent's nurse, Smitty.[21]. Though he ultimately relapsed, Burroughs ended up working out of London for six years, traveling back to the United States on several notable occasions, including one time escorting his son to Lexington Narcotics Farm and Prison after the younger Burroughs had been convicted of prescription fraud in Florida. In the "Afterward" to the compilation of his son's two previously published novels Speed and Kentucky Ham, Burroughs writes that he thought he had a "small habit" and left London quickly without any narcotics because he suspected the U.S. customs would search him well upon arrival. He claims he went through the most excruciating two months of opiate withdrawal while seeing his son through his trial and sentencing, actually traveling with Billy to Lexington, Kentucky from Miami to ensure his son entered the hospital he once spent time in as a volunteer admission. This confession, published in 1981, might strike many readers as proof of Burroughs poor parenting and example, but read in full light of the difficult circumstances he found himself in, it seems like some stubborn proof that Burroughs did care enough about his son to return and see him through the criminal process, even though it caused him much personal pain.[22] Earlier Burroughs revisited St. Louis, Missouri taking a large advance from Playboy to write an article about his trip back to St. Louis that eventually was published in the Paris Review, after Burroughs refused to alter the style for Playboy publishers. In 1968 Burroughs joined Jean Genet, John Sack, and Terry Southern in covering the 1968 Democratic National Convention for Esquire magazine. Southern and Burroughs, who first became acquainted with one another in London, would remain lifelong friends and collaborators. In 1972, Burroughs and Southern unsuccessfully attempted to adapt Naked Lunch for the screen in conjunction with American game show producer Chuck Barris.[23] Burroughs supported himself and his addiction by publishing pieces in small literary presses. His avant garde reputation grew internationally as the hippie counterculture discovered his earlier works. He developed a close friendship with Anthony Balch and lived with a young hustler named John Brady who continuously brought home young women despite protestations from Burroughs. In the midst of this personal turmoil, he managed to complete two works: a novel written in screen play format, The Last Words of Dutch Schulz (1969); and the traditional prose-format novel The Wild Boys (1971). In the 1960s Burroughs also joined and left the Church of Scientology. In talking about the experience, he claimed that the techniques and philosophy of Scientology helped him and that he felt that further study into Scientology would produce great results. However he was skeptical of the organization itself, and felt that it fostered an environment that did not accept critical discussion.[24] His subsequent critical writings about the church and his review of a book entitled Inside Scientology by Robert Kaufman led to a battle of letters between Burroughs and Scientology supporters in the pages of Rolling Stone. Exile returns In 1974, concerned about his friend's well-being, Allen Ginsberg got Burroughs a contract to teach creative writing at the City College of New York. Burroughs successfully withdrew from heroin and moved to New York. He eventually found an apartment, affectionately dubbed 'The Bunker', on the Lower East Side of Manhattan. The dwelling was partially a converted YMCA gym, complete with lockers and communal showers. The building fell within New York City rent control policies that made it extremely cheap; in fact, it was only about four hundred dollars a month until 1981 when the rent control rules changed doubling the rent overnight.[25]. Burroughs chalked up 'teacher' to another one of the jobs he did not like, as he lasted only a semester teaching; he found the students uninteresting and without much creative talent. Although he needed income desperately, he even turned down a teaching position at the University at Buffalo for $15,000 a semester. "The teaching gig was a lesson in never again. You were giving out all this energy and nothing was coming back."[26]. His savior was the newly arrived, 21-year-old bookseller and beat generation devotee James Grauerholz, who worked for Burroughs part-time as a secretary. It was Grauerholz who floated the idea of reading tours, something similar to rock and roll touring, or stand-up comedian dates in clubs across the country. Grauerholz had managed several rock bands in Kansas and took the lead in booking Burroughs reading tours that would help support him throughout the next two decades. It raised his public profile which eventually aided in new publishing contracts. Through Grauerholz, Burroughs became a monthly columnist for the noted popular culture magazine Crawdaddy, for which he interviewed Led Zeppelin's Jimmy Page in 1975. Thus Burroughs capitalized on the emerging American celebrity culture, deciding to relocate back to the United States permanently in 1976. He then began to associate with New York cultural players Andy Warhol, John Giorno, Lou Reed, Patti Smith, and Susan Sontag, frequently entertaining them at the Bunker. Throughout early 1977, Burroughs collaborated with Southern and Dennis Hopper on a screen adaptation of Junky. Financed by a reclusive acquaintance of Burroughs, the project lost traction after financial problems and creative disagreements between Hopper and Burroughs. Organized by Columbia professor Sylvere Lotringer, Giorno, and Grauerholz, the Nova Convention was a multimedia retrospective of Burroughs' work held from November 30-December 2, 1978 at various locations throughout New York. The event included readings from Southern, Ginsberg, Smith, and Frank Zappa (who filled in at the last minute for Keith Richards, then entangled in a legal problem) in addition to panel discussions with Timothy Leary & Robert Anton Wilson and concerts featuring The B-52s, Suicide, Philip Glass, and Deborah Harry & Chris Stein. In 1976, Billy Burroughs was eating dinner with his father and Allen Ginsberg in Boulder, Colorado at Ginsberg’s Buddhist poetry school (Jack Kerouac School of Disembodied Poetics) at Chogyam Trungpa's Naropa University when he began to vomit blood. William had not seen his son for over a year and was alarmed at his appearance when Billy arrived at Ginsberg’s apartment. Although Billy had successfully published two short novels in the 1970s, and was deemed by literary critics like Ann Charters as a bona fide “second generation beat writer”[27], his brief marriage to a teenage waitress had fallen apart. Under his constant drinking, there were long periods where Billy was out of contact with any family or friends. The diagnosis was liver cirrhosis so complete the only treatment was a rarely performed liver transplant operation. Fortunately, the University of Colorado Medical Center was one of two places in the nation that performed transplants under the pioneering work of Dr. Thomas Starzl. Billy underwent the procedure and beat the 30-percent-survival odds. His father spent many months in 1976 and 1977 in Colorado, helping Billy through many additional surgeries and complications. Their relationship was not spontaneous and lacked real warmth or intimacy.[28] In London, he had begun to write what would become the first novel of a three book trilogy. Between 1981 and 1987 he published Cities of the Red Night (1981), The Place of Dead Roads (1983) and The Western Lands (1987). Grauerholz helped edit Cities when it was first rejected by Burroughs’ long-time editor Dick Seaver at Holt Rinehart, after it was deemed too disjointed. Interestingly, the novel was written as a straight narrative and then chopped up into a more random pattern leaving the reader to sort through the hip-hop of characters and events. This technique was definitely different than earlier cut-up methods which were organically accidental from the start. Nevertheless, the novel was reassembled and published, still without a straight linear form, but with fewer breaks in the story. The back and forth sway of the read replicated the theme of the trilogy, time travel adventures where Burroughs’ narrators re-write episodes in history and thus reform mankind.[29]. Although reviews were not generally favorable for Cities—Anthony Burgess panned the work in Saturday Review saying Burroughs was boring readers with repetitive episodes of pederast fantasy and sexual strangulation that lacked any comprehensible worldview or theology—the novel proved Burroughs was still a creative force worth noting. Emerging writers, like J. G. Ballard, argued Burroughs was shaping a new literary “mythography”.[30]. In 1981, Billy Burroughs died in Florida. He had cut off contact with his father several years before, even publishing an article in Esquire claiming his father had poisoned his life; revealing that he had been molested by one of his father's friends as a 14-year-old while visiting his dad in Tangiers, which he had previously kept to himself. The liver transplant had not cured his urge to drink; he suffered from serious health complications years after the operation. He had stopped taking his transplant rejection drugs, and was found near the side of a Florida highway by a stranger. He died shortly afterwards. Burroughs was in New York when he heard of the tragedy; by 1979 Burroughs himself was addicted to heroin again. The cheap heroin easily purchased outside his door in the Lower East Side "made its way" into his veins, coupled with "gifts" from well-intentioned admirers who frequently visited the Bunker. From this point until his death, he was regularly addicted to heroin; he died in 1997 on a methadone maintenance program. In an introduction to Last Words: The Final Journals of William S. Burroughs Grauerholz states that it was part of his job, while managing reading tours in the 1980s and 1990s, to deal with the “underworld” in each city to secure the author’s needed drugs.[31] Later years in Kansas Burroughs moved to Lawrence, Kansas, in 1981 and lived the remainder of his life there. In 1984 he signed a seven book deal with Viking Press after he signed with literary agent Andrew Wylie. This deal included the publication rights to the 1953 unpublished novel Queer. With this money he purchased a small bungalow for $29,000.[32] He was finally inducted into the American Academy and Institute of Arts and Letters in 1983. Lawrence Ferlinghetti remarked the induction of Burroughs into the Academy proved Herbert Marcuse's point that capitalistic society had a great ability to incorporate its one-time outsiders.[33] By late 1980s, Burroughs had become a counterculture figure and collaborated with performers ranging from Bill Laswell's Material and Laurie Anderson to Throbbing Gristle, Disposable Heroes of Hiphoprisy and Ministry, and in the 1989 film Drugstore Cowboy, playing a character based on a short story he published in Exterminator!, "the "Priest" they called him." In 1990, he released the spoken word album Dead City Radio, with musical back-up from producers Hal Willner and Nelson Lyon, and alternative rock band Sonic Youth. A collaboration with musicians Nick Cave and Tom Waits resulted in a collection of short prose, "Smack my Crack," later released as a spoken word album in 1987. He also collaborated with Tom Waits and director Robert Wilson to create The Black Rider, a play which opened at the Thalia Theatre in Hamburg in 1990, to critical acclaim, and was later performed all over Europe and the U.S. In 1991, with Burroughs's sanction, director David Cronenberg took on the seemingly impossible task of adapting Naked Lunch into a full-length feature film. The film opened to critical acclaim. He became a member of a chaos magic organization, the Illuminates of Thanateros in 1993,[34] a group whose very existence would not have been possible without Burroughs' works. During his later years in Kansas, Burroughs also developed a painting technique, creating abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shotgun. These splattered canvasses were shown in at least one New York City gallery in the early 1990s. Burroughs' final filmed performance was in the video for "Last Night on Earth" by Irish rock band U2, filmed in Kansas City, Missouri, directed by Richie Smyth and also featuring Sophie Dahl.[35] Burroughs died at the age of 83 in Lawrence, August 2, 1997, from complications of the previous day's heart attack. He is interred in the family plot in Bellefontaine Cemetery in St. Louis, Missouri. As of November 18, 2007, the grave has a marker bearing his full name and the epitaph "American Writer." The grave lies to the right of the white granite obelisk of William Seward Burroughs I (1857-1898). After his death Since 1997, several postumous collections of Burroughs' work have been published. A collection of writings spanning his entire career, Word Virus, was published (according to the book's introduction, Burroughs himself approved its contents prior to his death). Aside from numerous previously released pieces, Word Virus also included one of the few surviving fragments of And the Hippos Were Boiled in Their Tanks. an unpublished novel by Burroughs and Kerouac. A collection of journal entries written during the final months of Burrough's life was published as the book Last Words in 2000. Publication of a memoir by Burroughs entitled Evil River by Viking Press has been delayed several times; after initially being announced for a 2005 release, Web retailers such as Amazon.com indicated a 2007 release, complete with an ISBN number (ISBN 0670813516), but no such release occurred. In December 2007, Ohio State University Press released Everything Lost: The Latin American Journals of William S. Burroughs, Edited by Oliver Harris, the book contains transcriptions of journal entries made by Burroughs during the time of composing Queer and The Yage Letters.[36] In addition, special editions of The Yage Letters, Naked Lunch and Junkie/Junky have been published in recent years, all containing additional material and essays on the works. In March 2008, Penguin Books announced that the Kerouac/Burroughs manuscript, And the Hippos Were Boiled in Their Tanks will be published for the first time in November 2008. (Previously, a fragment of the manuscript had been published in the compendium, Word Virus).[37] Literary style and periods Burroughs's major works can be divided into four different periods. The dates refer to the time of writing, not publication, which in some cases was not until decades later: Early Work (early 1950s): Junkie, Queer and The Yage Letters are relatively straightforward linear narratives, written in and about Burrough's time in Mexico City and South America. The Cut-Up Period (mid-1950s to mid-1960s): Naked Lunch is a fragmentary collection of "routines" from The Word Hoardndash;manuscripts written in Tangier, Paris, and London, blending into the cut-up and fold-in fiction also heavily drawn from The Word Hoard: The Soft Machine, Nova Express, The Ticket That Exploded, also referred to as "The Nova Trilogy" described by Burroughs as an attempt to create "a mythology for the space age." Interzone derives from this period. Experiment & Subversion (mid-1960s to mid-1970s): Burroughs continued experimental writing with increased political content, branching into film and sound recording. The only major novel written in this period was The Wild Boys, but he also wrote dozens of published articles, short stories, scrap books and other works, several in collaboration with Brion Gyson. Anthologies representing work from this period are The Burroughs File, The Adding Machine and Exterminator!. The Red Night Trilogy (mid-1970s to mid-1980s): Cities of the Red Night, The Place of Dead Roads and The Western Lands came from this final, mature stage, creating a complete mythology. Burroughs has also produced numerous essays and a large body of autobiographical material, including a book with a detailed account of his own dreams My Education: A Book of Dreams. Legacy Burroughs is often called one of the greatest and most influential writers of the twentieth century, most notably by Norman Mailer whose quote on Burroughs, "The only American novelist living today who may conceivably be possessed by genius," appears on many Burroughs publications. Others, however, consider him overrated. Others still consider his concepts and attitude more influential than his prose. Prominent admirers of Burroughs's work have included British critic and biographer Peter Ackroyd, the rock critic Lester Bangs and the authors J.G. Ballard, Angela Carter, Jean Genet, William Gibson, Charles Bukowski, Alan Moore and Ken Kesey. Burroughs continues to be named as an influence by contemporary writers of fiction. Both the New Wave and, especially, the cyberpunk schools of science fiction are indebted to him, admirers from the late 1970s, early 1980s milieu of this sub-genre including William Gibson and John Shirley. First published in 1982, the British slipstream fiction magazine (which later evolved into a more traditional science fiction magazine) Interzone paid tribute to him with its choice of name. He is cited as a major influence by musicians Patti Smith, Genesis P-Orridge, Ian Curtis, Laurie Anderson, and Kurt Cobain. The themes of drugs, homosexuality and death, common to Burroughs's routines, are taken up by Dennis Cooper, of whom Burroughs said, "Dennis Cooper, God help him, is a born writer." Cooper, in return, wrote, in his essay 'King Junk', "along with Jean Genet, John Rechy, and Ginsberg, [Burroughs] helped make homosexuality seem cool and highbrow, providing gay liberation with a delicious edge." Splatterpunk writer Poppy Z. Brite continuously references this aspect of Burroughs' work. Burroughs was cited by Robert Anton Wilson as being the first person to notice the 23 numerological phenomena, or "23 enigma," as it sometimes called:[38] I first heard of the 23 enigma from William S Burroughs, author of Naked Lunch, Nova Express, etc. According to Burroughs, he had known a certain Captain Clark, around 1960 in Tangier, who once bragged that he had been sailing 23 years without an accident. That very day, Clark’s ship had an accident that killed him and everybody else aboard. Furthermore, while Burroughs was thinking about this crude example of the irony of the gods that evening, a bulletin on the radio announced the crash of an airliner in Florida, USA. The pilot was another captain Clark and the flight was Flight 23.[39] —Robert Anton Wilson, Fortean Times The best known pictures of Burroughs were taken by photographer John Minihan, who photographed him between 1963 and 1991 and developed such a good relationship with the writer that he became, in effect, his official photographer. Burroughs was inducted into the St. Louis Walk of Fame in St. Louis, Missouri. Bibliography Non-fiction Stories and novellas Valentine's Day Reading (1965) Time (1965) APO-33 (1966) So Who Owns Death TV? (1967) The Dead Star (1969) Ali's Smile (1971) Mayfair Academy Series More or Less (1973) White Subway (1973) - later included in The Burroughs File Exterminator! (1973) (ISBN 0-14-005003-5) (a different book from the 1960 collaboration with Brion Gysin) The Book of Breething (aka "Ah Pook Is Here") (1974) Snack... ISBN 0856520144 (1975) Cobble Stone Gardens (1976) - later included in The Burroughs File Blade Runner (a movie) (1979) ISBN 0912652462 Dr. Benway (1979) Die Alten Filme (The Old Movies) (1979) - later included in The Burroughs File Streets of Chance (1981) Early Routines (1981) Sinki's Sauna (1982) Ruski (1984) The Four Horsemen of the Apocalypse (1984) The Cat Inside (1986) The Whole Tamale (c.1987-88) Interzone (1987) ISBN 0140094512 Tornado Alley (1989) Ghost of Chance (1991) ISBN 1852424575 Seven Deadly Sins (1992) Paper Cloud; Thick Pages (1992) Collections Roosevelt After Inauguration and Other Atrocities (1965) Ali's Smile/Naked Scientology (1978) Ah Pook is Here, Nova Express, Cities of the Red Night (1981) ISBN 0312278462 The Burroughs File (1984) The Adding Machine: Collected Essays (1985) ISBN 1559702109 Uncommon Quotes Vol. 1 (1989) Selected Letters (1993) Burroughs Live: The Collected Interviews of William S. Burroughs, 1960-1997 (2000) ISBN 1584350105 The Letters of William S. Burroughs 1945-1959 Word Virus: The William Burroughs Reader (1998) ISBN 0006552145 Collaborations And the Hippos Were Boiled in Their Tanks (1945 - scheduled for publication November 2008) (with Jack Kerouac) Minutes To Go (1960) (with Sinclair Beilles, Gregory Corso and Brion Gysin) The Exterminator (1960) (with Brion Gysin) The Yage Letters (1963) (with Allen Ginsberg) Brion Gysin Let the Mice In (1973) (with Brion Gysin) Sidetripping (1975) (with Charles Gatewood) Colloque de Tangier (1976) (with Brion Gysin) The Third Mind (1977) (with Brion Gysin) Colloque de Tangier Vol. 2 (1979) (with Brion Gysin and Gérard-Georges Lemaire) Apocalypse (1988) (with Keith Haring) Notes References ISBN links support NWE through referral fees Ambrose, Joe, Terry Wilson, Frank Rynne. Man From Nowhere; Storming the Citadels of Enlightenment with William Burroughs and Brion Gysin. Autonomedia, 1992. ISBN 9780952021704. Bockris, Victor. With William Burroughs: A Report From the Bunker. New York: St. Martin's Griffin, 1996. Burroughs, William. Last Words: The Final Journals of William S. Burroughs, ed. by James Grauerholz. New York: Grove Press: 2001. ISBN 0802137784 Charters, Ann, ed. The Portable Beat Reader. New York: Penguin Books, 1992. ISBN 0670838853. Gilmore, John. Laid Bare: A Memoir of Wrecked Lives and the Hollywod Death Trip. Searching for Rimbaud. Amok Books, 1997. ISBN 9781878923080. Grauerholz, James. Word Virus. New York: Grove, 1998. ISBN 9780802116291. Miles, Barry. William Burroughs: El Hombre Invisible, A Portrait. New York: Hyperion, 1992. ISBN 9781562828486. Morgan, Ted. Literary Outlaw. New York: Avon, 1988. ISBN 9780370315867. All links retrieved May 12, 2023.
correct_death_00083	FactBench	0	21	http://iagenweb.org/civilwar/regiment/7cavdeath.html	en	7th Cavalry Death List			[]	[]	[]	[ "" ]	null	[]	null					null	FOREIGN COUNTRIES NAME CO. DATE OF DEATH PLACE CEMETERY NATION Mobley, George G. Co. B Died 9/9/1919 at Tappan Unknown BC, Canada Gross, William H. Co. K Died 3/8/1918 at Lindsay Unknown Ontario, Canada Larson, James Co. F Died 11/12/1916 at Oslo Unknown Norway HEATH, HERMAN STAFF Died 11/14/1874LimaOld BritishPeru MOBLEY, SETH Co. B Died 7/10/1911 at Manila Veteran Army of the Philippines Philippines ARIZONA – (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Tannehill, John M. Co. G Died 3/5/1923 at Phoenix Greenwood Memory Lawn Maricopa p.14 Jones, William W. Co. K Died 2/6/1911 at BuckeyeLiberty Maricopa p.14 Moore, William M. Co. M Died 5/30/1915 at Copper Creek UnknownYavapai p.14 ARKANSAS – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Rice, George L. Co. A Died 2/14/1909 at GentryGentryBenton p.18 Bales, Zachary Co. D Died 5/23/1906 at Eureka Springs Eureka Springs Carroll p.18 Doty, Napoleon B. Co. E Died 7/30/1930 at Heber Springs Unknown Cleburne p.18 Killough, Augustus Co. M Died 11/13/1919 at Evansville Lewis Washington p.18 Mitchell, Jonathan Co. C Died 7/12/1884 at StricklerFall Creek Washington p.18 Waggoner, Wm. H. Co. B Died 1/27/1918 at Rose BudBethesda White p.20 Hunt, Francis A. Co. C Died 4/21/1917 at JudsoniaEvergreenWhite p.20 CALIFORNIA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Braga, Arsa J. Co. E Died 10/10/1912 at HaywoodMount St Joseph Alameda p. 27 [a second source says he is buried in Lake Geneva, WI] Bristol, Edward C. Co. K Died 11/19/1912 at Berkeley UnknownAlameda p.23 [Bristol was living near Seattle, Washington Co., WA in 1910] Williams, Wm. H. H. Co. C Died [no date] atOaklandMountain ViewAlameda p.30 Noe, Samuel Co. E Died [no date] atChicoChicoButte p.22 O’Hair, Michael Co. K Died 9/28/1912 at San Francisco Calusa Community Calusa p.22 Jordan, Isaac R. Co. G Died 7/16/1908 at Covina Oakdale Covina p.32 LIVERMORE, W. Co. F Died 4/30/1886 at Selma Kingburg Fresno p.26 · Powell, Ancil Co. A Died 11/29/1922 at Long Beach Sunnyside Los Angeles p.29 [1910 census shows he was then living in Van Buren County, IA. Check for obit] Reed, Robert Co. L Died 4/7/1932 at Long Beach Unknown Los Angeles p.31 Spangler, John M. Co. C Died 11/12/1913 at Los Angeles Unknown Los Angeles p.30 Lindley, John W. Co. K Died 2/24/1920 at Los Angeles Unknown Los Angeles p.30 Parker, Andrew E. Co. F Died 5/22/1922 at Los Angeles Unknown Los Angeles p.30 Smith, Isaac A. Co. K Died 9/16/1926 at Los AngelesUnknown Los Angeles p.30 Monroe, Felix M. Co. C Died 8/16/1932 at Monrovia Live OakLos Angeles p.30 Monroe, William Co. D Died 12/1935 at Monrovia Live Oak Los Angeles p.30 Jepson, Isaiah C. Co. L Died 4/18/1918 at Altadena Mountain View Los Angeles p.30 Hunter, James H. Co. L Died 12/1/1904 at Altadena Mountain View Los Angeles p.30 Shaw, Samuel J. Co. L Died 12/28/1921 at Altadena Mountain View Los Angeles p.30 Eason, Robert Co. L Died 7/7/1923 at Pasadena Mountain View Los Angeles p.29 Call, Henry Co. L Died 11/19/1892 atCentervilleRosedaleLos Angeles p.32 White, Benjamin Co. L Died 8/13/1909 atLos AngelesRosedaleLos Angeles p.32 Sheffield, Eugene STAFF Died 1/6/1905 at Santa BarbaraUnknown Los Angeles p.26 Beals, Thomas B. Co. G Died 5/10/1926 at Napa Napa Veterans HomeLos Angeles p.23 Dement, John Co. B Died 3/23/1928 at Sawtelle LA Nat CemLos Angeles p.32 Gleason, N. B. Co. E Died 8/14/1898 at Sawtelle LA Nat CemLos Angeles p.32 Oakes (Ochs), Chas. Co. E Died 2/1/1926 at Sawtelle LA Nat CemLos Angeles p.32 McMillin, Legrand Co. B Died 9/2/1924 at Soldier’s Home LA Nat Cem Los Angeles p.32 Walker, Stephen Co. G Died 3/28/1928 at Beaumont LA Nat CemLos Angeles p.32 Hazelgrove, Isaac B. Co. B Died 7/7/1930 at Los Angeles LA Nat Cem Los Angeles p.32 Chardin, Joseph Co. A Died 2/19/1904 at Sawtelle LA Nat Cem Los Angeles p.32 Russell, McCollum Co. M Died 1/12/1913 at SawtelleLA Nat CemLos Angeles p.32 Stewart, Joseph Co. C Died 6/17/1927 at Sawtelle LA Nat CemLos Angeles p.32 Johnson, George W. Co. F Died 12/11/1922 at Sawtelle LA Nat CemLos Angeles p.32 Bliss, William P. Co. K Died 10/13/1893 at Soldier’s Home LA Nat CemLos Angeles p.32 Brain, Byron B. Co. H Died 3/28/1920 at Soldier’s Home LA Nat CemLos Angeles p.32 Kennedy, James H. Co. A Died 3/8/1923 at Soldier’s Home LA Nat CemLos Angeles p.32 Parks, Charles Co. G Died 4/15/1924 at Soldier’s Home LA Nat Cem Los Angeles p.32 Smith, Orrin Co. K Died 12/1/1923 at Soldier’s Home LA Nat Cem Los Angeles p.32 Stine, Asbury Co. L Died 3/5/1929 at Soldier’s Home LA Nat CemLos Angeles p.32 Van Oelden, Frank Co. E Died 2/20/1914 at Soldier’s Home LA Nat Cem Los Angeles p.32 Payn, John Co. C Died 1/30/1926 at Soldier’s Home LA Nat Cem Los Angeles p.32 Brittingham, Joseph Co. I Died 12/11/1911 at Soldier’s Home LA Nat Cem Los Angeles p.32 Dale, David (Phillip) Co. D Died 1/13/1922 at Des Moines, IAUnknownLos Angeles p.32 Charles, Barclay J. Co. D Died 11/6/1926 at Whittier Rose Hills Memorial Los Angeles p.30 Knapp, James W. Co. C Died 10/17/1929 at Point ArenaIOOF Mendocino p.23 Maclin (McFaul), Charles Co. C Died 4/30/1923 at Point Arena Point Arena Mendocino p.23 Beck, Isaac Co. C Died 3/14/1908 at Yountville Veterans Memorial Napa p.23 Heil, Lewis Co. G Died 5/18/1909 at Santa Ana Santa AnaOrange p.33 Martin, Reuben J. Co. A Died 11/20/1908 or 7/28/1909 at Santa Ana Santa AnaOrange p.33 Gruwell, Hiram I. Co. L Died 5/28/1915 at RiversideEvergreen MemorialRiverside p.29 Hutching, Ephraim M. Co. H Died 6/26/1890 at Sacramento City Cemetery Sacramento p.23 Roberts, Daniel Co. L Died 6/25/1882 at Sacramento City Cemetery Sacramento p.23 Kilian, Joseph Co. E Died 1/7/1919 at San Bernardino UnknownSan Bernardino p.29 McNamara, James Patrick Co. K Died 6/23/1914 at San Bernardino Unknown San Bernardino p.29 Heck, Samuel Co. M Died 4/1/1909 at Unknown UnknownSan Bernardino p.29 White, Austin E. Co. E Died 3/9/1916 at Fallbrook Oddfellows San Diego p.29 Woodward, Simon B. Co. D Died 12/12/1920 at Ramona Nuevo Memory Gardens San Diego p.32 Doud, Malcom P. Co. G Died 8/14/1895 at San Francisco Cypress Lawn San Francisco p.23 McCan, Francis A. Co. F Died 8/24/1919 at Stockton Unknown San Joaquin p.23 Cooper, Francis H. Co. K Died 4/30/1900 at San Luis Obispo IOOF San Luis Obispo p.26 Baker, Charles A. Co. E Died 2/12/1925 at Sunnyvale Oak Hill Santa Clara p.23 Donley, Adolphus Co. F Died 9/30/1899 atSan JoseOak HillSanta Clara p.23 O'Hair, John J. Co. K Died 4/29/1910 at Unknown UnknownSanta Clara p.23 Powers, Thomas F. Co. A Died 5/20/1921 at Sebastopol Unknown Sonoma p.23 Fisher, John J. Co. E Died 5/8/1906 at Forestville Unknown Sonoma p.23 Crosby, Squire E. Co. M Died 11/30/1926 at Ceres Acacia Stanislaus p.35 Zion, Isaac Co. K Died 5/25/1928 at ModestoPark View Crematory Stanislaus p.23 Grimes, Charles Co. D Died 1901 at Corning Sunset Hill Tehama p.22 Wilson, William Co. L Died 10/5/1915 at Ventura Ventura City Ventura p.27 COLORADO – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Baker, David Co. E Died 11/15/1934 at Denver Fairmount Adams p.40 Wilson, Clay Co. F Died 8/27/1932 at Bristol, Prowers Co. Ft. Lyon Nat Cem Bent p.41 Nash, James D. Co. F Died 4/24/1898 at Buena Vista Centerville Chaffee p.40 Henderson, Robert Co. I Died 1907 at ? Delta Delta p.38 Wade, Samuel Co. I Died 3/16/1904 at Blaine, WA Cedar HillPaonia, Delta p.38 Woodruff, Samuel F. Co. F Died 2/11/1866 at Denver UnknownDenver p.40 Guernsey, Byron Co. M Died 11/18/1880 at Colorado Springs Evergreen El Paso p.40 Tindell, Samuel H. Co. G Died 11/16/1929 at Colorado Springs Evergreen El Paso p.40 [or Unknown Atwood, KS] RAMSELL, MOSES S. Co. C Died 6/9/1913 at Colorado Springs Fairview El Paso p.40 Roper, John E. Co. D Died [no date] at Colorado Springs Fairview El Paso p.40 Vance, Eddie D. Co. B Died 5/6/1867 at Dumont, Clear Creek Unknown Central City, Gilpin p.40 Moore, Thomas B. Co. H Died 3/2/1910 at Walsenburg MasonicHuerfano p.41 Shirkey, Hiram Co. C Died 12/24/1926 at Loveland Grand View Ft. Collins, Larimer p.40 Stephens, James A. Co. G Died [no date] at LovelandLakeside Larimer p.40 Snyder, Edson Co. D Died 1/29/1924 at Lamar Riverside Prowers p.41 Snyder, John Co. D Died 2/2/1890 at Beulah Beulah Pueblo p.41 MOBLEY, JOHN C. Co. B Died 2/28/1906 at Angora Three Springs Rio Blanco p.38 Lewis, John D. Co. A Died 1901 at Monte Vista Homelake Rio Grande p.41 Allen, Edgar Co. A Died 2/10/1865 at Smith’s Fork, CO Possibly reburied at Ft. McPherson p.40 Van Kirk, Henry Co. F Died 5/14/1865 at Valley Station, CO Probably reburied atFt. McPhersonp.40 Barnett, George Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Brundage, Hiram Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Gray, William H. Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Hall, Henry H. Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Hanchett, Alanson Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Ishman, David Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Jordan, James Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Koons, Anthony Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Lippincott, Davis Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 McArthur, Amos Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Moore, Edson D. Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Pierce, John M. Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Scott, Thomas Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Stebbins, Joel Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Talcott, Walter B. Co. F Died 1/7/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Starr, Hiram Co. F Died 6/21/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 Murphy, John Co. F Died 8/14/1865 at * Julesburg reburied at Ft. McPherson Sedgwick p.40 [* - these soldiers were probably moved from the old Fort Sedgwick Post Cemetery and reburied in the Fort McPherson National Cemetery as UNKNOWNS] Sanborn, Edwin B. Co. F Died 7/13/1908 at GreeleyLinn Grove Weld p.40 O’Brien, Nicholas J. Co. F Died 7/29/1916 at Denver, COLakeviewCheyenne, WY p.40 FLORIDA - grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY LeGro, James A. Co. K Died 5/15/1933 at Hawthorn Ochwilla Baptist Putnam p.52 Forney, Alexander Co. L Died 5/29/1922 at S. Jacksonville Unknown Duval p.52 Reynolds, Corydon Co. H Died 2/10/1928 at St. Cloud Mt. Peace Osceola p.53 IDAHO – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Ivens (Ivers), Th0mas Co. G Died 3/1/1919 at Boise Morris Hill Ada p.65 Anthony, William Co. B Died 6/24/1920 at Boise Morris Hill Ada p.65 Ewan, Wilford Co. D Died 5/15/1924 at Boise Morris Hill Ada p.65 Fackler, Henry H. Co. M Died 4/7/1927 at Boise Morris Hill Ada p.65 Hammond, Orville H. Co. E Died 7/3/1916 at Coeur d’ AleneForest Kootenai p.64 Irvin, Jacob Co. D Died 2/21/1908 Genesee Genesee City Latah p.64 Harris, Rbt. (no marker)Co. G Died 10/7/1920 at Cambridge SalubriaWashington p.65 ILLINOIS – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Leffler, Godfrey Co. K Died 8/28/1919 at Soldier’s Home Unknown Quincy,Adams p.66 Smith, Philip Co. K Died 1889 Soldier’s Home SunsetQuincy,Adams p.66 Phillips, John M. Co. B Died [no date] at Mount Sterling Unknown Brown p.66 Moody, Thomas Co. G Died 1890 at Charleston Twp. Unknown Coles p.66 ·VALENTINE, EDW. Co. C Died 4/11/1916 at ChicagoUnion Ridge Cook p.66 Amery, Thomas Co. L Died 7/1/1919 at Chicago Unknown Cook p.66 Welling, James M. Co. L Died 8/18/1916 at Hillside Mount Carmel Cook p.66 Crane, James Co. B Died 3/13/1927 at Chicago Unknown Cook p.66 Welch, Wesley C. Co. M Died 3/20/1915 at Harvey Hazelwood Cook p.66 Hendee, William H. Co. K Died 5/10/1890 at Cook County Oakwoods Cook p.67 Kane, Thomas Co. F Died [no date] at Elgin Bluff City Cook p.67 Mullen, Levi H.Co. G? Died 6/24/1924 at St. Joseph, MO OakridgeForest Park, Cook Co. p.66 Gray, Stephen Co. A Died 12/18/1881 at Sandwich UnknownDeKalb, IL p.67 Peterman, John M. Co. G Died [no date] at ? Elvaston Hancock p.66 Fouts, Thomas D. Co. D Died 7/26/1895Warsaw, ILOakland Hancock p.66 Powell, Joseph W. Co. D Died 2/1/1898 at West Frankfort DenningFranklin p.69 Jennings, Henry H. Co. H Died 8/24/1926 at Yates City Henderson Fulton p.66 Coleman, John W. Co. M Died 4/13/1923 at Murphysboro Tower Grove Jackson p.68 Wear, Thomas Co. F Died 10/19/1909 at WarrenElmwood Jo Daviess p.66 Collins, Jesse L. Co. A Died 3/14/1885 at BushnellBushnell McDonough p.66 Bangness, Richard Co. D Died 3/28/1927 at New BostonNew Boston Mercer p.66 Shirkey, John B. Co. A Died 8/3/1895 at Unknown Liter Morgan p.68 McCristal, George Co. C Died 3/29/1901 at Peoria Springdale Peoria p.66 Cammell, William Co. E Died 2/16/1917 at Sears (Peoria?) Unknown Peoria (?) p.71 Studer, Alloweis Co. L Died 11/13/1929 at Rock Island Unknown Rock Island p.66 Thomas, Eli Co. C Died 2/17/1918 at Moline Rock River View Rock Island p.66 Oliver, Isaac S. Co. B Died 3/21/1864 atCamp Butler Camp Butler Nat CemSangamon p.68 INDIANA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Platt, William Co. G Died 4/10/1914 at FowlerFowlerBenton p.74 Bates, William E. Co. H Died 2/11/1927 at Kirklin, Clinton Co. Bethel near Lebanon, Boone p.74 Milroy, William B. Co. L Died 2/17/1901 at Delphi Morning Heights Carroll p.74 Pearsley, William Co. D Died 2/7/1916 at Lafayette, IN Crown PointKokomo, Howard p.75 HANNER, FRANCIS B. Co. L Died 9/14/1902 at Kurtz Cummins Jackson p.77 IOWA – grouped by county (refer to Iowa Atlas & Gazetteer, DeLorme, 1st Edition, 1998.) # indicates a date for which newspapers are not available at the Iowa State Historical Society NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Pattee, Wallis Co. K Died 3/10/1887 at #CorningOaklandAdams p.58 Lewallen, Pleasant Co. D Died [no date] atCorningWalnut GroveAdams p.58 Collins, Oscar Co. L Died 8/31/1920 at LuanaHardin Allamakee p.22 Pieper, John Co. F Died [no date] atDorchesterDorchester Methodist Allamakee p.22 Swearingen, William Co. H Died 3/31/1905 atCentervilleOakland Appanoose p.61 Sleeth, Caleb Co. E Died [no date] atCentervilleZoar Appanoose p.61 McKim, John D. Co. B Died 1908 at CentervilleSales Appanoose p.61 Robley, John W. Co. E Died 1/1/1900 atCentervilleDale Appanoose p.61 Salter, Ezra Co. C Died 8/28/1917 at CentervilleHaines Appanoose p.61 McDonald, John C. Co. E Died 1/31/1920 atCincinnatiEvergreen Appanoose p.61 Albertson, John P. Co. E Died 11/4/1925 at MoultonOakland Appanoose p.61 Swartz, Carey Co. E Died 8/18/1916 at # MoultonOakland Appanoose p.61 Wight, John M. Co. C Died 2/18/1918 at # MoultonOakland Appanoose p.61 Stearns (Stevens), Elisha Co. A Died 3/18/1911 at Mystic PhiladelphiaGarfield, Appanoose p.61 Hoover (Houser), Moses Co. B Died 2/25 or 4/1/1902 at UnionvilleTaylor Appanoose p.61 Anderson, David B. Co. D Died 7/3/1901 at AudubonExira Audubon p.48 Anderson, John A. Co. D Died 1/3/1888 at ExiraExira Audubon p.48 Pitts, William Co. H Died 3/5/1931 at Vinton EvergreenBenton p.43 Bristol, William H. STAFF Died 3/1/1911 at # Vinton Evergreen Benton p.43 Randall, John Co. G Died 12/15/1916 atMarshalltown EvergreenBenton p.43 Wright, Enos Co. H Died 4/30/1905 atMarshalltownWrightBenton p.42 Babcock, Daniel Co. K Died 6/15/1906Cedar FallsFairview Black Hawk p.31 Leland, Henry P. Co. K Died 6/6/1909 at #Cedar FallsFairview Black Hawk p.31 Stilson, Chester B. Co. K Died 8/13/1911 at #Cedar Falls Fairview Black Hawk p.31 Clark, Wilson M. Co. K Died 8/14/1870 at Seneca, IL Greenwood Cedar Falls, Black Hawk p.31 Hodgdon, John M. Co. K Died [no date] at ? Greenwood Cedar Falls, Black Hawk p.31 Truesdell, William Co. K Died [no date] at Waterloo Waterloo Black Hawk p.31 Hill, James D. Co. E Died 4/9/1885 atWaterlooWaterloo Twp. Black Hawk p.31 Bartlett, William Co. H Died 4/8/1896 at # Waterloo Fairview Black Hawk p.31 Starr, William Co. F Died 9/19/1915 at Waterloo Fairview Black Hawk p.31 Hall, Henry H. Co. F Died 1/7/1865 atWaterloo Fairview Black Hawk p.31 Hurst, Henry Co. E Died 8/20/1924 atWaterlooFairview Black Hawk p.31 Fenstermaker, Steven Co. F Died 8/7/1881 atWaterlooFairview Black Hawk p.31 Cotton, Isaac Co. G Died 2/24/1886 at La Porte CityWestview Black Hawk p.31 Henry, Alpheus Co. K Died 11/30/1911 atNew York, NY Mt. Vernon Evangelical Black Hawk p.31 Hamilton, William Co. E Died 12/17/1912 at #WaterlooSpring CreekBlack Hawk p.31 Wells, Rollin R. Co. F Died 1/5/1902 at Spring Creek Spring Creek Black Hawk p.31 Turner, Michael V.B. Co. H Died 6/2/1910 at #Waterloo Elmwood Black Hawk p.31 Bentley, Layton B. Co. H Died 10/28/1919 at BooneLinwood Park Boone p.39 Bentley, Marquis Co. H Died 8/6/1925 at BooneLinwood Park Boone p.39 Schuneman, John H. Co. H Died 8/4/1908 at (no marker) BooneLinwood Park Boone p.39 Young, Lewis Co. K Died 4/18/1913 at BooneLinwood Park Boone p.39 Enfield, William Co. G Died 3/26/1879 at MoingonaQuincy Boone p.39 Williams, John Co. D Died 1/20/1888 at Madrid Dalender Boone p.39 SHANEWISE, FRED Co. F Died 8/25/1869 at # ReadlynGrove Hill Bremer p.31 Barnhouse, John Co. K Died 6/1/1900 atJanesvilleOakland Bremer p.31 Baskins, Martin B. Co. K Died 9/25/1902 atJanesvilleOakland Bremer p.31 Kyler, Jacob Co. K Died 10/28/1897 at JanesvilleOakland Bremer p.31 Brown, Quincy H. Co. M Died 2/17/1876 at # Irma Spring Lake Waverly, Bremer p.31 Diamond, Henry Co. K Died 8/10/1897 at WaverlyHarlington Bremer p.31 Godfrey, William Co. I, L Died 6/7/1895 at WaverlyHarlington Bremer p.31 Betts, Isacc Co. C Died 4/15/1933 at Wymore, NEFairbank Fairbank, Buchanan p.31 Dewald, Charles Co. F Died 3/25/1915 at FairbankFairbank Buchanan p.31 Rice, William Co. E Died 4/25/1923 at BrandonJefferson Twp Buchanan p.32 Cowles, Hiram Co. G Died 3/20/1910 at LamontCampton Buchanan p.32 Cowles, Ethan Co. G Died 7/6/1918 at LamontCampton Buchanan p.32 Grooms, William. W. Co. A Died 11/6/1907 atIndependenceLittleton Littleton, Buchanan p.32 Wilcox, John M. Co. D Died 2/26/1911 at Storm LakeStorm LakeBuena Vista p.26 Yountt, Abraham Co. F Died [no date] at DumontHarlanButler p.37 Wemple, Philip Co. K Died 11/15/1906 atParkersburgOak HillButler p.30 WILSON, WM. H. Co. B Died 4/2/1936 atWaterlooOak HillButler p.30 Randall, John Co. M Died [no date] at PomeroyUnion Calhoun p.27 CHURCHILL, JUSTIN Co. L Died 1/19/1913 at Coon Rapids Coon Rapids Carroll p.38 Rodgers, Thomas H. Co. L Died 7/27/1918 at Anita Evergreen Cass p.48 Hinchliffe, Robert L. Co. L Died 3/18/1908 at MassenaMassena Center Cass p.48 Adair, Samuel Co. L Died 8/19/1920 atRegan, ND West Branch Cedar p.44 Bryson, Joseph Co. L Died [no date] at ? MasonicCedar p.44 Emerson, William H. Co. M Died 1/20/1885 at MassillonCenter Cedar p.44 Reamer, Ralph Co. M Died 5/8/1916 at Oxford MillsDayton Valley Cedar p.44 Smith, Harrison Co. M Died 9/29/1934 at ClarenceDayton Valley Cedar p.44 Cornwall, George Co. H Died 7/27/1925 atSpringdaleDowney Cedar p.44 Russell, John J. Co. M Died 10/3/1911 at Mason CityElmwoodCerro Gordo p.20 Stevens, Seth Co. M Died 10/19/1904 atMason CityElmwoodCerro Gordo p.20 McNany, Charles Co. M Died [no date] at Mason CityElmwoodCerro Gordo p.20 Williams, Ira Co. M Died 5/3/1877 at Mason CityElmwoodCerro Gordo p.20 Palmer, Eber Co. K Died 11/20/1920 at Clear Lake Clear LakeCerro Gordo p.19 Washington, Martin Co. L Died 12/13/1879 at Dougherty St. Patrick’sCerro Gordo p.30 Glidden, John Co. F Died 12/1/1912 at CherokeeOak Hill/Memorial Cherokee p.25 PHIPPS, LUTHER Co. L Died 5/1/1924 at CherokeeOak Hill/Memorial Cherokee p.25 Funk, George W. Co. L Died 3/1/1936 at AftonAfton Cherokee p.25 Gibson, James Co. A Died 9/9/1869 atNashuaOak Hill Chickasaw p.21 Dickerson, Robert Co. F Died 5/1/1906 at Mount CarrollMount Carroll Chickasaw p.21 Dickson, Joseph Co. B Died [no date] at ChickasawCedar View Chickasaw p.21 Clark, David [Daniel] Co. E Died 12/10/1899 at Osceola Maple Hill Clarke p.50 Dodd, Thomas C. Co. F Died 2/8/1907 atGettysburg, SDRiverside Clay p.16 Jones, George C. Co. L Died 2/1/1913 at McGregorPleasant GroveClayton p.23 Ellis, Joseph Co. H Died [no date] at McGregor Pleasant GroveClayton p.23 Buck, Orville M. Co. F Died 4/1/1922 at Sioux Falls, SDPleasant Grove Clayton p.23 Judy, John Henry Co. L Died 1/20/1917 at ElkaderEastside Clayton p.33 Butts, Leroy A. Co. K Died 11/8/1916 at MononaMonona City Clayton p.23 Dill, William Co. H Died 1/29/1899 atVolgaHill Crest Clayton p.32 MORSE, SALEM Co. F Died 11/19/1903 at VolgaHill Crest Clayton p.32 Foster, Homer Co. F Died 1909 at GiardCouncil Hill Clayton p.32 Hazen, Robert S., Jr. Co. G Died 4/26/1906 at #ClintonSpringdaleClinton p.55 Saxton, George W. Co. M Died 1/10/1931 at ClintonSpringdaleClinton p.55 Chamberlain, Wm. S. Co. F Died 11/29/1908 at CharlotteRossiter Clinton p.45 Saxton, James P. Co. M Died 1894 at De WittElmwoodClinton p.45 Schieffer, Abraham Co. M Died 11/28/1908 at Olive Twp. RosehillClinton p.45 Eaton, Samuel R. Co. B Died [no date] atDenisonOakland Crawford p.37 Armstrong, Samuel Co. G Died 8/6/1923 at WoodwardWoodwardDallas p.39 Stevens, Edward J Co. L Died 12/30/1922 at Des Moines, IA MasonicDallas p.39 Smock, Abraham Co. C Died 6/3/1863 at DavenportMars Hill Floris, Davis p.62 Smock, Felix T. Co. C Died 3/21/1870 at WapelloMars HillFloris,Davis p.62 Wilkinson, Isam E. Co. A Died 5/20/1916 at FlorisFlorisDavis p.62 Wilkinson, Richard J. Co. A Died 2/24/1912 at FlorisIOOF Lick Twp.,Davis p.62 Gabelmann, Alex Co. C Died 11/15/1925 at Bloomfield Bloomfield SouthDavis p.62 Herod, Coleman B. Co. G Died 2/9/1930 at Bloomfield Bloomfield SouthDavis p.62 Varner, James Co. D Died 7/24/1909 at BloomfieldLesterDavis p.62 Campbell, John W. Co. C Died 1/5/1916 at Rapid City, SDIOOF Bloomfield, Davis p.62 Haywood, Dudley Co. D Died 5/23/1906 atBloomfieldIOOFDavis p.62 MONROE, WESLEY Co. C Died 5/23/1894 at FlorisIOOFDavis p.62 Miller, William H. Co. C Died 10/3/1917 at Bloomfield IOOF Davis p.62 Glassburner, David Co. B Died 5/30/1908 at DrakesvilleDrakesvilleDavis p.62 Lemmon, John A. Co. A Died 2/14/1929 at TroyTroyDavis p.62 Russell, William Co. L Died 11/29/1909 at Troy TroyDavis p.62 Romick, Winfield Co. A Died 8/19/1865 atPhiladelphia, PATroyDavis p.62 Shields, William H. Co. C Died 5/3/1936 atOttumwaRouchTroy,Davis p.62 Brown, William Co. D Died 7/22/1863 at DavenportIowavilleDavis p.62 Breckinridge, George Co. D Died 10/1/1922 at Salt CreekBethlehemDavis p.62 Lewis, Samuel Co. D Died 1/3/1917 at Salt CreekHemDavis p.62 Hart, George Co. C Died 10/31/1887 at Salt Creek PierceDavis p.62 Hunt, Thomas Co. L Died 10/4/1899 at Salt CreekHeidlebaughDavis p.62 Perry. John T. Co. C Died 6/15/1935 at Salt CreekHeidlebaughDavis p.62 SWAIM, GEO. M. Co. C Died 5/26/1915 at White ElmHeidlebaughDavis p.62 Gandy, Samuel Co. C Died 1/20/1867 at Salt CreekJacksonDavis p.62 Forsythe, Thomas Co. E Died 10/19/1927 atDavis CountyHornDavis p.62 Coop, Philip M. Co. D Died 11/18/1932 at LamoniRose HillDecatur p.59 Michael, John D. Co. H Died 12/18/1909 at GreeleyGrant View Delaware p.33 Merton, John Co. H Died 3/18/1932 at Colesburg Zion Delaware p.33 Chambers, Henry Co. H Died 9/9/1905 at Colesburg Oak Hill Delaware p.33 Colston, Isaac Co. G Died 2/5/1919 at ManchesterGreenwoodDelaware p.33 BRIDGES, JOHN D. Co. C Died 3/27/1925 at MediapolisKossuthDes Moines p.64 Dodds, John H. Co. K Died 5/24/1924 at DanvilleJaggerDes Moines p.64 Elliott, William J. Co. M Died 12/20/1918 at Burlington ChandlerDes Moines p.64 Elliott, David (no marker) Co. M Died at 11/17/1922 atBurlingtonChandlerDes Moines p.64 Hennings, Samuel Co. G Died 3/18/1916 at Burlington Aspen GroveDes Moines p.64 POTTER, THOMAS Co. A Died 3/9/1888 atWashington, DC Aspen GroveDes Moines p.64 Franklin, Robinson Co. D Died 2/21/1888 atBurlingtonAspen GroveDes Moines p.64 Arthur, Homer D. Co. I Died 2/26/1909 at Spirit LakeLake ViewDickinson p.16 Crosby, Norton Co. I Died 5/20/1863 at #Spirit LakeLake ViewDickinson p.16 Hetherington, Ths. Co. K Died 3/10/1865 at #Spirit LakeLake ViewDickinson p.16 Shepherd, Andrew Co. K Died 3/10/1865 atSpirit Lake Lake ViewDickinson p.16 Owen, Hiram C. Co. I Died 5/15/1924 at Spirit LakeLake ViewDickinson p.16 Francis, John Co. I Died 4/10/1907 atSpirit LakeLake ViewDickinson p.16 Ellis, EthialCo. I Died 4/18/1890 atSpirit LakeLake ViewDickinson p.16 LaDoux, Peter Co. I Died 6/10/1910 atSpirit LakeLake ViewDickinson p.16 Ring, Lafayette Co. G Died 10/11/1928 at CherokeeOkobojiDickinson p.16 Smith, Milton J. Co. I Died 11/26/1914 at OkobojiOkobojiDickinson p.53 Mathison, Gunder Co. I Died 5/10/1926 at MilfordLittle Sioux Lutheran Dickinson p.16 Hunter, Isaac P. Co. F Died 12/10/1930 at CascadeCascade ProtestantDubuque p.33 Kane, Stephen H. Co. C Died 3/27/1900 at CascadeCascadeDubuque p.33 Mehrdorf, Henry Co. F Died 9/17/1867 atDubuqueLinwoodDubuque p.34 Ridley, Algernon Co. I Died 2/8/1872 at EsthervilleOak Hill Emmet p.17 Billings, Sylvester Co. B Died 9/13/1884 at AlphaBethel Fayette p.22 Bond, Hiram Co. D Died 6/7/1933 atArlingtonArlington Fayette p.32 Burroughs, George Co. F Died 7/9/1931 at # Hawkeye Oak Ridge Fayette p.22 Ishman, Benjamin Co. F Died [no date] at Hawkeye Oak Ridge Fayette p.22 ·Hathaway, Charles R. Co. F Died 8/13/1866 at Auburn Twp. Oak Ridge Fayette p.22 ·Brown, Jay W. Co. M Died 10/27/1918 at Chicago, ILWest Union Fayette p.22 ·Osgood, Lemuel Co. F Died [no date] atWest UnionWest UnionFayette p.22 · Nicoll, Joseph Co. F Died 11/26/1878 at West Union West UnionFayette p.22 ·GREEN, THOMAS Co. F Died 1/21/1904 at Hollywood, CAWest UnionFayette p.22 ·LACEY, MILO Co. F Died 6/25/1869 at West Union West UnionFayette p.22 ·Heald, Amos S. Co. A Died 10/23/1902 at West UnionWest Union Fayette p.22 ·BREWER, JOHN Co. F Died 7/27/1891 atWest Union West Union Fayette p.22 ·Hopkins, Ormand N. Co. I Died 12/11/1923 at West Union Elgin Fayette p.22 ·Harris, Lord M. Co. K Died 4/1/1913 at Rockford Riverside Floyd p.20 ·Thatcher, George R. Co. A Died 12/9/1927 at Sidney SidneyFremont p.56 ·Smith, Chauncey Co. I Died [no date] at RivertonRivertonFremont p.56 ·Ferguson, Luther D. Co. M Died 2/22/1920 at DanaPaton Twp. Greene p.39 ·Ferguson, Charles Co. M Died 3/28/1938 at ChurdanHighland Twp. Greene p.38 ·Wherry, Mathew Co. M Died 2/21/1930 at ChurdanHighland Twp. Greene p.38 ·Wherry, Samuel S. Co. M Died 7/27/1911 at JeffersonJefferson Greene p.39 ·Jones, Moses E. Co. G Died [no date] at JeffersonJefferson Greene p.39 Good, Joseph Co. F Died 9/11/1886 at Grundy CenterRose Hill Grundy p.30 ·Jameson, Samuel A. Co. G Died 2/4/1910 at Webster CityGracelandHamilton p.28 ·Landreth, Zachariah Co. M Died 2/3/1929 at StratfordOak GroveHamilton p.39 Anderson, Henry Co. H Died [no date] at ?Unknown Hardin ? p.30 ·Kenney, John #2 Co. M Died 11/20/1879 at AckleySt. Mary’s Hardin p.30 Hayden, James Co. G Died 5/16/1937 at EldoraBerlin (Jackson Twp.) Berlin, Hardin p.30 Lee, Corwin Co. I Died 11/17, 1888 at EldoraEldora Hardin p.30 ·Mowder, James Co. M Died 8/18/1894 at UnionOak Hill Hardin p.41 ·Rowe, George R. Co. G Died 7/21/1915 at #LoganBethelHarrison p.46 ·Witcher, Jackson W. Co. L Died 2/22/1900 atLoganLoganHarrison p.46 ·Davis, Friend Co. E Died 12/25/1875 at DunlapPleasant HillHarrison p.36 ·Fix, William T. Co. A Died 8/1/1913 at # WinfieldWinfield/Scott Twp. Henry p.54 ·Coad, Thomas Co. K Died 5/18/1900 at New LondonTrinity Mt. Union, Henry p.54 McElfish, Joseph Co. L Died [no date] atMount PleasantForest Home Henry p.54 Miller, Charles H. Co. F Died 12/23/1930 at CrescoOak Lawn Howard p.21 Howe, Philip C. Co. F Died [no date] at CrescoOak Lawn Howard p.21 Turner, Andrew J. Co. D Died [no date] at CrescoNew Oregon Howard p.21 ·Howe, Jesse Co. F Died 6/28/1865 at AlbionForeston Twp. Lime Springs, Howard p.21 ·Bucher, Richard Co. E Died 2/7/1908 at North EnglishPiersol’sIowa p.52 ·Brady, William Co. M Died 1/8/1929 at EmelineHickory GroveJackson p.45 ·Brady, Joseph Co. M Died 4/2/1925 at MaquoketaMount Hope Jackson p.45 ·Suthers, Abraham Co. M Died 11/8/1918 at MaquoketaMount Hope Jackson p.45 ·Baker, John M. Co. G Died 10/23/1868 at Greencastle Greencastle Jasper p.40 ·Adamson, Abraham Co. G Died 11/28/1917 at NewtonUnion Jasper p.41 ·Allen, James T. Co. G Died 8/21/1883 at Hastings , NE Union Jasper p.41 ·Hinsdale, Charles Co. C Died 11/26/1907 at NewtonUnion Jasper p.41 ·Chenoweth, Andrew Co. G Died 3/19/1932 at NewtonMount Zion Jasper p.41 ·Kenedy, William Co. G Died 7/9/1920 at NewtonSugar Grove Jasper p.41 ·Hammer, Ira L. Co. G Died 9/18/1919 at KelloggOur Silent City Jasper p.41 ·WILSON, WM D. Co. G Died 1/26/1884 at RushvilleRushville Jasper P.51 ·Birkenholtz, A. (Peter) Co. D Died 1/2/1933 at Fairview Twp.Monroe Jasper p.51 ·Estle, William Co. G Died 3/15/1928 at MonroeMonroe Jasper p.51 ·Hammer, Elisha Co. G Died 5/22/1907 at MarshalltownFriends-Center Jasper p.41 ·Hammer, John H. Co. G Died 4/7/1928 at Des MoinesFriends-Center Jasper p.41 ·Hammer, Aaron T. Co. G Died 5/2/1898 atMarshalltownFriends-Center Jasper p.41 ·Sego, John W. Co. G Died 7/31/1929 at Des Moines Restland Baxter, Jasper p.41 Coleman, David Co. D Died 4/17/1866 at LibertyvilleUnknownJefferson p.62 ·Coleman, David G. Co. D Died 4/7/1863 at Libertyville FellJefferson p.62 ·Fry, James M. Co. C Died 6/29/1926 at Des Moines Twp. FellJefferson p.62 ·Glenn, William Co. C Died 4/26/1869 at Des Moines Twp. ComingerJefferson p.62 ·Davis, William F. Co. A Died 12/1/1893 at AbingdonAbingdonJefferson p.52 ·Huddleston, Nathen Co. A Died [no date] at AbingdonAbingdonJefferson p.52 ·McVay, William Co. H Died 8/16/1864 at Cow Creek, KSAbingdonJefferson p.52 ·Liming, Christopher Co. C Died 4/16/1915 at FairfieldEvergreenJefferson p.63 ·Hunt, William T. Co. A Died 3/23/1885 atFairfieldOld FairfieldJefferson p.63 ·Cherry, Amos R. Co. L Died 12/3/1904 at Iowa CityOakland Johnson p.53 ·Luse, Marvin R. Co. L Died 7/7/1892 at Des MoinesOakland Johnson p.53 ·Poland, James H. Co. L Died 5/26/1912 at Iowa CityOakland Johnson p.53 ·Matthews, James M. Co. F Died 7/8/1917 at Lorena, OKOakland Johnson p.53 ·Elliott, Robert Co. K Died 8/3/1871 at Iowa CityOakland Johnson p.53 ·Garrett, Elisha Jr. Co. L Died 3/13/1877 atIowa CityOakland Johnson p.53 ·Johnson, Thomas V. Co. K Died 11/23/1880 atIowa CityOakland Johnson p.53 ·MAHANA, BRADLEY Co. L Died 9/11/1874 at Iowa City Oakland Johnson p.53 ·Mahana, William B. Co. L Died 8/7/1900 atMt. PleasantOakland Johnson p.53 ·Wieneke, Henry Co. L Died 2/20/1923 at Iowa City Oakland Johnson p.53 ·Ruth, Alexander Co. L Died 1/28/1911 at WintersetSandtown Johnson p.53 Cambridge, James A. Co. L Died 8/3/1904 at Iowa CityMorse Johnson p.53 Emerson, Gustavus Co. K Died 11/16/1863 at UnknownUnknown Johnson p.43 ·Cannon, Edward Co. L Died 2/18/1867 atIowa CitySt. Joseph’s Johnson p.53 ·Hills, John Co. K Died [no date] at ?St. Joseph’s Johnson p.53 ·Davis, Josiah W. Co. K Died 12/29/1869 at ?Unity Johnson p.53 ·Howlett, James [alias] Co. K Died 1/3/1909 at Tiffin Oak Hill Johnson p.53 (real name was James Cropley) ·Reynolds, John Co. K Died [no date] atTiffinOak Hill Johnson p.53 ·Amlong, George Co. L Died [no date] at ?WalkerTiffin, Johnson p.54 ·Clearman, Albert R. Co. L Died 9/14/1880 atOxfordOxford Johnson p.43 ·Summerhays, Wm. Co. D Died 9/3/1927 at OxfordOxford Johnson p.43 ·Page, Horace Co. L Died 12/14/1914 at Lone Tree Lone Tree Johnson p.54 ·Riley, Robert Co. L Died 6/9/1879 at ?Lone Tree Johnson p.54 ·Slaight, Charles P. Co. K Died 8/17/1904 at North LibertyRidgewood Johnson p.43 ·Cooper, Samuel Co. H Died 3/18/1900 at Oxford MillsMayflower Jones p.44 ·Zeller (Seller), Jos. Co. M Died 8/19/1899 at Oxford MillsMayflower Jones p.44 ·Courtright, Anthony Co. M Died 2/10/1900 at Oxford MillsMayflower Jones p.44 ·Shover, John Co. K Died 8/17/1904 at MonticelloOakwood Jones p.44 ·Ronan, John Co. F Died 12/28/1915 at Stone CityHoly Cross Jones p.44 ·Harwood, Edmund Co. L Died 9/3/1936 at MonmouthCanton Jones p.44 ·Yule, George W. Co. M Died 1895 at AnamosaRiverside Jones p.44 ·Wolf, George H. Co. M Died 8/11/1889 at Hale Twp.Diamond Jones p.44 ·Greene, John B. Co. M Died 1876 atWyomingWyoming Jones p.44 ·Cox, James H. Co. M Died 4/1/1910 at RichlandFriends Keokuk p.53 ·Moore, Daniel D. Co. D Died 11/27/1904 at Sigourney Pleasant Grove Keokuk p.52 ·Smith, James G. Co. A Died 2/25/1891 at Sigourney Pleasant Grove Keokuk p.52 ·Smith, George Co. A Died 1/3/1929 atKansas City, KSPleasant Grove Keokuk p.52 ·BEATTY, WM. Co. M Died 4/21/1913 at Los Angeles, CA Pleasant GroveKeokuk p.52 ·Corpron, George W. Co. D Died 8/7/1902 atMount PleasantPleasant GroveKeokuk p.52 ·Kauble, William Co. A Died 8/24/1913 at Mount Pleasant Pleasant GroveKeokuk p.63 ·Cox, David UN Died [no date] at Sigourney Pleasant Grove Keokuk p.52 ·Collins, Alexander H. Co. A Died 10/6/1881 at # Sigourney deArmond Ollie, Keokuk p.52 ·McMickle, Wm. H. Co. C Died 8/14/1927 at Marshalltown Abel Hedrick, Keokuk p.52 ·Collins, John W. Co. A Died 4/13/1863 OllieOllie Keokuk p.52 ·Collins, George W. Co. A Died 10/6/1912 at OllieOllie Keokuk p.52 Brant, Horatio Co. K Died 6/17/1930 at Ollie OllieKeokuk p.52 ·Quick, James Co. A Died 9/24/1880 at OllieRock Creek Keokuk p.52 ·Hardy, Alfred Co. K Died 3/24/1878 atWashingtonSpringfield Keokuk p.52 ·Bartlett, Michael Co. H Died 3/1/1876 at BurtPortland Township Kossuth p.18 ·Wheeler, Horace Co. E Died 1896 at AlgonaRiver View Kossuth p.18 ·Dailey, Anthony Co. K Died 1/9/1899 at # SheffieldHillside? Franklin, Lee p.30 ·Rodgers, Thomas J. Co. M Died 1/11/1890 atLeavenworth, KS FairviewDenmark, Lee p.64 ·Swem, Edward L. Co. K Died 5/4/1918 at Cedar Rapids Oak Hill Linn p.43 ·Payn, Isaac Co. L Died 3/21/1904 atCedar RapidsLinwood Linn p.43 ·Plummer, Amos Co. L Died March 1928 at SpringvilleSpringville Linn p.44 ·Brown, Edwin B. Co. L Died 1/28/1905 at WalkerWalker Linn p.43 ·Thornton, Francis M. Co. F Died 8/8/1920 at LettsLetts/Lettsville Louisa p.54 ·Clark, James Co. M Died [no date] at Morning SunElmwood Louisa p.54 ·Wanzer, Henry Co. M Died 1/13/1887 at Bradford, ARK Newport Bethel Louisa p.54 ·Clark, Curtis Co. H Died 4/16/1896 at Chariton Chariton Lucas p.50 ·TUTTLE, HARVEY Co. B Died 1885 atChariton Freedom Lucas p.50 ·Tuttle, Lewis A. Co. B Died 7/18/1915 at Warren Twp. Freedom Lucas p.50 Smith, Phillip Co. B Died 1/12/1875 at CharitonCalvary Lucas p.50 ·Rhodes, Joshua Co. B Died 5/22/1913 at WintersetWintersetMadison p.49 ·Stafford, Wm.(not 7 IVC) Co. I Died 1/24/1911 at WintersetWintersetMadison p.49 ·Buchanan, Joseph Co. M Died 2/18/1903 at WintersetWintersetMadison p.49 ·Stephenson, (Stinson) John Co. F Died 1/7/1929 at WintersetPrimitive BaptistMadison p.48 ·Rowe, David G. Co. B Died 9/29/1908 at MacksburgMoonMadison p.48 ·Rowe, Marth. Co. L Died 12/30/1917 at Macksburg MoonMadison p.48 ·Waggoner, David Co. B Died 4/21/1863 at # OskaloosaForest Mahaska p.51 ·Vance, Oliver H. Co. E Died 6/4/1927 at OskaloosaForest Mahaska p.51 ·McPherson, John Co. C Died 10/3/1898 at OskaloosaForest Mahaska Galer, George W. Co. B Died 3/16/1863 at Davenport UnknownOskaloosa, Mahaska p.51 ·Martin, William Co. D Died 6/23/1914 atIowa Soldiers Home Friends-Lincoln Twp Mahaska p.51 ·Wimer, Sylvester Co. D Died 8/13/1919 at New Sharon Friends Mahaska p.51 ·Wagoner, Frederick Co. H Died 1/8/1922 at FremontWhite Oak Grove Mahaska p.52 ·Sumner, Washington Co. B Died 8/18/1880 at Mahaska Co.White Oak Grove Mahaska p.52 Ayers, Franklin (not 7 IVC)Co. C Died 6/19/1863 at Rose HillWymore Mahaska p.52 Hill, Andrew J. Co. C Died 11/23/1896 at FremontCedar Township Mahaska p.52 ·Terrell, Leander Co. B Died 8/8/1926 at Eddyville HighlandMahaska p.52 ·CROZIER, GEORGE Co. A Died 5/20/1929 at ClintonGracelandKnoxville, Marion p.51 ·Kersey, Samuel Co. B Died 7/1/1919 at Knoxville BreckenridgeMarion p.51 ·Beltzell, George C. Co. E Died 10/16/1900 at SwanSwanMarion p.50 ·Hartshorn, Edward Co. A Died [no date] at BusseyGreenlawnMarion p.51 Smith, Philip Co. B Died [no date] at AtticaIndiana ChapelMarion p.51 Gray, Amos Co. C Died 8/11/1865 at PleasantvillePleasantvilleMarion p.51 ·King, Jeremiah Co. F Died 6/20/1938 atHarveyEurekaMarion p.51 ·Anderson, Sanford Co. H Died 6/9/1907 LiscombLiscombMarshall p.41 Hull, William Co. L Died 11/10/1905 at MarshalltownGAR Marshall p.43 ·Shoemaker, James W. Co. H Died 2/12/1911 at MarshalltownGAR Marshall p.41 ·Amlong, Ransom D. Co. L Died 10/5/1919 at MarshalltownGAR Marshall p.41 ·Barney, Hiram D. Co. G Died 1/25/1929 at MarshalltownGAR Marshall p.41 ·Davis, Alfred W. Co. F Died 7/4/1896 at MarshalltownGAR Marshall p.41 ·Hopkins, David Co. M Died 8/26/1914 at MarshalltownGAR Marshall p.41 ·Kirk, Samuel M. Co. L Died 6/15/1926 at MarshalltownGARMarshall p.41 ·Belle, Andres Co. E Died Oct/Nov 1896 at MarshalltownGAR Marshall p.41 ·Campbell, John Co. L Died 8/21/1897 at MarshalltownGAR Marshall p.41 ·Clark, Alexander Co. B Died 7/12/1892 at MarshalltownGAR Marshall p.41 ·Clark, Joel Co. B Died 8/30/1929 at MarshalltownGAR Marshall p.41 ·Kerr, Thomas Co. G Died 4/19/1910 at MarshalltownGARMarshall p.41 ·Mann, Isaac B. Co. K Died 4/28/1917 at Marshalltown GAR Marshall p.41 ·Mayberry, Calvin Co. M Died 7/14/1925 at MarshalltownGAR Marshall p.41 ·Miller, Elias M. Co. H Died 9/10/1919 at MarshalltownGAR Marshall p.41 ·Morrow, David Co. A Died 4/16/1900 at MarshalltownGAR Marshall p.41 ·Smith, Franzce A. Co. M Died 2/3/1901 at MarshalltownGAR Marshall p.41 ·Warner, William Co. F Died 6/6/1908 at MarshalltownGAR Marshall p.41 ·Yeomans, Stephen STAFF Died 9/8/1903 at MarshalltownGARMarshall p.41 ·Florer, George Co. E Died 12/15/1913 at Marshalltown GAR Marshall p.41 ·Davis, Preston Co. M Died 10/3/1908 at MarshalltownRiverside Marshall p.41 ·Dugan, James Co. M Died 2/28/1892 at MarshalltownRiverside Marshall p.41 ·Rhodes, Daniel Co. B Died 6/21/1916 at EmersonEmersonMills p.47 ·Cross, Alfred H. Co. A Died 5/15/1904 at Council BluffsHillsdale Malvern, Mills p.46 ·Jones, Andrew J. Co. D Died 12/23/1901 at South CreekEast Liberty Mills p.56 ·Pinkerton, Mervin Co. I Died 12/20/1897 at TaborTabor Mills p.56 ·Engle, Henry Co. C Died 3/16/1891 at TaborWaubonsie Mills p.56 Holbrook, A. Newcomb Co. M Died 4/11/1914 at # RicevilleRiverside Mitchell p.21 Akins, William Co. B last known in 1870 at St. AnsgarUnknown Mitchell p.20 ·McBeath, James R. Co. M Died 1888 at WhitingHite Monona p.35 ·Irish, Jerome Co. M Died 5/3/1879 at WhitingHite Monona p.35 ·Irish, Omar Co. M Died 8/28/1924 at Hot Springs, SD Hite Whiting, Monona p.35 ·Sanford, Abraham Co. D Died 1/2/1909 at # MapletonMt. Hope Monona p.36 Miller, Chalmers A. Co. G Died 2/22/1926 at MapletonMt. Hope Monona p.36 ·Anderson, William Co. L Died 2/3/1908 at OnowaOnowa Monona p.36 ·Burgess, Walter Co. I Died 7/20/1921 at OnowaOnowa Monona p.36 ·Mead, Frank H. Co. I Died 2/13/1914 at Onawa Onowa Monona p.36 ·Nye, John W. Co. L Died 12/26/1908 at Des MoinesWoodlawn Lovilla, Monroe p.51 ·Coppel, David Co. I Died 4/23/1864 atDes MoinesOsborn Monroe p.51 ·Foster, James Co. B Died 10/23/1897 at Eddyville BridgeportMonroe p.51 ·BILLINGS, LEVI W. Co. B Died 3/2/1927 at AlbiaOak ViewMonroe p.51 · Howard, Paris Co. D Died 12/15/1924 at AlbiaOak ViewMonroe p.51 ·Gray, Seth Co. L Died 4/24/1926 at AlbiaPringleMonroe p.51 ·Martin, Samuel Co. D Died 2/12/1863 at OttumwaService ChapelMonroe p.51 ·Redmon, William Co. A Died 1916 at Red Oak EvergreenMontgomery p.47 ·Waldron, Samuel J. Co. L Died 8/15/1911 at Red Oak EvergreenMontgomery p.47 ·Kimpson, Hugh Co. C Died 4/29/1911 at GrantEast GrantMontgomery p.47 ·Wright, Robert Co. K Died [no date] at West LibertyOak RidgeMuscatine p.54 ·Ulrick, Fredrick Co. I Died 5/8/1914 at MuscatineGreenwoodMuscatine p.54 Lewis, James M. Co. L Died 2/19/1930 at MarshalltownPleasant Hill O’Brien p.15 ·WOOD, SAMUEL C. Co. F Died 3/12/1932 at Primghar Pleasant Hill O’Brien p.15 ·Beals, Job S. Co. G Died 6/24/1930 at Loveland, CO Maple Hill College Springs, Page p.57 ·Harper, James Co. A Died 1/9/1900 at Shenandoah Rose Hill Page p.57 ·Tompkins, James H. Co. C Died 3/4/1921 at Hepburn North Grove Page p.57 ·Klise, John W. Co. M Died 10/11/1914 at Le MarsLe Mars CityPlymouth p.24 ·White, Thomas S. Co. I Died 10/3/1879 at Le MarsLe Mars CityPlymouth p.24 · McElhaney, Thomas Co. I Died 11/10/1914 at Hot Springs, SD Riverside Akron, Plymouth p.24 ·Henderson, George Co. M Died 10/22/1927 at Pocohantas Clinton & Garfield Rolfe, Pocohantas p.27 ·Whitman, Mark Co. G Died 1/24/1901 atClinton Clinton & Garfield Rolfe, Pocohantas p.27 ·Deford, Franklin Co. A Died 11/18/1923 at Des MoinesJordan Polk p.50 ·Dysart, Gideon S. Co. G Died 5/27/1928 at Des Moines Glendale Polk p.50 ·Moore, Leman Co. D Died 12/22/1914 at Des Moines Glendale Polk p.50 ·Steel, George W. Co. M Died 3/4/1929 at MarshalltownGlendale Polk p.50 ·Waldron, William O. Co. L Died 4/17/1907 atDes Moines Glendale Polk p.50 ·Hurt, Shubael Co. E Died 11/23/1928 at Des Moines Glendale/Masonic Polk p.50 Hardin, Thomas I. Co. D Died [no date] atDes MoinesWoodland Polk p.50 Hamilton, Archibald STAFF Died 12/27/1908 at UNKNOWN Unknown [in Des Moines in 1900] p.50 ·Tuttle, Lewis Co. B Died 11/18/1898 at Des MoinesWoodland Polk p.50 ·Corning, Charles Co. L Died 10/17/1894 atDes MoinesWoodland Polk p.50 ·Burrows, William Co. G Died 2/23/1926 atDes MoinesWoodland Polk p.50 ·Haines, Joseph Co. G Died [no date] at AltoonaOld Altoona Polk p.50 ·Thompson, John Co. L Died 1901 at ?Greenwood Polk p.50 ·Casady, Samuel H. Co. I Died 12/24/1873 at Council BluffsFairview Pottawatamie p.46 ·Rohner, Christian Co. I Died 10/29/1915 at Council Bluffs Walnut Hill Pottawatamie p.46 ·CAVETT, ANDREW Co. K Died 10/14/1919 atCouncil Bluffs Walnut Hill Pottawatamie p.46 ·Ayers, William C. Co. D Died 8/26/1932 at Rosslyn, VAWalnut Hill Pottawatamie p.46 ·Bolton, John H. Co. A Died 7/30/1919 at Council Bluffs Walnut Hill Pottawatamie p.46 ·Lunkly, Charles Co. A Died 4/15/1905 at Council Bluffs Walnut Hill Pottawatamie p.46 ·Rapp, Peter Co. L Died 12/9/1917 at Council Bluffs Walnut Hill Pottawatamie p.46 Smith, William Co. F Died 8/10/1925 atMindenMinden Pottawattamie p.47 ·WHITE, LEWIS J. Co. D Died 3/3/1897 at MontezumaIOOF Poweshiek p.52 ·WILLEY, ANDREW STAFF Died 10/16/1891 atMcCook , NE Rose Hill Mt. Ayr, Ringgold p.59 ·Houdyshell, Andrew Co. H Died 6/28/1907 atMt. AyrRose Hill Ringgold p.59 ·Asbury, Thomas P. Co. F Died 1925 Ringgold Co.Tingley Ringgold p.59 Harris, Benjamin E. Co. D Died 3/26/1896 at KellertonMaple Row Ringgold p.59 Bach, William Co. D Died 6/25/1921 at AuburnOak Lawn Grant City, Sac p.26 Hallett, David E. Co. H Died 10/24/1936 atSac City Oakland Sac p.26 ·Corderman, Daniel Co. L Died 2/18/1929 at Sac City Oakland Sac p.26 ·Cory, Hugh M. Co. K Died 1/17/1921 at Sac City Cory Grove Sac p.26 ·McQuirk, Edward Co. B Died 9/13/1906 at EarlySacred Heart Sac p.26 ·CLARK, JOSEPH H. Co. D Died 6/9/1931 at Davenport Oakdale Scott p.55 ·Guy, John A. Co. A Died 11/24/1890 at #Davenport Oakdale Scott p.55 ·Smith, Robert Co. L Died 11/6/1907 atDavenportOakdale Scott p.55 Anderson, Charles Co. L Died 4/13/1864 atDavenport Unknown Scott p.55 Cackley, Benjamin Co. C Died 4/23/1863 atDavenport Unknown Scott p.55 McClintock, John Co. C Died 8/1/1863 at Davenport Unknown (check Ashland, IA) p.55 Thornburgh, Amos Co. D Died 6/13/1863 atDavenport Unknown Scott p.55 Hizey, (Heiser) Joseph Co. B Died 3/19/1863 at Davenport Oakdale reburied Rock Island Nat Cem p.55 Burk, Thomas Co. F Died 8/31/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 Lawrence, Robert P. Co. G Died 6/7/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 ·Anway, Andrew Co. F Died 5/6/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 ·Brohard, John T. Co. E Died 7/6/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 ·Currier, George W. Co. G Died 5/26/1863 at Davenport Oakdale reburied Rock Island Nat Cem p.55 ·Hardesty, Joseph Co. F Died 8/21/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 ·Kessler, Jacob Co. E Died 8/1/1863 at Davenport Oakdale reburied Rock Island Nat Cem p.55 ·Rounds, Joseph W. Co. F Died 6/22/1863 atDavenport Oakdale reburied Rock Island Nat Cem p.55 ·Train, Smith H. Co. E Died 6/6/1863 at Davenport Oakdale reburied Rock Island Nat Cem p.55 ·Wickham, John S. Co. F Died 7/28/1863 at Davenport Oakdale reburied Rock Island Nat Cem p.55 ·Jamison, Jacob B. Co. G Died 5/6/1863 atDavenport Rock Island Nat CemScott p.55 ·Shoemaker, Geo. H. Co. M Died 1921 at HarlanHarlanShelby p.37 · REYNOLDS, JOSEPH Co. H Died 4/7/1927 at Harlan Harlan Shelby p.37 ·West, Samuel M. Co. M Died 11/5/1891 at IrwinOak HillShelby p.37 ·AKINS, JESSE Co. B Died 6/22/1921 at HawardenGrace Hill Sioux p.14 ·Story, James E. Co. E Died 9/3/1885 at BoydenBoyden Sioux p.15 ·Adams, George W. Co. G Died 9/13/1872 atNevadaNevada Story p.40 ·Tetwiler, Henry Co. G Died 12/20/1924 at NevadaNevada Story p.40 ·Holland, Edward C. Co. G Died 9/28/1921at Maxwell Maxwell Story p.40 · Boyd, Henry R. Co. H Died 3/2/1914 at Lacy [Pierce], SD Fairview Story City, Story p.40 · Thatcher, Charles N. Co. D Died 2/9/1925 at Daphne, AL Zearing Zearing, IA Story p.40 ·Poland, Shepard Co. L Died 4/24/1915 at Gladbrook Union Grove Tama p.41 ·HARRISON, AND. Co. H Died 12/16/1932 at TamaOak Hill Tama p.42 ·Duke, Patrick Co. E Died 1872 atTama CountyBuckingham Tama p.42 · Heak, Philip Co. L Died 3/17/1915 at Toledo St. Patrick’sTama p.42 ·Adams, William H. Co. A Died 1/23/1918 at GravityWashingtonTaylor p.58 ·Dennis, George W. Co. L Died 7/7/1909 at VilliscaGussTaylor p.58 ·DeLay, Jacob B. Co. D Died 3/31/1905 at CrestonGraceland Union p.49 ·Trumbo, George Co. K Died 5/5/1907 at CrestonGraceland Union p.49 ·Woodward, Henry D. Co. K Died 7/19/1905 at Lorimor Lorimor Union p.49 ·Davis, Josiah C. Co. B Died 5/10/1875 atKent Bruning Union p.49 ·MORRISON, WM. Co. D Died 3/12/1933 at DoudsZion Lutheran Van Buren p.62 ·Stokes, Jasper Co. C Died 3/23/1892 at DoudsMt. Moriah Van Buren p.62 ·Sperbeck, William E. Co. C Died 5/16/1929 at DoudsLeandoLeando, Van Buren p.62 ·Smith, John Thomas Co. C Died 5/15/1914 at Johnson Co., MOLeando Van Buren p.62 ·Vickers, Harvey D. Co. E Died 6/7/1918 at Farmington Farmington Van Buren p.63 ·Bales, Noah J. Co. D Died 11/11/1868 atBirminghamBethel Van Buren p.63 ·Harrel, Peter Co. A Died 2/15/1901 at Milton Sunnyside Van Buren p.62 Rhoads, John J.Co. A Died 5/19/1919 atMilton Prairie Chapel Van Buren p.62 ·Frazee, John Co. E Died 5/6/1899 at KeosauquaPurdom Van Buren p.63 ·Bonner, John M. Co. G Died 3/26/1907 at MoultonPurdom Van Buren p.63 ·Houk, Jacob Co. C Died 5/29/1891 at KeosauquaForbes Van Buren p.63 Mathias, Thomas J. Co. C Died 1868 at Van Buren Co.Unknown Van Buren p.63 ·Robinson, James Co. A Died 11/9/1908 atVernon Vernon Van Buren p.63 ·Torrence, Thomas Co. C Died 9/10/1863 atDavenport PassmoreVan Buren p.62 ·Tannehill, John Co. C Died 4/13/1873 atSelmaPassmoreVan Buren p.62 ·Tannehill, Henry Co. C Died 12/8/1864 at Ft. CottonwoodPassmoreVan Buren p.62 ·Dawson, John Q. A. Co. A Died 2/26/1892 at AgencyAgency Wapello p.62 ·Nye, George L. Co. B Died 11/14/1922 at AgencyAgency Wapello p.62 ·LaForce, James STAFF Died 5/4/1914 at Monrovia, CA Agency Wapello p.62 ·Albertson, Noah Co. B Died 4/13/1936 at OttumwaAgency Wapello p.62 ·Mace, Henry Co. B Died 9/17/1894 at AgencyAgency Wapello p.62 ·Kees, David Co. D Died 5/1/1895 at AgencyAgency Wapello p.62 ·Monroe, John V. Co. C Died 11/30/1899 at AgencyAgency Wapello p.62 ·McGee, William J. Co. E Died 2/29/1896 at AgencyRound Point Wapello p.62 ·Carback, Cyrus Co. B Died 3/9/1863 atChillicotheChillicothe Wapello p.52 ·Pinnegar, John A. Co. B Died 4/11/1916 at ChillicotheChillicothe Wapello p.52 ·Smith, William P. Co. D Died 7/19/1911 at EddyvilleHighland/IOOF Wapello p.52 ·Noe, William Co. E Died 4/23/1909 at EddyvilleHighland/IOOF Wapello p.52 ·Doll, Leander Co. E Died [no date] at EddyvilleHighland/IOOF Wapello p.52 ·Turner, Lewis G. Co. L Died 4/29/1917 at Eddyville EldonEldon, Wapello p.52 ·Friend, Charles W. Co. G Died 3/16/1914 at Eldon Eldon Wapello p.62 ·Kimes, Lebanon Co. G Died 5/29/1916 at Eldon Eldon Wapello p.62 ·Johnson, Isaac L. Co. C Died 6/26/1931 at Eldon Eldon Wapello p.62 ·Lynch, John W. Co. A Died 5/12/1908 at EldonSioc Wapello p.62 ·Williams, Lewis Co. B Died 7/19/1929 at Kirkville Westview Wapello p.52 ·Houser, James Co. B Died 3/31/1910 at Kirkville WestviewWapello p.52 · Blackstone, John W. Co. B Died 9/22/1911 at Omaha, NE Westview Wapello p.52 ·Spurlock, Casander H.Co. D Died 1905 at Kirkville Westview Wapello p.52 ·Crowley, Patrick Co. L Died [no date] atOttumwaCalvary Wapello p.52 ·Cooper, Lorenzo Co. D Died [no date] atOttumwaDahlonega Wapello p.52 ·Thompson, Jonathan Co. E Died 6/12/1882 at DahlonegaDahlonega Wapello p.52 ·Deford, James K. Co. C Died 2/8/1911 at OttumwaFiedlerWapello p.52 ·Wheaton, David (Daniel) Co. E Died 3/2/1886 atOttumwaMcIntire Wapello p.52 ·Munro (Manro), Nathan Co. H Died 9/27/1923 at Ottumwa McIntireWapello p.62 ·Coffin, Thomas C. Co. A Died 5/1/1866 at OttumwaOttumwa City Wapello p.52 ·McFarland, John D. Co. B Died 5/29/1904 at Wapello Co. Hosp.Ottumwa City Wapello p.52 ·Neill, Daniel Co. A Died 3/12/1887 at Fairfield, IA Ottumwa City Wapello p.52 ·Gallaher, Calvin Co. A Died 3/5/1863 atOttumwaOttumwa City Wapello p.52 ·Gallaher, William Co. A Died 3/9/1863 atOttumwaOttumwa City Wapello p.52 Morgan, David Co. A Died 3/10/1863 atOttumwaOttumwa City ? Wapello p.52 ·SUMMERS, S. W. STAFF Died 4/12/1900 atOttumwaOttumwa City Wapello p.52 ·WOOD, JOHN S. Co. A Died 7/4/1912 at Omaha, NE (Memorial in Ottumwa City, buried at Livingston, MT) ·Buchanan, Evans Co. A Died 3/9/1900 at OttumwaShaul Wapello p.52 ·CLOYD, BENJ.Co. A Died 3/16/1916 at OttumwaShaul Wapello p.52 ·Allison, James Co. D Died [No date] atOttumwaShaul Wapello p.52 ·Tutwiler, Joseph N. Co. C Died 11/2/1908 atOttumwaShaul Wapello p.52 ·Culbertson, George Co. B Died 3/26/1929 at OttumwaShaul Wapello p.52 Halsey, Sanderson Co. D Died 2/9/1863 atOttumwaUnknown Wapello p.52 McClintock, John Co. C Died 8/1/1863 at DavenportUnknown Wapello p.62 ·Simmons, Thomas P. Co. E Died [no date] atHighland CenterMcCormick Wapello p.62 ·Johnston, Charles H. Co. A Died 9/6/1916 at OttumwaChisman Wapello p.62 ·Grooms, James Co. A Died 8/1/1929 at BlakesburgChisman Wapello p.62 ·Wellman, John S. Co. D Died 6/23/1876 at BlakesburgWellman Wapello p.62 ·Surbers, Isaac Co. L Died 4/30/1905 at IndianolaNorth RiverWarren p.50 ·Surbers, Jesse C. Co. E Died 5/7/1924 at ClarindaNorth River Warren p.50 ·Petree, Samuel Co. A Died 9/11/1885 at CarlisleAllen Twp.Warren p.50 ·Wakelee, Charles L. Co. L Died 1/16/1916 at WellmanWellman Washington p.53 Woods, Wm (not 7 IVC) Co. H Died [no date] at Woodlawn Twp.WoodlawnWashington p.53 ·Jones, Samuel Co. H Died 4/25/1918 at # LinevilleEvergreenWayne p.60 ·ORMSBY, LEVI Co. H Died 11/18/1892 at AllertonAllerton Wayne p.60 Pratt, Elvin L. Co. F Died 2/22/1910 at Ft. Dodge Washington Twp. Webster p.28 ·JOHNSON, ALBERT STAFF Died 2/18/1916 (No marker) Monrovia, CA OaklandFort Dodge, Webster p.28 ·Paul, George Co. K Died 7/1/1924 at LehighOakwood Webster p.28 ·McCloskey, Wm H. Co. C Died 9/7/1897 at OthoOtho Webster p.28 ·Williams, Job C. Co. M Died 3/14/1898 at GowrieGowrie Twp. Webster p.38 ·Price, James Co. M Died 4/14/1913 at Lake MillsNorth Salem Lutheran Winnebago p.19 Decker, Stephen Co. H Died 8/9/1890 at # DecorahPhelps Winneshiek p.22 Wagle, Christian Co. F Died 11/25/1906 at HighlandvilleStoen Church Winneshiek p.22 ·Collins, Thomas Co. I Died 1/4/1923 at DanburySt. Patrick’sWoodbury p.36 ·Trego, Alexander Co. I Died 11/1/1918 atMarshalltownOto Woodbury p.36 ·Edwards, William. S. Co. I Died 3/28/1907 at SloanSloan Woodbury p.35 ·Dunagan, Thomas A. Co. M Died 3/21/1918 at SloanSloan Woodbury p.35 ·Gregg, Samuel Co. L Died 1880 (No marker) OnawaSloan Woodbury p.35 ·Porter, James F. Co. I Died 1/16/1915 at(No marker) SloanSloan Woodbury p.35 ·Kingsnorth, Jesse Co. I Died 9/20/1909 atHolly SpringsWillow Woodbury p.36 ·Irwin, James Co. K Died 3/30/1910 at Sioux CityCalvary Woodbury p.24 ·Junk, James Co. K Died 9/8/1915 at Sioux City Calvary Woodbury p.24 ·Fisher, John Co. L Died 11/24/1900 at Sioux City Calvary Woodbury p.24 ·Beck, Henry R. Co. M Died 1917 atSioux CityFloyd Woodbury p.24 ·Harris, Benjamin Co. K Died 3/26/1896 atSioux CityFloyd Woodbury p.24 ·Mielke, Henry Co. L Died 2/4/1904 atSioux CityFloyd Woodbury p.24 ·Rogers, Levi Co. I Died 4/9/1896 atSioux CityFloyd Woodbury p.24 ·Stevens, Joseph Co. I Died 3/15/1910 atSioux CityFloyd Woodbury p.24 ·Williams, William Co. M Died 10/27/1905 atSioux CityFloyd Woodbury p.24 ·Brooks, John H. Co. H Died 5/11/1904 atSioux CityFloyd Woodbury p.24 ·Bruckner, Charles M. Co. I Died 10/6/1872 atSioux CityFloyd Woodbury p.24 ·Launsbach, Charles Co. I Died 10/22/1917 at Sioux City Floyd Woodbury p.24 ·McElhaney, William Co. I Died 1902 at ?Floyd Woodbury p.24 ·SCHLAWIG, JOHN Co. I Died 10/11/1919 at Sioux City Floyd Woodbury p.24 ·Elliott, Alexander Co. I Died 9/10/1905 at Sioux City Floyd Woodbury p.24 ·Krudwig, William Co. I Died 9/9/1917 atSioux City Floyd Woodbury p.24 ·Pritchard, Porter Co. I Died 6/27/1897 atSioux City Floyd Woodbury p.24 ·Reese, William H. Co. H Died 3/26/1925 at Long Beach, CAGraceland Woodbury p.24 ·Pilgrim, Alfred P. Co. B Died 10/31/1921 at South Sioux City Graceland Woodbury p.24 ·Yeoman, Benjamin P. Co. L Died 11/9/1912 at Sioux City Graceland Woodbury p.24 ·Houser, Daniel H. Co. I Died 1/6/1929 at Sioux City Graceland Woodbury p.24 ·MILLARD, A. J. Co. I Died 10/4/1894 at Sioux CityLogan Park Woodbury p.24 ·Hungerford, Lewis B. Co. I Died 2/25/1918 at Sioux City Logan Park Woodbury p.24 ·KINGSNORTH, GEO. Co. I Died 9/8/1933 atSioux CityLogan Park Woodbury p.36 Nichols, Martin Co. L Died 10/3/1865 at Sioux City Unknown Woodbury p.24 Magee, John Co. L Died 3/11/1865 atSioux City Unknown Woodbury p.24 Kenney, John #1 Co. M Died 10/30/1876 at Sioux City UnknownWoodbury p.24 ·Parrott, Th. (no marker) Co. I Died [no date] at Sergeant BluffWoodbury Twp. Woodbury p.24 ·Brower, Rbt. (no marker) Co. M Died 6/25/1872 at Sergeant BluffWoodbury Twp Woodbury p.24 ·Mather, John W. Co. M Died 12/16/1899 at Sergeant BluffWoodbury Twp Woodbury p.24 ·Woodford, Eli Co. M Died 1936 at Sergeant BluffWoodbury Twp Woodbury p.24 ·Adams, William H. Co. K Died 1/29/1915 at Smithland Little Sioux Woodbury p.36 ·TURMAN, CHAS.Co. I Died 6/9/1910 at Smithland Little Sioux Woodbury p.36 ·Shepherd, Wm. H. Co. K Died 6/5/1905 at Climbing HillClimbing Hill Woodbury p.24 ·Abbey, Alonzo C. Co. B Died 4/5/1910 at Northwood Sunset RestWorth p.19 ·Wright, Chester Co. H Died 2/11/1909 at NorthwoodSunset Rest Worth p.19 ·PERKINS, MYRON Co. F Died 1/19/1934 at Northwood Sunset Rest Worth p.19 ·Wadsworth, Dwight A. Co. M Died 2/15/1891 atLake MillsBristol Protestant Worth p.19 ·COLLINS, ALFRED Co. K Died 2/18/1916 at ClarionEvergreen Wright p.29 · Morton, Robert Co. K Died 12/17/1934 at Clarion Evergreen Wright p.29 UNKNOWN IOWA LOCATIONS NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Hastings, Benjamin Co. C Died 2/17/1863 at UNKNOWN Unknown Kelly, William Co. K Died circa 1908 at UNKNOWN Unknown Ankeny, William Co. D Died circa 1890 at UNKNOWN Unknown KANSAS – grouped by county (refer to Kansas Atlas & Gazetteer, DeLorme, 1st Edition, 1997) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY [Post cemeteries at Ft, Harker, Ft. Riley and Ft. Zarah were supposedly reburied in the Fort Leavenworth National Cemetery but none of these soldiers are listed among burials at that cemetery.] Graham, James L. Co. G Died 9/8/1865 at Ft. Zarah (Great Bend)Unknown Barton p.46 ·WARE, EUGENE F. Co. A Died 7/2/1911 at Colorado Springs, COFt. Scott Nat. Cemetery Bourbon, KS p.40 Butler, George Co. F Died [no date] at ? Iola Allen p.65 ·Holcomb, Stephen A. Co. E Died 10/6/1929 at Powhatten PowhattenBrown p.26 ·Jones, Aaron Co. M Died 7/9/1925 at Toledo Hillside Chase p.50 · Moyer, Richard J. Co. A Died 10/5/1914 at Columbus McKee Hallowell, Cherokee p.79 · Thurston, William H. Co. M Died 5/6/1929 at Bird City Sunny Side Cheyenne p.15 ·Martin, George W. Co. E Died [no date] atClay CenterUnion Clay p.36 Tittle, George W. Co. G Died 12/21/1915 at Concordia Unknown Cloud p.22 Spurlock, Lewis B. Co. A Died 4/29/1921 at Concordia Unknown Cloud p.22 · Bivin, George W. Co. B Died 1/6/1900 at Clyde Pleasant View Cloud p.23 Brassfield, John D. Co. M Died 9/2/1885 at Glasgo Unknown Cloud p.35 · Wood, Absalom Co. K Died 2/28/1911 at Burlington Graceland/Gill Twp.Coffey p.64 Butler, Washington Co. L Died 11/24/1901 at Lebo Lincoln Coffey p.51 Mousey, John M. Co. I, L Died 1899 at Arkansas City Riverview Cowley p.76 Trout, John W. Co. D Died 11/24/1915 at Girard Girard Crawford p.79 · Hix, Robert (Ratliff) Co. C Died 9/5/1916 at Norcatur Norcatur Decatur p.18 · Wolf, Wilson W. Co. L Died 6/6/1901 at Harlan Township Sherman Decatur p.18 Lockhart, Benjamin F. Co. G Died 9/18/1916 at ? Unknown Dekalb p.1 Bowen, John W. Co. H Died 8/16/1864 at Smoky HillFt. Harker? Ellsworth p.47 [there is a burial by this name at Leavenworth National Cemetery – but he is not 7 IVC] p.40 McVay, William Co. H Died 8/16/1864 at Smoky HillFt. Harker Abingdon Davis, IA p.47 Stewart, William Co. H Died 8/16/1864 at Smoky HillFt. Harker ?Ellsworth p.47 Turner, Thomas Co. H Died 8/16/1864 at Smoky HillFt. Harker ?Ellsworth p.47 Henderson, George Co. H Died 6/18/1865 at Plum CreekFt. Harker ? Ellsworth p.47 · Evans, John T. Co. B Died 10/16/1930 at Wellsville Walnut Creek Franklin p.53 Porter, Rezin Co. D Died 11/14/1914 at Unknown Woodlawn Franklin p.52 Alvord, Charles M. Co. K Died 11/7/1876 at Madison UnknownGreenwood p.64 · Henry, Thomas B. Co. B Died 7/25/1919 at Eureka Greenwood Greenwood p.29 Cooper, Casper Co. L Died 4/26/1909 at ? Stohrville-Singer Harper p.74 · Conn, James J. Co. E Died 9/17/1914 near Mankato Mt. Hope Jewell p.21 McKown, Francis M. Co. A Died 8/8/1910 at Labette UnknownLabette p.78 ·Barber, Joseph T. Co. B Died 4/15/1903 at ParsonsOakwood Labette p.78 Piper, John C. Co. G Died 9/11/1919 at Lansing Unknown Leavenworth p.40 Kuhlman, Herman Co. K Died 4/5/1905 at Leavenworth Unknown Leavenworth p.40 · Meeker, Thaddeus Co. G Died 1/4/1907 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Taylor, John Co. E Died 4/12/1914 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Biggs, Amos Co. D Died 2/14/1912 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Butler, William F. Co. F Died 3/16/1889 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Babb, William S. Co. D Died 5/22/1914 at Nat’l Mil Home Leavenworth National Cemetery p40 (a stone is located in Oak Grove Cemetery, Polk, IA but this seems to be a memorial marker) · LANGAN, WM P. Co. M Died 12/12/1895 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Hipkins, John H. Co. I Died 2/2/1903 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Pattee, John W. Co. K Died 9/30/1916 at Nat’l Mil Home Leavenworth National Cemetery p.40 · Twombly, Frederick Co. E Died 11/22/1925 at Nat’l Mil Home Leavenworth National Cemeteryp.40 ·ELLSWORTH, ALLEN Co. H Died 1/6/1902 at Nat’l Mil HomeLeavenworth National Cemeteryp.40 [check Hebron, NE newspapers for more extensive obit] ·Wolf, Abner C. Co. L Died 6/14/1864 at Ft. Sully, SDFt. Leavenworth Nat Cem p.40 ·Trask, Eugene F. Co. L Died 9/3/1863 at Sacket’s Sta. SD Ft. Leavenworth Nat Cem p.40 Holloway, Riley E. Co. L Died 9/25/1917 at Osawatamie State Hosp. Oak HillsParsons, Labette p.78 · Irish, Columbus Co. M Died 5/8/1885 at Mound City Mound City Linn p.66 Betts, Asha Co. H Died 8/8/1920 at Admire Ivy Lyon p.51 · BONES, ZEPH. Co. H Died 10/23/1923 Spring Grove Quaker Miami p.52 · Lewallen, John M. Co. G Died 2/12/1917 at Hillsdale Old Hillsdale Miami p.39 · Herod, Robert W. Co. C Died 11/3/1921 at Erie East Hill Neosho p.78 · Sherwin, Lewis C. Co. Died 3/1/1935 at Beloit Elmwood Mitchell p.34 Avery, Eli Co. B Died 1/3/1923 at Lead, SD Fairview, Goff Nemaha p.30 Underwood, James N. Co. G Died 4/23/1915 at ? Unknown Norton p.18 Parnell, Edward Co. A Died 12/1/1928 at Burlingame Burlingame Osage p.64 · True, Solon Co. H Died 9/28/1928 at Natoma Natoma Osborne p.53 · Hand, Lemuel Co. A Died 1/17/1883 at Portis Lawrence Creek Osborne p.20 ·Duer, Josiah Co. L Died 3/22/1911 at ? Lawrence Creek Osborne p.53 ·Heald, Clark Co. A Died 9/27/1900 atMinneapolisHighlandOttawa p.35 Ryan, Charles Co. C Died 10/5/1930 at Nat’l Mil Home Highland Ottawa p.35 Kline, George W. Co. M Died 10/22/1916 at Nat’l Mil Home HighlandOttawa p.35 · CUNNINGHAM, L. Co. M Died 3/6/1897 at Delphos Delphos Ottawa p.35 Houdyshell, Smith H. Co. C Died 5/16/1915 at Caldwell, ID Garfield, Garfield Pawnee p.58 ·Conquest, James R. Co. A Died 1/27/1915 at Phillipsburg Fairview Phillips p.19 ·Wyatt, Samuel C Co. C Died 4/13/1920 at Phillipsburg Alcona Phillips p.19 ·Roosa, Tunis Co. H Died 11/17/1904 at LouisvilleLouisville Pottawatomie p.37 Whitman, Robert W. Co. E Died 4/3/1913 at Pratt Greenlawn Pratt p.59 Tindell, Samuel H. Co. G Died 11/16/1929 at Colorado Springs, COUnknown Atwood, Rawlins p.16 · Merrill, Benjamin A. Co. K Died 6/25/1917 ? at Unknown Hutchison East Side Reno p.61 · Collicott, Seth Co. G Died 6/4/1930 at Luray Luray Russell p.33 · Harper, Marimon H. Co. G Died 8/4/1912 at Agenda Willoughby Cuba, Republic p.22 ·Jamison, Charles M. Co. G Died 5/24/1864 at Ft. RileyPost Cemetery Riley p.37 ·Jones, Benjamin R. Co. G Died 8/12/1865 at Ft. RileyPost Cemetery Riley p.37 Borton, Henry Co. G Died 4/15/1874 at Salina Unknown Saline p.48 Smith, John H. Co. G Died 4/10/1895 at Salina Gypsum Hill Saline p.48 Wood, Clifford Co. A Died 12/31/1915 at Wichita Maple Grove Sedgwick p.62 Hammer, Enos Co. G Died 7/17/1864 at Topeka UnknownShawnee p.38 Tomlinson, Charles E. Co. M Died 3/9/1923 at Topeka Unknown Shawnee p.38 Boyd, Joseph H. Co. H Died 1/1/1917 at Topeka Unknown Shawnee p.38 · Hillman, Charles Co. H Died 8/30/1889 at Seguin [?] Unknown Sheridan p.30 · Botkin, John Co. G Died 1/10/1892 at Wellington Prairie Lawn Sumner p.75 Sowers, Hamilton Co. A Died 12/28/1921 at Rexford Beulah Colby, KS Thomas p.30 Rhoads, Cicero Co. A Died [no date] at Fredonia FredoniaWilson p.77 Butin, George E. Co. B Died 4/18/1903 at FredoniaCityWilson p.77 Israel, Ambrose A. Co. L Died 1/21/1929 at Yates Center Big Creek Coffey p.64 Smith, Francis G. Co. D Died 1/3/1907 at Yates Center Yates Center Woodson p.64 Rowley, Jesse Co. H Died 1/26/1866 at Black Water Creek Unknown ? p.1 LOUISIANA - (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY · Cutting, Henry C. Co. G Died 1/15/1927 at Lake Charles Graceland Calcasieu Parish p.91 Downey, Cornelius A. Co. F Died 9/25/1924 at Monroe Saint MatthewsOuachita Parish p.90 MASSACHUSETTS - (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Payne, William M. Co. I Died [no date] atBostonForest HillsSuffolk p.108 MICHIGAN – (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY · Sias, John C. Co. M Died 4/3/1900 at St. Louis Oak GroveGratiot p.112 Foster, John W. Co. C Died 11/9/1925 at Newberry Forest Home Luce p.110 ·Denning, John Co. L Died 1/9/1933 at Grand Rapids Soldiers’ HomeKent p.112 · Mann, Robert Co. B Died 12/19/1906 at Grand Rapids Oak Hill Kent p.112 ·Griffin, Anthony B. Co. L Died 1904 at Three RiversRiverside St. Joseph p.112 MINNESOTA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY · Owen, Ezra Co. L Died 2/14/1915 at Minneapolis Lakewood Hennipen p.121 · DeLay, William Co. E Died 6/21/1925 at Minneapolis Lakewood Hennipen p.121 · Jefferson Addison Co. F Died 8/24/1916 at Minneapolis Lakewood Hennipen p.121 · Garfield, Henry W. Co. H Died 4/10/1925 at Wadena Lakewood Hennipen p.120 · Kohlhapp, William Co. G Died 7/29/1917 at Minneapolis Hillside Hennipen p.121 Ostenson, Knud Co. H Died 11/19/1913 at Minneapolis New L…d…? ? p.121 Harder, Parker C. (Henry) Co. G Died 6/4/1914 at Brownsville Village Cemetery Houston p.121 Jacobs, Daniel Co. F Died 2/14/1929 at Grand Rapids Itasca Calvary Itasca p.118 · Baker, Samuel J. Co. H Died 1921 at Kingston Talbot Meeker p.120 ·Bell, Edward K. Co. E Died 1898 at Rochester Oakwood Olmstead p.121 Manning, Nathan Co. F Died 9/24/1906 atRush Lake Twp. UnknownOtter Tail p.120 · ANDERSON, ARNE Co. F Died 3/18/1927 at Hitterdal Hitterdal Polk p.118 ·Pepper, Charles A. Co. H Died 12/3/1919 at St. PaulOakland Ramsey p.121 ·Summerfield, Fred. Co. E Died 2/25/1910 at St. PaulOakland Ramsey p.121 Smith, Benjamin Co. K Died 11/4/1926 at Virginia Greenwood St. Louis p.119 Malven, Nicholas Co. H Died 1/23/1899 atMedford Twp.Walcott Union Steele p.121 MISSISSIPPI - (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Fitzpatrick, James Co. E Died 8/15/1896 at MeadvilleUnknownFranklin p.123 ·Norris, Geo. P. Co. E Died 5/30/1899 at CantonCanton Madison p.123 MISSOURI – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Merrill, Benjamin A. Co. K Died 6/25/1917 at Kansas City, MO Unknown Atchison Co. p.126 [there are Atchison Counties in MO and KS] · Bishop, John Co. K Died 2/18/1922 at Nashville Nashville Barton p.127 Boyd, William T. Co. L Died [no date] at Golden City Unknown Barton p.127 Langford, James Co. L Died 1/13/1892 at HumeUnknown Bates p.126 · Gaugh, Christian F. Co. I Died 9/10/1898 at St. Joseph Mount Mora Buchanan p.126 ·VERAGUTH, H. Co. I Died 3/25/1916 atSt. Joseph Mount Mora Buchanan p.126 ·Skinner, Henry Co. E Died 6/3/1926 at St. Joseph Ashland Buchanan p.126 Trimble, Theodore W. Co. L Died 8/26/1924 at Kansas City Forest Hill Jackson p.124 Bennett, Lycurges C. Co. E Died 12/19/1930 at Kansas City Forest Hill Jackson p.124 McKinnon, Daniel Co. H Died 2/9/1914 at Kansas City Elmwood Jackson p.124 Harling, Paul D. Co. E Died 9/20/1919 at Randolph UnknownClay p.126 ·Allen, John H. Co. H Died 7/3/1910 at TrembleHighland ParkClinton p.126 · Miller, Hiram Co. C Died 5/12/1931 at Benton Twp. New Hope Dallas p.127 Bedwell, Henry Co. K Died 10/10/1915 at Springfield Unknown Greene p.127 Bernard, Charles W. Co. D Died 9/22/1918 at Trenton Bratton Grundy p.126 Alder, William Co. B Died 9/27/1885 at Bethany Antioch Harrison p.126 Winkler, Andrew Co. C Died 12/18/1873 (or 1893) Clinton Unknown Henry p.126 · Wade, Peter Co. C Died 2/4/1917 at Leeton Shawnee Mound Henry p.126 Dixson, Isaac Co. L Died 8/31/1911 at Moberly Neals Creek Iron p.126 McIntire, James Co. D Died 7/27/1912 at Carthage Park Jasper p.127 · Bryan, William W. Co. D Died 6/23/1914 at Waco Unknown (in Waco) Jasper p.127 · Stearns, Lewis Co. A Died 1/29/1892 at ? Ozark Prairie Lawrence p.127 Climie, Robert Co. C Died [no date] at LaClede LaClede Linn p.126 · Dodd, William Co. B Died 10/25/1906 at Harrison Co. MO Hamilton Mercer p.126 ·Sparks, Truelove Co. E Died 3/15/1907 at Ravenna Twp.Weesner Mercer p.126 · Crandall, Hampton L. Co. C Died 6/23/1915 at Fairview Dice Newton p.127 Sisk, Jesse A. Co. M Died 2/25/1934 at Hopkins Unknown Nodaway p.126 Swan, Avery Co. M Died 8/6/1929 at Burlington Junction UnknownNodaway p.126 Smith, Daniel B.Co. A Died 6/26/1909 at PalmyraGreenwoodPalmyra p.126 ·FOLEY, WILLIAM Co. L Died 3/30/1910 at St. James St. James Soldiers Home Phelps p.126 · Scott, Ceborn O. Co. F Died 9/30/1928 at St. James St. James Soldiers Home Phelps p.126 · Comstock, Fr. (no marker)Co. B Died 8/17/1916 at St. James (Reburied) Oakland Richland Pulaski p.126 Story, William H. Co. F Died 2/18/1923 at New London Unknown Ralls p.126 McCormick, Asa B. Co. F Died 8/26/1916 at Queen City Queen City Schuyler p.126 · Ahearn, John Co. I Died 11/26/1916 at Jefferson Barracks Jefferson Barracks Nat. Cem. St. Louis p.128 · Godat, Charles W. Co. F Died 9/23/1931 at St. Louis Jefferson Barracks Nat. Cem. St. Louis p.128 · Iliff, Henry J. Co. G Died 9/19/1925 at Independence Co., AR Jefferson Barracks St. Louis p.128 Staley, Fleming Co. B Died 5/7/1893 at Shelbina Shelbina Shelby p.126 George, Lewis Co. E Died 11/17/1886 at Milan Oakwood Sullivan p.126 Robinson, James Co. A Died 11/9/1908 atVernon Vernon Van Buren p.127 [Pension file list says he died 1/17/1905 at Springfield, MO] · Cackley, Chas. (John Beck) Co. C Died 11/19/1914 at Irondale Caledonia Methodist Washington p.129 MONTANA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Kline, Theodore Co. M Died 2/25/1921 at Kalispell C. E.Conrad MemorialFlathead p.130 Friend, James C. Co. G Died 4/6/1916 at Columbia Falls Soldiers HomeFlathead p.131 Adamson, Ferdinand Co. G Died 12/14/1933 at Columbia Falls Soldiers HomeFlathead p.131 ·Sawyer, Edmund Co. K Died 10/20/1908 at Bozeman Sunset HillsGallatin p.130 Pearson, Augustus Co. L Died 12/27/1887 at New Chicago Unknown Granite p.130 ·Wood, John S.Co. A, STAFF Died 7/4/1912 at Omaha, NEMountain ViewLivingston, Park p.131 Higgins, Edward Co. H Died [no date] at Rosebud CountyUnknown Rosebud p.132 Higgins, Edwin Co. M Died 4/2/1927 at ForsythUnknown Rosebud p.132 Babbs James Co. A Died circa 1887 at UNKNOWN Unknown UNKNOWN NEBRASKA – grouped by county (refer to Nebraska Atlas and Gazetteer, DeLorme, 1st Edition, 1996) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Grubb, Newton J.Co. E Died 6/3/1865 at Boyd’s Station Unknown Coon, John Co. C Died 11/25/1865 at Elbow Station Unknown ·Schell, Joseph F. Co. L Died 4/15/1916 at HastingsParkviewAdams p.63 ·DeCamp, Marshall A. Co. L Died 7/11/1925 at San Diego, CAClearwaterClearwater, Antelope p.38 ·Sheldon, George N. Co. F Died 1/1/1917 at AinsworthAinsworth Brown p.22 Lotspeich. Lyman Co. K Died 10/13/1909 at Alliance Unknown Box Butte p.30 · Powers, Wilson S. Co. E Died 11/1887 at Kearney Kearney CityBuffalo p.62 RUPE, JOHN M.Co. A Died 12/19/1863 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Adair, Hugh Co. H Died 1/26/1864 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Sommerfield, William Co. H Died 2/3/1864 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Donley, Levi Co. F Died 2/4/1864 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Crowner, Irvin Co. D Died 6/11/1864 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Tefft, Seneca M. Co. D Died 12/14/1864 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Bennett, Lyman Co. E Died 8/26/1865 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Barron, James Co. E Died 9/11/1865 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 Simmers, Peter Co. E Died 9/22/1865 at Ft. Kearny Ft. McPherson Nat Cem Buffalo p.62 [ - these soldiers were probably moved from the old Fort Kearny Post Cemetery and reburied in the Fort McPherson National Cemetery as UNKNOWNS] ·Niff, Columbus Co. F Died 5/20/1922 at PlattsmouthHoly Sepulchre Cass p.67 ·West, Joseph W. Co. B Died 3/27/1914 atMarshalltown, IAOak Hill Plattesmouth, Cass p.67 ·Muck, Joseph Co. I Died 7/21/1897 at Plattsmouth Oak Hill Cass p.67 Slagle, Richard C. Co. B Died 2/1871 at Cass CountyUnknown Cass p.67 ·Winterringer, Wm. R. Co. I Died 8/16/1916 at Sioux City Hartington Cedar p.26 ·WINTERRINGER, JS. Co. I Died 6/23/1928 at Hartington Hartington Cedar p.26 · WINTERRINGER, M. Co. I Died 7/7/1885 at Hartington Hartington Cedar p.26 Williams, Henry Co. I Died 3/29/1891 at St. HelenaSt. Helena Cedar p.26 ·Nelson, Joseph W. Co. C Died 7/24/1911 at SidneyGreenwoodCheyenne p.43 Ellsworth, George W. Co. A Died 8/20/1919 at Belmont Unknown Dawes? p.66 ·Anderson, John A. Co. C Died 10/15/1922 at CozadStop TableDawson p.48 ·Brown, Marquis Co. M Died 6/10/1912 at PoncaPonca Dixon p.27 ·Thompson, William Co. L Died 08/26/1920 at VerdigreWakefieldWakefield, Dixon p.40 Rodgers, Martin Co. A Died 4/26/1865 atFremont Unknown Dodge p.54 ·Bonner, Crawford Co. H Died 5/11/1903 atOmahaForest LawnDouglas p.55 ·Roberts, Stephen Co. B Died 6/11/1907 atOmahaForest LawnDouglas p.55 ·Jones, Marquis Co. D Died 4/7/1909 at Omaha Forest Lawn Douglas p.55 ·Edwards, Mathias Co. B Died 12/18/1898 at OmahaForest Lawn Douglas p.55 ·O’BRIEN, GEORGE STAFF Died 1/9/1887 atOmahaHoly SepulchreDouglas p.55 ·CREMER, HARRISON Co. C Died 6/3/1896 atOmahaProspect HillDouglas p.55 ·Beall, Francis M. Co. L Died 1/19/1928 at OmahaWest LawnDouglas p.55 Knapp, Vincent Co. F Died 3/24/1924 at OmahaUnknownDouglas p.55 Morrow, James W. Co. C Died 10/13/1863 atOmahaUnknownDouglas p.55 Morris, John H. Co. B Died 5/6/1907 at Elk City Elk CityDouglas p.55 ·ANGSTEAD, WM F. Co. M Died 10/4/1916 at Ohiowa Pleasant Ridge Fillmore p.76 ·Thompson, Roger Co. L Died 6/5/1925 at MaywoodMaywood Frontier p.59 ·Simmons, David Co. L Died 3/18/1903 at Beaver CityMount Hope Furnas p.72 ·Winter, John Co. I Died 10/13/1901 at Beaver CityMount Hope Furnas p.72 · Wyatt, Eliphalet A. Co. F Died 1901 at Furnas County Spring Green Furnas p.72 ·MURPHY, E. B. Co. A Died 1/25/1899 at ArapahoeArapahoe Furnas p.72 ·DODDS, JOSEPH R. Co. K Died 4/6/1907 at Wymore Wymore Gage p.77 ·Sanders, Samuel S. Co. D Died 11/18/1890 at Adams Highland Gage p.77 ·Roudebush, Jacob H. Co. A Died 3/25/1930 at OshkoshOshkosh Garden p.44 · Wilson, Erastus Co. B Died 7/12/1919 at Grand Island City CemeteryHall p.63 ·Kannow (Hoen), Theo. Co. E Died 2/22/1918 at Grand Island City CemeteryHall p.63 · Clarke, George B. Co. G Died 7/4/1898 at Grand Island City CemeteryHall p.63 · Kuypers. James Co. B Died 2/27/1893 at Grand Island Nebraska Veterans Hall p.63 ·CULBERTSON, ARCH. Co. B Died 9/17/1933 atGrand Island Nebraska Veterans Hall p.63 ·Martin, Stephen Co. A Died 9/10/1904 at Grand Island Nebraska Veterans Hall p.63 ·Stevenson, John Co. A Died 7/29/1896 atGrand Island Nebraska Veterans Hall p.63 ·Steward, (Stewart) Thomas Co. L Died 7/6/1900 atGrand Island Nebraska Veterans Hall p.63 ·Taylor, Chesley Co. H Died 4/25/1920 at GiltnerGiltnerHamilton p.64 ·McGuire, Dudley Co. G Died 3/14/1921 at Grand Island GreenwoodHamilton p.64 Isaman, Benj. (not 7IVC) Died 10/6/1900 at Aurora Aurora Hamilton p.64 · Hanks, Peter Co. C Died 10/8/1918 at Stratton Rose Hill Hitchcock p.69 ·Reinhart, John M. Co. C Died 3/29/1904 at Tecumsah TecumsahJohnson p.78 ·Pattison, John Co. B Died 12/2/1877 at Mt. Pleasant, IA MindenKearney p.73 Gilbert, James M. Co. K Died 3/9/1914 at CreightonGreenwood Knox p.25 ·FOX, CYRUS Co. C Died 6/12/1942 at Stapleton, NEFt. McPhersonLincoln p.60 ·FOUTS, WILLIAM Co. D Died 6/14/1865 at Horse CreekFt. McPherson Lincoln p.60 ·Lyon, Benjamin M. Co. C Died 7/18/1864 at Ft. Cottonwood Ft McPherson Lincoln p.60 ·Anderson, John Co. C Died 9/18/1864 atFt. Cottonwood Ft McPherson Lincoln p.60 ·Grooms, Benjamin Co. A Died 6/20/1865 atFt. Cottonwood Ft McPherson Lincoln p.60 ·Heath, George W. Co. G Died 3/21/1864 at Ft. Cottonwood Ft McPherson Lincoln p.60 Hakel, William Co. F Died 10/14/1863 at Ft. CottonwoodUnknownLincoln p.60 Fought, Ophir C. Co. G Died 10/22/1863 at Ft. Cottonwood UnknownLincoln p.60 Keltner, William Co. G Died 11/12/1863 at Ft. Cottonwood UnknownLincoln p.60 Mosier, William R. Co. C Died 9/18/1864 at Ft. Cottonwood UnknownLincoln p.60 Starkey, Bluford Co. F Died 9/18/1864 at Ft. Cottonwood UnknownLincoln p.60 Harmel, Gotfer Co. B Died 9/14/1864 at Ft. Cottonwood UnknownLincoln p.60 Millisack, William Co. C Died 10/12/1864 at Ft. Cottonwood UnknownLincoln p.60 Conner, James Co. F Died 10/25/1864 at Ft. Cottonwood UnknownLincoln p.60 Tannehill, Henry Co. C Died 12/8/1864 at Ft. Cottonwood UnknownLincoln p.60 Putman, Jesse Co. A Died 12/10/1864 at Ft. Cottonwood UnknownLincoln p.60 Sampere, Joseph Co. F Died 1/17/1865 at Ft. Cottonwood UnknownLincoln p.60 Good, Edward Co. B Died 2/10/1865 at Ft. Cottonwood UnknownLincoln p.60 Johnson, Lever Co. UN Died 4/30/1865 at Ft. Cottonwood UnknownLincoln p.60 [ - these soldiers were probably moved from the old Fort Cottonwood Post Cemetery and reburied in the Fort McPherson National Cemetery as UNKNOWNS] Blanchard, Horace Co. B Died 10/29/1865 at Post AlkaliUnknownLincoln p.59 Clark, Robert E. Co. B Died 1/18/1866 atFt. HeathUnknownLincoln p.59 ·Garesche, Herman Co. C Died 6/9/1936 at NorfolkProspect HillMadison p.38 · CAMPBELL, ELD. Co. A Died 10/8/1901 at Genoa Valley View Nance p.52 ·Jackson, Andrew Co. C Died 8/17/1906 at Fullerton Fullerton Nance p.52 · Moore, William Co. M Died [No date] at Brock Lafayette Nemaha p.78 · Botsford, William Co. F Died 12/1/1891 at Palmyra Rosewood Otoe p.67 ·Martin, John H. Co. A Died 3/20/1914 at Pawnee City Pawnee City Pawnee p.78 ·Crawley, Samuel W. Co. B Died 5/24/1922 at Burchard BurchardPawnee p.78 Patterson, Ira Co. E Died 10/3/1863 at Pawnee Agency/ColumbusUnknown Platte p.76 Gibson, Israel Co. E Died 5/20/1864 at Pawnee Agency/ColumbusUnknown Platte p.76 Herrington, William Co. E Died 11/7/1864 at Pawnee Agency/ColumbusUnknown Platte p.76 ·HANSHEW, WM. Co. B Died 7/10/1922 at ShelbyUnion Polk p.53 ·EDWARDS, JAMES D. Co. M Died 11/17/1927 at Stromsburg Stromsburg Polk p.65 · Korn, Lewis B. Co. E Died 8/26/1927 at West Plains, NE City Indianola, Red Willow p.71 ·Feasel, Thomas J. Co. D Died 1/10/1925 at HumboldtHumboldt Richardson p.78 ·Oldfield, Farmer Co. G Died 11/20/1926 atOmahaRulo Rulo, Richardson p.79 ·Maddock, Joseph Co. E Died 1/11/1909 at Fremont BellevueBellevue, Sarpy p.68 · Guttery, Jesse Co. C Died 2/23/1902 at Valparaiso Valparaiso Saunders p.66 Alder, Phillip Co. B Died 6/14/1865 at Horse Creek Horse Creek Site Scotts Bluff p.28 Groger, Richard Co. D Died 6/14/1865 at Horse Creek Horse Creek Site Scotts Bluff p.28 McMahon, Edward Co. F Died 6/14/1865 at Horse Creek Horse Creek Site Scotts Bluff p.28 · Edwards, John N. Co. M Died 1/191891 at Seward Greenwood Seward p.59 ·CRAIG, LEWIS Co. D Died 12/3/1919 at ReynoldsRose Creek Thayer p.76 · Shields, Frank Co. F Died 3/19/1891at Alexandria Alexandria Thayer p.76 · Forsha, James Co. F Died 3/31/1894 at Alexandria Alexandria Thayer p.76 ·Holes, George Co. F Died 3/3/1916 at Independence, MOAlexandria Thayer p.76 Huddleston, David Co. A Died 10/16/1865 at Pawnee Ranch Unknown? p.1 · Perkins, Lorenzo Co. B Died 5/15/1901 at Blair Blair Washington p.55 ·Williams, Robert P. Co. A Died 8/1/1937 atWayneGreenwoodWayne p.40 ·Reed, Alvah T. Co. K Died 5/20/1901 at Red CloudRed Cloud Webster p.74 Atkinson, James Co. C Died [circa 1894] at Unknown Unknown Unknown NEW HAMPSHIRE – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY DAVID, JAMES B. Co. E Died 6/4/1913 at Somerville, MA MeadowviewAmherst, NH p.141 NEW JERSEY – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Michael, James R. Co. K Died 12/13/1908 at Bloomfield Unknown Essex p.143 · Snook, Eden H. Co. L Died 1894 at Hopewell Hopewell Mercer p.143 NEW MEXICO – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Starr, Samuel B.Co. B Died before 1889 at UNKNOWN Unknown UNKNOWN · Picken, Michael C. Co. B Died [no date] at Farmington, Greenlawn San Juan p.146 NEW YORK – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Davenport, Joel H. Co. I Died 3/24/1920 at Brushton Unknown Franklin p.152 NORTH DAKOTA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Persons, Phineas P. Co. A Died 7/5/1913 at Valley City Unknown Barnes p.169 · Welch, Thomas Co. M Died 3/13/1923 at Bismarck St. Mary’s Burleigh p.168 Boyce, William Co. F Died 12/15/1916 at Sentinel Butte Unknown Golden Valley p.168 Nichols, Jerome Co. F Died [no date] at Unknown Unknown Unknown OHIO – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY ·ROOP, AMOS Co. K Died 7/17/1903 at HicksvilleForest HomeDefiance p.170 Meeks, David Co. B Died 10/27/1904 at WestervilleUnknownFranklin p.171 Luckey, George S. Co. C Died 12/31/1924 at Dayton Dayton Nat Cem Montgomery p.175 McKinney, John Co. A Died 9/17/1918 at Dayton UnknownMontgomery p.175 ·WILCOX, JOHN Co. B Died 6/30/1881atDayton Dayton Nat Cem Montgomery p.175 Alspaugh, James Co. M Died 3/7/1932 at Paulding Unknown Paulding p.170 · Vallance, Adam Co. K Died 10/29/1914 at Gibsonburg West Union-Gibsonburg Sandusky p.170 OKLAHOMA – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Matthews, James M. Co. F Died 7/8/1917 at Lorena Unknown Beaver p.178 Moffatt, Richard Co. I Died 1/1/1910 at CaddoGethsemaneBryan p.181 Trusdell, Otis Co. K Died 3/20/1927 at Man [Manard?] UnknownCherokee p.180 · Myers, Francis H. Co. E Died 5/3/1922 at Kenton KentonCimarron p.178 Muck, Joseph * Co. I Died 1917 at Cleveland Co. Holsenbake Cleveland p.180 Walker, Isaac Co. L Died 8/15/1911 at Kellysville UnknownCreek p.180 Webb, Jeremiah Robert Co. A Died 1/25/1925 at Arnett Debolt Ellis p.178 Gordy, Franklin UN Died 9/15/1910 at Paul’s Valley UnknownGarvin p.180 McClintock, Thomas Co. E Died 1/16/1911 at ?Unknown Harper p.178 · Spangler, Ferdinand Co. K Died 4/21/1915 at Newkirk NewkirkKay p.180 · RUPE, ISRAEL Co. A Died 5/1/1910 at Tonkawa Riverside or Riverview Kay p.180 · Hubbard, John Co. G Died 10/19/1912 at Kingfisher Co. Sheridan Kingfisher p.180 Lewis, James M. Co. A Died 6/3/1909 at Tryon Tryon Lincoln p.180 Morris, Abner Co. B Died [no date] at Bethel Bethel Lincoln p.180 · Weeks, Daniel E. Co. M Died [no date] at Sparks White Dove Lincoln p.180 March, Napoleon Co. E Died 10/25/1907 at Wellston Wellston Lincoln p.180 · Brower, Edward D. Co. L Died 4/11/1916 at Oklahoma City Oak ParkLincoln p.180 · Koch, Abraham Co. C Died 10/25/1918 at Orlando Bocox Logan p.180 Boyd, William H. Co. A Died 9/19/1930 at Guthrie Summit View Logan p.180 Oliver, Thomas P. Co. E Died 1/17/1890 at Logan CountyCrescent Logan p.180 Clingan, Gustavus A. Co. C Died 9/19/1932 at Oklahoma City Rose Hill Oklahoma p.180 Tremain, Cyrus Co. H Died 5/28/1924 at Oklahoma City Unknown Oklahoma p.180 Collins, Harvey W. Co. G Died 3/19/1910 at Stillwater Fairlawn Payne p.180 · Green, James S. Co. K Died 8/5/1900 at Ralston Old Ralston Pawnee p.180 BARKER, JAMES T. Co. G Died 9/10/1929 at Rankin White RoseRoger Mills p.178 · Wortman, Daniel D. Co. D Died 4/13/1926 at Bremerton, WA Elgin Union p.178 Woodruff, Matthias Co. F Died 4/2/1895 at ? Buck CreekWashington p.180 Daniels, Orlando Co. D Died 6/29/1930 at Fort Supply Unknown Woodward p.178 OREGON – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Grove, Andrew Co. H Died [no date] atBaker CityMount Hope Baker p.184 ·Small, William T. Co. D Died 1938 at CorvalisCrystal LakeBenton p.182 · Ball, John W. Co. D Died 6/30/1931 at Corvalis Crystal Lake Benton p.182 Cannon, Alexander P. Co. UN Died 2/26/1928 at UnknownUnknown Clackamas p. ·Tucker, William Co. F Died 3/24/1908 atRoseburgRoseburg Nat Cem Douglas p.183 ·Dollarhide, Wm. Co. D Died [no date] atRoseburgRoseburg Nat Cem Douglas p.183 Fought, James P. Co. G Died 9/14/1910 at Medford IOOFJackson p.183 ·Ford, Albert A. Co. K Died 5/5/1909 at EugenePioneer Memorial Lane p.182 · Sperry, John Co. B Died 9/4/1906 at Scio Miller Linn p.182 ·Phillips, William Co. A Died [no date] atLinn CountyLiberty Linn p.182 Berry, Thomas J. Co. H Died 4/8/1920 at Monmouth, Polk Co. City ViewMarion p.182 Sutters, (Sutter) Benjamin Co. D Died 9/30/1919 at Brooks Unknown Marion p.183 McLain, Daniel Co. B Died 9/7/1920 at Silverton Unknown Marion p.182 Vinson, (Vincent) George Co. C Died 7/1/1923 at New Pine Creek New Pine Creek Modoc p.183 Hawley, Wallace (William) Co. A Died 2/28/1928 at Portland UnknownMultomah p.182 · Schwab, William Co. L Died 4/1/1916 at Portland Lincoln Memorial Multomah p.182 Kline, John Co. C Died 7/22/1914 at Airlie Unknown Grant p.182 · Doughty, William T. Co. I Died 6/26/1912 at Bay City Idaville, IOOF Tillamook p.182 · March, Jacob Co. E Died 9/16/1920 at La Grande Grandview Union p.184 Grattan, Simon Lucius Co. C Died 5/16/1913 at Pendleton OlneyUmatilla p.184 · West, Peter Co. F Died 8/18/1909 at Pendleton Olney Umatilla p.184 Doughty, Franklin Co. I Died 4/9/1930 at Hillsboro IOOF Washington p.182 · May, James H. Co. D Died 6/7/1922 at Santa Cruz, CA Arcade Washington p.182 ·Bennett, Elisha W. Co. H Died 8/28/1926 at Forest Grove Forest ViewWashington p.182 PENNSYLVANIA(refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Hutton, William Co. H Died 7/9/1871 at Pittsburg Unknown Allegheny p.188 Crouse, Joseph T. Co. L Died 4/13/1899 at Muncy Muncy Lyoming p.190 · Giger, Benjamin STAFF Died 7/2/1895 at La Trobe Unity Westmoreland . p.188 · Bliss, Thomas Co. H Died 9/5/1903 at Alverton Alverton Westmoreland . p.188 RHODE ISLAND(refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY O’Brien, James Co. F Died 1/9/1898 at PawtucketMt. St. Mary’s Providence p.196 SOUTH DAKOTA – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY [* South Dakota Military Post Cemeteries were supposed to have been reburied at Ft. Leavenworth, but names with # do not appear in the National Cemetery.] Posey, Henry M. Co. L Died 9/17/1922 at Tyndall UnknownBon Homme p.201 Johnston, George A. Co. H Died 8/30/1925 at Mitchell UnknownDavison p.201 · Graham, Watson Co. M Died 7/14/1918 at Hot Springs Soldier’s Home Fall River p.200 · PATTEE, JOHN STAFF Died 11/30/1901 at Hot Springs Soldiers’ Home Fall River p.200 · Trask, Alvah D. Co. M Died 12/19/1914 at Hot Springs Hot Springs Nat Cem Fall River p.200 · Bates, Alexander C. Co. B Died 6/23/1917 at Hot Springs Hot Springs Nat Cem Fall River p.200 Ryan, Daniel Co. K Died [no date] at Unknown Unknown Hanson (?) p.200 Thompson, James A. Co. B Died [no date] at Unknown Unknown Highmore/Hyde p.200 Junk, William Co. L Died 10/8/1863 at Farm IslandFt. Sully Hughes p.200 Martin, Lambert A. Co. L Died 10/14/1863 at Farm IslandFt. Sully Hughes p.200 Turkle, George Co. M Died 4/30/1864 atFt. SullyFt. Sully Hughes p.200 Burrington, William Co. M Died 3/20/1864 atFt. Sully Unknown Hughes p.200 Can, John Co. K Died 3/20/1864 atFt. Sully Unknown * Hughes p.200 Carr, John H. Co. K Died [no date] atFt. Sully Unknown* Hughes p.200 (or another source says he died 3/18/1903 and is buried in Oakwoods Cemetery Cook Co., IL) Pattee, Adam C. Co. K Died 1/3/1925 at Lake Preston Lake PrestonKingsbury p.201 Rice, Orson Jr. Co. K Died 8/21/1912 at Hudson Eden Lincoln p.201 FOX, JAMES B. Co. M Died 7/5/1915 at Sioux FallsMt. Pleasant Minnehaha p.201 Mansfield, Ezra Co. E Died 2/16/1921 at Rapid City Mountain View Pennington p.200 Samuel, John C. Co. C Died 12/26/1894 at Castleton Castleton Pennington p.200 Bartlett, Russell Co. L Died 7/2/1863 atFt. Pierre Unknown Stanley p.200 Buckley, William Co. L Died 9/11/1863 atFt. Pierre Unknown Stanley p.200 Pinney, Edward L. Co. L Died 6/23/1863 at Ft. Pierre Unknown *Stanley p.200 Dopp, Charles Co. C Died 6/4/1916 at ParkerRose Hill Turner p.201 Miller, George Co. I Died 4/25/1911 at McCookUnknownUnion p.201 Edwards, John T. Co. I Died 5/10/1927 at Jefferson Elk PointUnion p.201 ·Keevil, Thomas Co. I Died 11/15/1870 atSioux City, IA St. Peter’s CatholicJefferson, Union p.201 McLoud, Aaron Co. L Died 7/22/1929 at Vennington Twp.Unknown? p.201 Cannon, James William Co. F Died circa 1909 at Unknown Unknown Unknown TENNESSEE(refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Miller, John H.Co. A Died 7/25/1864 atMemphisUnknownShelby p.203 Wellman, John H. Co. G Died 9/14/1878 at MemphisUnknownShelby p.203 TEXAS – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Gipe, Asa W. Co. E Died 1/17/1913 at San Antonio UnknownBexar p.212 Shoemaker, John F. Co. L Died 8/27/1923 at San Antonio UnknownBexar p.212 Crawford, George (alias) Co. I Died 9/2/1917 at Clyde Unknown Calahan p.210 (his real name was GEORGE FOSTER) Votaw, Levi Co. H Died 6/6/1912 at Bunce Sheppard Jasper p.211 ·Wilson, James A. Co. F Died 12/26/1923 at Tyler OakwoodSmith p.211 ·Davis, William C. Co. F Died 5/16/1910 at El CampoGarden of Memories Wharton p.213 VERMONT (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Cook, John B. Co. K Died 9/2/1919 at Greensboro Lincoln-Noyes Orleans p.218 · ROBERTS, BENJ. Co. A Died 7/16/1921 at Ossining, NY Dellwood Manchester,Westchester p.219 VIRGINIA (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY · McMullen, Ross Co. H Died 2/24/1927 DC Arlington Nat Cem Arlington p.230 · Horch, Nicholas Co. E Died 4/30/1903 DC Arlington Nat Cem Arlington p.230 Parker, Thomas S. Co. B Died 7/11/1917 at Rochester, MN Arlington Nat CemArlington p.230 · Richard, Justin (Augustus) Co. F Died 3/2/1931 at Riverdale, IN Arlington Nat Cem Arlington p.230 Furbur, Isaac C. Co. I Died 5/16/1914 at Elizabeth City Hampton Nat Cem Hampton p.225 WASHINGTON – grouped by county (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Cox(Reynolds), James Co. C Died 7/12/1937 atPort AngelesOcean View Clallam p.226 Roland, William Co. A Died 5/23/1917 at Greenwood Twp. Unknown Clark p.227 · Bone, Joseph Co. G Died 8/11/1907 at Vancouver Brush Prairie Clark p.227 Rowan, George W. Co. D Died 5/28/1917 at Castle Rock Unknown Cowlitz p.227 Adamson, Thomas A. Co. G Died 9/25/1924 at Castle Rock IOOF Cowlitz p.227 Jenkins, George Co. I Died 2/19/1918 at Kalama Cowlitz ViewCowlitz p.227 Smith, George R. Co. A Died 3/3/1914 at Markham UnknownGray’s Harbor p.226 Glenn, John T. Co. C Died [no date] at Elma IOOF Gray’s Harbor p.226 Guptill, Levi Co. I Died 1/21/1921 at Seattle Unknown King p.226 ·Minnick, Alfred Co. E Died 1939 at SeattleCrown Hill King p.226 Mercer, Jacob N.Co. D Died 12/24/1928 at Orting GARKing p.226 Tuttle, William Co. B Died 5/9/1924 at Goodnoe Hills Pleasant ValleyKlickitat p.229 Berry, John P. Co. L Died 3/23/1915 at Orting Orting Pierce p.226 · Ridoot, Isaac Co. F Died 6/2/1934 at Orting Soldiers Home Pierce p.226 · Tallman, Freeling Co. L Died 10/3/1913 at Orting Soldiers Home Pierce p.226 · Moody, Alexander Co. L Died 5/11/1912 at Orting Soldiers Home Pierce p.226 Springle, Charles Co. C Died 3/7/1904 at Tacoma Oakwood Pierce p.226 Stuart, James Co. C Died 8/13/1930 at Tacoma Unknown Pierce p.226 Iverson (Peterson), Peter Co. H Died 11/25/1915 at Tacoma Oakwood Pierce p.226 · Ridley, Albion Co. I Died 12/7/1928 at Friday Harbor Lopez Union San Juan p.226 Stevens, Edwin Co. G Died [no date] at Samish Unknown Skagit p.226 ·BLAIR, AARON Co. C Died 9/17/1913 at Arlington GAR Snohomish p.226 · Gregory, Elba S. Co. M Died 1/8/1918 at Snohomish County MachiasSnohomish p.226 · Hoskins, Alva R. Co. M Died 4/15/1922 at Colville Highland/CalvaryStevens p.228 ·Potts, Josiah D. Co. B Died 8/1/1909 at DaisySaints Flat/Fairview Stevens p.228 ·Richey, Samuel Co. E Died [no date] at RiceCully Memorial Stevens p.228 · Mathews, Archibald Co. M Died 8/8/1919 at Olympia Masonic MemorialThurston p.226 Hardin, John Co. I Died 4/15/1905 at Ferndale WoodlawnWhatcom p.226 · Cain, James Co. K Died 2/5/1914 at Blaine Blaine Whatcom p.226 Hughes, Sampson P. Co. L Died 8/5/1920 at Blaine Blaine Whatcom p.226 · Pinckney, William Co. L Died 1/31/1928 at Blaine Blaine Whatcom p.226 Warford, William W. Co. L Died 3/16/1904 at Blaine UnknownWhatcom p.226 · Woody, Levi Co. B Died 1/12/1890 at Lynden Lynden Whatcom p.226 Ogburn, William B. Co. K Died 12/8/1908 at Unknown Unknown Unknown WISCONSIN – grouped by city (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY · Stiles, Nathan P. Co. C Died [no date] at Cumberland Lakeside Barron p.234 Shumaker, James Co. M Died 4/1913 at Lynnville Unknown Crawford p.236 Hand, Cyrus G. Co. A Died 9/1/1922 at Lynxville Unknown Crawford p.236 Potts, John A. Co. B Died 4/2/1914 at Blue River WhiteakerCrawford p.236 Hubbell, Melvin D. Co. H Died 6/9/1915 at BrunswickUnknown Eau Claire p.234 Block, Joseph Co. L Died 3/22/1877 at Glen Haven Unknown Grant p.236 Davis, David C. Co. A Died 1/23/1914 at La Crosse Oak Grove La Crosse p.236 ·Quinn, Robert Co. L Died 1/14/1909 at La CrosseOak GroveLa Crosse p.236 ·Striegel, Charles Co. I Died 4/10/1916 at Tomah St Mary’s Monroe p.236 · Doudna (Mackle), John Co. K Died 5/6/1920 at Richland Center Fancy Creek Richland p.236 Priest, Kinder F. Co. M Died 11/3/1869 at Reedsburg Greenwood Sauk p.236 · Zhe, Frederick D. Co. K Died 7/31/1930 at Osseo Osseo Trempealeau p.234 Braga, Arsa J. Co. E Died 10/10/1912 at Lake Geneva Unknown Walworth p.237 [a second source says he is buried in Mount St Joseph Cemetery, Haywood, Alameda, CA] WYOMING – (refer to Road Atlas, American Map Corporation, 2002) NAME CO. DATE OF DEATH PLACE CEMETERY COUNTY Coburn, Silas M. Co. G Died [no date] at Shell Shell Big Horn p.238 ·O’BRIEN, N. J. Co. F Died 7/29/1916 at Denver, COLakeviewLaramie p.239 ·Artist, Andrew Co. G Died 9/1905 atCheyenneLakeviewLaramie p.239 ·Aggart, [Eggert] Wm. Co. G Died 12/11/1918 at Sheridan MunicipalSheridan p.239 Harris, John Co. D Died 2/8/1865 at Mud SpringsOld Fort Laramie Cem p.239 UNKNOWN PLACE OF DEATH OR BURIAL NAME CO. DATE OF DEATH PLACE CEMETERY Brace, William Co. F Died 3/30/1899 at UNKNOWN Unknown Priest, William M. Co. M Died 9/18/1910 at UNKNOWN Unknown Coleman, Stephen Co. L Died 3/25/1911 at UNKNOWNUnknown NO RECORD OF BURIALS NAME CO. DATE OF DEATH PLACE CEMETERY STATE Gardner, Jonathan Co. A Died 5/21/1864 at Ponca [body not recovered] NE Alloway, Nelson Co. B Died 10/2/1863 atDakotah City [body not recovered] NE Cooper, Joseph Co. F Died 12/26/1865 at Ft. Laramie [body not recovered] WY McCardle, German Co. L Died 8/17/1864 at Ft. Union [body not recovered] ND Dulin, James Co. L Died 2/20/1865 at Sioux City[body not recovered] IA Hollinsworth, Ashberry Co. M Died 9/21/1864 [on the steamer "Alone"] no record of burial
correct_death_00083	FactBench	2	96	https://halfshellrecords.bandcamp.com/track/william-s-burroughs-died-for-our-sins	en	William S. Burroughs Died for Our Sins	https://f4.bcbits.com/im…0128719151_5.jpg	https://f4.bcbits.com/im…0128719151_5.jpg	[ "https://halfshellrecords.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://halfshellrecords.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif", "https://f4.bcbits.com/img/blank.gif", "https://f4.bcbits.com/img/0002975803_100.png", "https://f4.bcbits.com/img/a0128719151_16.jpg", ...	[]	[]	[ "" ]	null	[]	2012-06-16T00:00:00+00:00	William S. Burroughs Died for Our Sins by HALF SHELL RECORDS, released 16 June 2012	en	https://f4.bcbits.com/im…0128719151_3.jpg	HALF SHELL RECORDS	https://halfshellrecords.bandcamp.com/track/william-s-burroughs-died-for-our-sins
correct_death_00083	FactBench	0	60	https://p-rr-tt.org.uk/NA/williamquaker.shtml	en	William Parrott of Talbot Co., Maryland			[ "https://p-rr-tt.org.uk/NA/o-line.jpg", "https://p-rr-tt.org.uk/NA/NA-Graphics/thecage.jpg", "https://p-rr-tt.org.uk/NA/o-line.jpg", "https://p-rr-tt.org.uk/NA/o-line.jpg", "https://p-rr-tt.org.uk/NA/NA-Graphics/Md Will Seals.JPG", "https://p-rr-tt.org.uk/NA/o-line.jpg", "https://p-rr-tt.org.uk/NA/o-lin...	[]	[]	[ "" ]	null	[]	null			p.ico		null	1. William Parrott Sr. died on 11 May 1669 in Talbot Co., Maryland. Notes: From Links that Bind: "William Parrott Planter, thought to be in the Province of Maryland by 1649 owned land in both Calvert and Talbot and is accredited with building "The Cage" in Calvert County. He died in 1668 in Talbot County. William was a Justice of the Provincial Court and was also a member of the Commission authorized to treat with the Indians in 1654. William Parrott of Marshy Point and Parrotts Cage, in some records is shown as keeper of a Vinyard, and he mentions his fruit trees in his will in 1668." Webmaster's note: William was actually appointed on 23 March 1656/7 as a "commissioner for the well Ordering, directing and Governing the affaires of Maryland" http://msa.maryland.gov/msa/speccol/sc2600/sc2685/html/gov06.html "Two land grants to William Parrott on Patuxent River were near land of Robert Warren. The land grants received in 1658 states William Parrott hath transported himself and family "into _s our Province to inhabit". -One grant was for the total of 400 acres in Patuxent River and the other for 250 acres in Patuxent River. Appears on the rent rolls for Lord Baltimore, having obtained land on the Herring Creek Hundred in 1653. A list of land patents to William Parrott included: - 250 acres, "The Cage". Tract Poppingay, Patent 500, Calvert County, 1659. - Tract Charley, 1658 S1:. Marys County, 400 acres. - Tract Partlett, now Talbot County, 100 acres, 1659. - Tract Edmonsons' Reserve, now Dorchester County, patent 1050. - Tract Marshy Point, 1665, Talbot county, 100 acres As is shown by his will William Parrott was a large landowner. In his will he mentions acreage amounting to 2,900 acres. ============== Parrott v. Brasse: Whereas Willm Parrott hath petitioned the Court for reparation in his credit, agst Alice Brasse, Shewing how tht the sd Brasse being his servant, & hee correcting her, scandalously reported how her sd Master had broake Two of her ribbs, & that if shee dyed wth in a twelve month shee would lay her death to him, &c : Capt Sampson waring sayth, tht being att Mr Stanleys, Mr Stanley requested him & James Veitch, & Mr Willm Coursey, to goe in & see his servant hee had bought of Mr Parrott, And shee seemed then to bee lame & sayd tht if shee dyed, Mr Parrott was the occasion of her Death by unreasonably beating her wth a great stick. And that shee thought tht hee had broken one or Two of her ribbs, And this Depont sayth tht shee then att tht time lay, as if shee were dying, but the next morning shee went about her business in dressing Victualls, & righting up the howse. James Veitch Jurat idem uerbatim quod Capt Waring, Anne Neuell sayth tht Veiwing Anne Brasse & searching her, shee fownd her all black & blew over one of her shoulders & over the back & sweld downe the back. Mr Stanley informeth the Court, tht it was a fortnight or three weekes after Anne Neuell searched her, from the time Mr Parrott beate her & tht it was wth a stick, as big as her little finger, & tht shee still complaines of the payne in her back. The Judgmt of the Court is There appeares noe cause of Accon & both parties dismissed. *** Proceedings of the Provincial Court, 1658-1662, Volume 41, Page 268: Parrott v Brasse: Mr Willm Parrott demands warrt agst Alice Brasse in an accon of Defamaon. Writt to the Sheriffe of Calvert County to bring Anne Brasse to Court to iustify her allegaon. Writt to warne Capt Sampson Waring & James Veitch to testify in dit. Caan sub poen. 500l Tob. each, pro plf . Writt to the Sheriffe of Caluert County to warne Anne Neuell to testify in dit pro deft, att Mr Hugh Stanleys request. Sub poena 500l Tob. Ret. ut supra. *** From: Stein, Charles Francis. 1961. A History of Calvert County Maryland. 2nd Ed. Schneidereith & Sons, Baltimore, MD: "Another Puritan who settled in St. Leonard's Creek Hundred, was William Parrott, one of the Puritan Commissioners of Calvert County in 1654. The well proportioned old brick house still standing on the shores of the Patuxent River about midway between St. Leonard's Creek and Battle Creek marks the site. It is known as Parrott's Cage, or simply, The Cage. This property has been in the possession of the Parran family for many generations and is one of the finest plantations in Calvert County." "William Parrott served also as an Associate Justice during part of the Puritan era." "St. Leonard's Creek Hundred was settled at a very early date, and most of its choicest locations came into the possession of Cavalier families, such as the Brookes, the Broomes, and Attorney-General Richard Smith, and of the original group of Puritans, such as Peter Johnson, Robert Taylor, and William Parrott." [Note: the following passage has at least 2 innacuracies. First, it states William was a Huguenot, simply because there are records for Parot Huguenots in England. This conclusion totally ignores the fact that there were also Perrots in England, who were not of Huguenot origin. Secondly, there is no proof Gabriel was son of William, and it must be explained why William does not mention Gabriel in his will. There is no documentation that supports that the Benjamin mentioned is a descendant of Gabriel, as he is not mentioned in his will or any other document; however the possibilty cannot be excluded.] "William Parrott was one of the Puritan settlers of lower Calvert County. In 1652 he received a grant of The Cage, sometimes called "Parrott's Cage," a plantation on the Patuxent River, about midway between St. Leonard's Creek and Island Creek. Like many of the Puritans, the Parrott family were French Huguenots. Their name appears on the early Huguenot records in England as Parot. William Parrott was a Justice during the Puritan era, and held other offices. He owned lands in Anne Arundel County and in Prince George's County, as well as in Calvert. He had a son, Gabriel Parrott, who resided for the most part in Anne Arundel County. His daughter Susannah Parrott, married George Parker II, and and after his death she became the wife of Col. John Mackall. Many famous men and women of later generations trace their ancestry back to the Parrott family though this marriage. Benjamin Parrott, who is listed on the Rent Rolls as the owner of Stoakley, was probably a son of Gabriel Parrott. He seems to have been the last of the men of the Parrott family to have resided in Calvert County." William married Unknown. Notes: Last name might have been Jenkinson. Son Henry mentions two cousins in his will, Jacob Abrahams and Emanuwill Jenkenson. Jacob Abrahams was his step-cousin. Children from this marriage were: + 2 M i. William Parrott Jr. died on 9 Jan 1696 and was buried in Talbot Co., Maryland. + 3 M ii. Henry Parratt Sr. died before Oct 1685 in Talbot Co., Maryland. William next married Ann Abrahams, daughter of Isaac Abrahams Sr. and Eliza Unknown, by 1667. Ann died after 1679. Notes: August 1669-- William and Henry sell house and plantation to Ann Parrott, mother-in-law Children from this marriage were: + 4 M i. George Parrott Sr. was born in 1652 in Talbot Co., Maryland and died before 1692 in Talbot Co., Maryland. + 5 M ii. Benjamin Parrott Sr. was born in 1654 and died on 18 May 1724 in Talbot Co., Maryland, at age 70. Second Generation (Children) 2. William Parrott Jr. (William Sr.1) died on 9 Jan 1696 and was buried in Talbot Co., Maryland. Notes: William Parratt, will, 9 Jan 1696, proved 18 Mar 1696 (Liber 7, ff. 271-273, MSA SM16-12, Microfilm no. SR 4403)--Abstract. â To be buried at Tuckahoe [Quakers]. â To sons Jno. Parrat and William Parrat, dwelling plantn,. exc. parcel on contr. side of Creek adj. Thomas Taylor's plantn., to be div. beg. at head of Branch btw. brother Henry Parrat's plantn., through Old Field to Old Spring. â To sons Jno Parrat & William Parrat, 100 ac. of land in Dorcett Co., "Edmondses Reserve," adj. Thomas Harvey. â To dau. Rebecca Parratt, "Strawberry Fields Addition" (50 ac.) near Beaver Dam. â To dau. Hannah Parratt, land of dwelling plantn. on contr. side of Creek as excd. above. â To daus. Rebecca and Hannah, 100 ac. of land, pt. of "Edmondsones Reserve," adj.brothers pt. as above. â Personal estate to be div. btw. 5 chldn: Jno. Parratt, William Parratt, Elizabeth Kerwick, Rebecca Parratt, Hannah Parratt. â Exec: friend Jno. Pemberton, son Jno. Parratt. â Wit: Jno. Morgan, Brian Mounticue/Mountacue [mark], Jno. Dawsone [mark], William Makeing/Mackeining [mark] â Proved 18 Mar 1696 by Morgan, Mountacue, Dawsone, Mackeining on oath. Pemberton renounces executorship. William married Sarah Morgain on 30 Nov 1669. Children from this marriage were: 6 F i. Rebecca Parrott was born in Talbot Co., Maryland and died in 1725. Rebecca married Richard Webb on 1 May 1700 in Third Haven Meeting, Talbot Co., Maryland. Richard was born on 18 Apr 1673 in Talbot Co., Maryland and died in 1719 in Talbot Co., Maryland, at age 46. Rebecca next married Caleb Clark on 5 Apr 1721 in Talbot Co., Maryland. Caleb was born on 5 Apr 1721 in Talbot Co., Maryland. 7 F ii. Hannah Parrott was born in Talbot Co., Maryland. Hannah married John Baggs in Sep 1708. 8 F iii. Elizabeth Parrott was born on 22 Dec 1670 in Talbot Co., Maryland and died on 27 Apr 1710 in Talbot Co., Maryland, at age 39. Elizabeth married Michael Kirby. Michael died on 18 May 1724 in Talbot Co., Maryland. + 9 M iv. John Parrott was born on 23 Nov 1672 in Talbot Co., Maryland and died in 1720 in Talbot Co., Maryland, at age 48. 10 F v. Sarah Parrott was born on 22 Oct 1674 in Talbot Co., Maryland and died before 1696. Sarah married Henry Clark on 21 Feb 1708. Henry died before 1723. 11 M vi. William Parratt III was born on 22 Mar 1677 in Talbot Co., Maryland and died in 1720 in Talbot Co., Maryland, at age 43. Notes: PREROGATIVE COURT (Wills) William Parratt, planter, will, 8 May 1720, proved 14 Jul 1720, Liber 16, ff. 119-122, MSA SM16-24, Microfilm no. SR 4410. Abstract: â To be buried at Tuckahoe Meeting. â To cousin Ann Parratt, dau of bro John Parratt, after dec. of wife Susanah Parratt, land I now live on, "Middle Spring" (50 ac). - To cousin John Kirby, etc. - To cousin Michael Kirby, etc. - To cousin William Kirby, etc. - To cousin David Kirby, etc. - To John Ralhel Jr., my gun. - To cousin Aron Parratt, my great Bible. - To cousin Benjamin Selvester, who now lives with me, etc., to be paid when "To age." - To cousin Elinor Selvester, who now lives with me, etc. - To wife Susanah, remaining part of personal estate. - Exec: wife Susanah - Wit: Mychal Kirby [mark], John Baggs [mark], E. Turner - Proved 14 Jul 1720 by Kirby & Baggs on oath, Turner affirm William married Susannah Silvester 10th day of 10th month called January 1704 in Tuccaho Meeting, Talbot Co., Maryland. Susannah died in 1752 in Talbot Co., Maryland. They had no children. 3. Henry Parratt Sr. (William Sr.1) died before Oct 1685 in Talbot Co., Maryland. Notes: - 26/7 February 1669, Henry, s/o William Parrott conveys Popinjay to Samuel Chew of Ann Arundell Co. Will, dated 24 June 1685 and probated 22 October 1685. Abstract: â To be buried at Tuckahowe Meetinghouse To son Henry Parratt, half of land I now live on, town lot, and remaining pt of "Parkers Neck." - To son Isaac Parratt, part of "Parkers Neck." - To eldest daughter Mary Parrot. - To son Isaac Parrat, "White Oake Swamp" (100 acres). - To servant girl Ann Cammell cow or sow if she relinquish cow given to her by former master George Allimby. - Goods & chattles to be div. amongst wife & children. Two old horses to wife. To son Henry a black mare. To dau. Mary a young sorrell mare. - Exec: wife Mary Parrat, brother Benjamin Parrot, cousin Jacob Abrahams, Emanuwill Jenkenson. - Sons to receive their share at age 18; daus. at age 17. Sons cannot dispose or sell their share until age 20. - Son Henry to live with his grandfather Henry Wallchurch. After his death, with Aunt Sarah, then his choice with a Friend [Quaker] from Tuckahoe Meeting. Daus. to live with wife. - Wit: James Morris, Francis Collins [mark], William Davison/Denisson, Benjamin Forbey Proved 22 Oct 1685, by Collins on oath & Forbey ref. to take oath. Morris is decd. Denisson is "not to be found. Henry married Elizabeth Woolchurch, daughter of Henry Woolchurch and Elizabeth Unknown, in 1669-1670 in Talbot Co., Maryland. Elizabeth was born in Talbot Co., Maryland and died on 16 May 1682 in Talbot Co., Maryland. Children from this marriage were: 12 F i. Mary Parrott was born on 10 May 1672 in Talbot Co., Maryland. Mary married George Pratt 2 5th month called July 1690 in Tuccaho Meeting, Talbot Co., Maryland. 13 F ii. Elizabeth Parratt was born on 8 Jan 1674 in Talbot Co., Maryland. Elizabeth married Obadiah Judkin Jr. 22 7th month called September 1692 in Talbot Co., Maryland. + 14 M iii. Henry Parrott Jr. was born on 30 Nov 1676 in Talbot Co., Maryland and died circa 1746 in Talbot Co., Maryland, about age 70. 15 F iv. Catharine Parratt was born on 17 Jan 1678 in Talbot Co., Maryland. Catharine married Thomas Buckingham 3 12th month called February 1697 in Talbot Co., Maryland. + 16 M v. Isaac/Isaiah Parratt was born in 1683 in Talbot Co., Maryland and died in 1719 in Talbot Co., Maryland, at age 36. Henry next married Mary Bates 25 5th month called July 1683 in Third Haven Meeting, Talbot Co., Maryland. 4. George Parrott Sr. (William Sr.1) was born in 1652 in Talbot Co., Maryland and died before 1692 in Talbot Co., Maryland. Notes: Calculated birth date for George, by nancytelford1@me.com, May 7, 2023, 12:41 PM William Parrott sr.'s will (1669) states sons are of age at 21. See MD Wills v.1 p.337-339 (FHL digital film #007737513 images 180-181 of 545. 1) George Parrott: birth year calculated as 1652. George goes to court to establish that he is of age (21) 0n 18 Nov 1673. "The Court finding tht George Parratt sonn of William Parrott Late of this County deceased is at full Age hath ordered tht the said George Pratt Recede his Estate in to his ow Possession:" MSA vol 54 page 581. "Att a Court held for Talbott County By his Lordpps Justices of the Peace the Eighteenth day of Nouember in the 42th year of the Dominion off Caecilius & Annoq3 Dom: 1673" [18 Nov 1673] . MSA vol 54 page 580. Maryland State Archives online: volume 54 page 581 & page 580. Maryland State Archives Proceedings of the County Courts of Kent (1648-1676), Talbot (1662-1674), Somerset (1665-1668) George married Elizabeth Bodwell 3 11th month 1677 in Third Haven Meeting, Talbot Co., Maryland. Notes: "Whereas George Pratt of Talbot county in the province of Maryland and Elizabeth Parrott relic of George Parrott, spinster of the same county and province" Children from this marriage were: 17 M i. John Parrott . + 18 M ii. George Parrott Jr. died in 1719. 19 M iii. Francis Parrott died in 1710 in Queen Ann Co., Maryland. 5. Benjamin Parrott Sr. (William Sr.1) was born in 1654 and died on 18 May 1724 in Talbot Co., Maryland, at age 70. Notes: Benjamin Parrott of Talbot County planter in the province of Maryland 21st., of 8th month called October in the year 1680, in an assembly of the people of God at their meeting house at Henry Parrott's in the county aforesaid solemnly in the fear of God, took Elizabeth Keen of the aforesaid county spinster, to be his wife and the said Elizabeth Keen did then and there in like manner, take the said Benjamin Parrott to be her husband each of them promising to be faithful one to the other as husband and wife, so long as they should live in the presence of us. Among the witnesses: William, Henry, George, Elizabeth and Sarah Parrott. =========== Note: not clear which children belong to which wife. =================================== Calculated birth date for Benjamin, by nancytelford1@me.com, May 7, 2023, 12:41 PM William Parrott sr.'s will (1669) states sons are of age at 21. See MD Wills v.1 p.337-339 (FHL digital film #007737513 images 180-181 of 545. 2). Benjamin Parrott: birth year calculated as 1654. On the 6 Aug 1669 William Parratt & Henry Parratt recorded a deed of sale to their mother in law Ann Parratt for 1/2 the orchard/plantation until "our Brother Benjamin Parratt shall come of age (21). (Talbot Co., MD Land Records vol. 1 page 79). On the 9 Jun 1675 William Parratt, Henry Parratt, Gorge Parratt & Benjamin Parratt recorded deed of sale to Mr John Clemons. (Talbot Co., MD Land Records vol. 1 page 321-322. Benjamin married Elizabeth Keen 21 8th month called October 1680 in Talbot Co., Maryland. The child from this marriage was: 20 F i. Sarah Parrott was born on 22 Oct 1674 in Talbot Co., Maryland. Sarah married Henry Clark 21st day of 2nd month called April 1708 in Talbot Co., Maryland. Henry died before 1723. Sarah next married Unknown Dickinson. Benjamin next married Elizabeth Estell, daughter of Samuel John Estell, 6 2nd month called April 1697/98 in Tuccaho Meeting, Talbot Co., Maryland. Elizabeth was born in Talbot Co., Maryland and died before 1711 in Talbot Co., Maryland. The child from this marriage was: + 21 M i. Aaron Parrott Sr. was born in 1701 and died in 1759, at age 58. Benjamin next married Jane Clark 9 5th month called July 1704 in Tuccaho Meeting, Talbot Co., Maryland. Jane died in Nov 1746 in Talbot Co., Maryland. Children from this marriage were: 22 M i. Benjamin Parrott Jr. was born in Talbot Co., Maryland and died in 1728 in Talbot Co., Maryland. Notes: Benjamin Parratt Jr. of Talbot Co., Maryland, Planter. Will written 10 November 1728, probated 18 December 1728. â To sisters Mary Parratt, Hannah Parratt, Jane Parratt, Rebecca Parratt, and brother William Parratt, whole estate exc. "four folds accrueing by Law to me" fr. George Eaton & William Roberts, to Eaton & Roberts. â Exec: Joshua Clark â Wit: Edward Nedels, John Slaughtor [mark], William Goult [mark] â Proved 18 Dec 1728 by Nedles on oath, saw Goult sign, Slaughtor affirm Benjamin married Catherine Unknown. 23 F ii. Mary Parrott . 24 F iii. Hannah Parrott was born before 1713 in Talbot Co., Maryland. Hannah married James Powell 21 8th month 1729 in Talbot Co., Maryland. James was born on 16 Feb 1706 in Talbot Co., Maryland and died on 30 Oct 1734 in Talbot Co., Maryland, at age 28. Hannah next married Isaac Dobson on 20 May 1737 in Talbot Co., Maryland. Isaac died before 1747. Hannah next married Henry Alexander about 1748. 25 F iv. Eliza Parrott . 26 F v. Jane Parrott . Jane married Anthony Roe before Mar 1761 in Talbot Co., Maryland. 27 F vi. Rebecca Parrott . + 28 M vii. William Parrott was born in Talbot Co., Maryland and died before Mar 1748 in Talbot Co., Maryland. Third Generation (Grandchildren) 9. John Parrott (William Jr.2, William Sr.1) was born on 23 Nov 1672 in Talbot Co., Maryland and died in 1720 in Talbot Co., Maryland, at age 48. Notes: Great Choptank, Talbot Co. Will dated 13 April 1720; probated 26 April, 1720. Abstract: -To son Benjamin Parrott, plantn. I now inhabit â To only dau. Ann Parrott, land called "Hereford[?]" in Dorchester Co. (50 ac) â To Ruth Smith, riding gelding, etc. â To dau. Ann Parrott, etc. â Remaining personal estate to be div. btw. them. â Dau. Ann Parrott to be raised and educated by sister Rebecca Webb until age 16. If sister die, then to be commended to monthly or quarterly meeting. â Exec: James Willson Jr., son Benjamin Parrott â Wit: Michll. Kerby [mark], Joshu Clark [mark], John Kerby [mark] â Proved 26 Apr 1720 by M. Kerby and J. Kerby on oath, Clark John married Ann Unknown in 1696. Children from this marriage were: 29 F i. Anne Parrott . 30 M ii. Benjamin Parrott was born on 13 Jan 1696 in St. Peter's Parish, Talbot Co., Maryland. Notes: Mentions father, John, on 20 July 1728. Benjamin was 31 years old. Benjamin married Deborah Arey 27th day of 7th month called September 1728 in Tuccaho Meeting, Talbot Co., Maryland. 14. Henry Parrott Jr. (Henry Sr.2, William Sr.1) was born on 30 Nov 1676 in Talbot Co., Maryland and died circa 1746 in Talbot Co., Maryland, about age 70. Notes: - 14 March 1697/8-- Henry and wife Sarah convey 130 acres of Mannor of Canterbury on Treadaway Creek to James Berry [note: Elizabeth Woolchurch's (his mother) sister Sarah married James Berry] On 20 November 1705 Henry Parrott and his wife Sarah convey to Walter Trotter the plantation in Parrott's tenure; also a parcel of adjacent being part of Middle Spring formerly laid out for Henry Woolchurch near Kingstowne on Great Choptank River, and given by Woolchurch to old Henry Parrott and his wife Elizabeth, who formerly lived there and then was by said Henry devised to Henry Parrott his son, adjoining John Glover - a tract exchanged by old Henry with William Parrott - and land of Esaiah Parrrott - containing 150 acres. Also a lot in Kings Towne divided into lots which lot is the lot whereon Henry Parrott, Sr., formerly by Act of Assembly, built a house and the house and lot bequeathed to his son Henry. See PT IX:17 for additional notes. Henry married Sarah Taylor, daughter of Thomas Taylor and Elizabeth Marsh, 3 12th month called February 1697 in Third Haven Meeting, Talbot Co., Maryland. Sarah was born on 2 Oct 1681 in Talbot Co., Maryland. Children from this marriage were: + 31 M i. Isaiah Parrott was born before 1714 in Talbot Co., Maryland and died before 1751 in Talbot Co., Maryland. + 32 M ii. William Parrott . Henry next married Anne. Anne died on 11 Feb 1721 in Talbot Co., Maryland. 16. Isaac/Isaiah Parratt (Henry Sr.2, William Sr.1) was born in 1683 in Talbot Co., Maryland and died in 1719 in Talbot Co., Maryland, at age 36. Notes: Called Isaac in father's will, but Isaiah in wedding record. At September Court 1697, Ezaih (Isaiah?) Parrott, orphan of Henry Parrott, deceased, was ordered to serve William Sharpe until age 21, being now 12 years old. On 27 February 1719 Henry Parrott (Jr.) and his wife Anne convey to Hannah Parrott, relict of Isaiah Parrott, 150 acres, part of Middle Spring for her lifetime. The estate of Josias (ie, Isaiah) Parrott, with an inventory of Â£89.4.2, was administered on 30 August 1720 by Hannah Parrott the adminstrix. William Goult, planter of Talbot Co (2nd husband of Hannah Clark) names Leah Parratt in his will, dated 16 November 1728. On 8 August 1729, a valuation was made of a part of Middle Spring belonging to the orphan of Isaiah Parrott, deceased, near Kings Towne now in possession of Joshua Clark, guardian of the orphan. Isaac/Isaiah married Hannah Clark 9th day of 9th month called November 1709 in Tuccaho Meeting, Talbot Co., Maryland. Children from this marriage were: 33 M i. Isaiah Parratt . Notes: On the 26th day of the 12th month, it was judged at the Third Haven Meeting that Joshua Clark had a right to the guardianship of Iasiah Parrat. 34 F ii. Leah Parratt . 18. George Parrott Jr. (George Sr.2, William Sr.1) died in 1719. Notes: Inherited a portion of Thornton from his father. The estate of George Parrott was appraised on 3 October 1733 by Solomon Robinson and Adam Brown. The personal property was appraised at Â£7.6.7. George married Hannah Martin, daughter of Thomas Martin. Children from this marriage were: 35 F i. Elizabeth Parrott was born on 13 Dec 1701 in Talbot Co., Maryland and was christened on 20 Jul 1702. Elizabeth married Matthew Jenkins. + 36 M ii. Joseph Parrott Sr. was born in Talbot Co., Maryland and died in 1751 in Talbot Co., Maryland. + 37 M iii. Francis Parrott was born in Talbot Co., Maryland and died in 1761. + 38 M iv. Abner Parrott Sr. was born in Talbot Co., Maryland and died in Nov 1760 in Talbot Co., Maryland. 39 M v. George Parrott III died in 1733. 21. Aaron Parrott Sr. (Benjamin Sr.2, William Sr.1) was born in 1701 and died in 1759, at age 58. Notes: On 10 March 1737 Aaron Parrott, wheelwright, and his wife Lydia, convey to Anthony Booth 100 acres, part of Bloomsberry. PREROGATIVE COURT (Wills) Aaron Parrott, will, 19 Nov 1758, proved 13 Mar 1759, Liber 30, ff. 668-669, MSA SM16-45, Microfilm no. SR 4424-2. Abstract: \endash To wife, dwelling plantn., part of "Kingstone" and part of "John Neck" \endash To son Aaron, after wife's decease, her land. If he die w/o issue, then half each to sons William and Benjamin. \endash If son Aaron marry before wife's decease, half of lands and house on dwelling plantn. \endash To son Benjamin, land he now dwells on, part of above lands. If he die w/o heirs, then to son William. \endash To son William, part of "Cool Springs" in Queen Anne's Co. (200 ac). Son Aaron to build a dwelling house on "Cool Springs" after William arrives at age 21. \endash Personal estate to be div. equally btw. wife and sons & daughters. Son Benjamin to receive Â£60 less due to goods already recd. \endash Exec: Sons Benjamin and Aaron \endash Wit: Jonathan Tyler, John Tyler, Elizabeth Tyler [mark] \endash Proved 18 Mar 1759 by Jonathan Tyler (Quaker) affirm, John & Elizabeth Tyler on oat The estate of Aaron Parratt, with a balance of Â£512.14.8, was distributed on 3 June 1762 by Aaron Parratt, acting executor. A third went to the widow. The rest went to Benjamin, Aaron, Elizabeth (wife of Thomas Powell), Mary (wife of James Thomas), and William Parratt. Aaron married Lydia Kenton, daughter of William Kenton and Rebecca Dudley, on 30 Sep 1724 in Third Haven Meeting, Talbot Co., Maryland. Lydia died in 1768. Notes: PREROGATIVE COURT (Wills) Lydia Parratt, will, 13 Feb 1766, proved 4 Aug 1768, Liber 36, ff. 585-586, MSA SM16-52, Microfilm no. SR 4430. Abstract: â To son William Parratt, negro woman named Hagar, negro girl named Minte, etc. â To grandson James Thomas, negro boy named Preston â To daus. Elizabeth Powell and Mary Thomas, equally div. wearing clothes â To son Aaron Parratt, Â£5; he to be at expense to bury her â To son Benjamin Parratt and Thomas Powell, residue of estate to be div. btw. them â Exec: Son Benjamin Parratt and William Parratt; George Dudley, Edward Nedals to "value divid and settle" the estate â Wit: Edward Nedels, Vincent Price â Proved 4 Aug 1768 by Nedels and Price on oath Children from this marriage were: 40 M i. William Parrott was born in Talbot Co., Maryland. + 41 M ii. Benjamin Parrott III was born about 1731 in Talbot Co., Maryland and died in 1773 in Talbot Co., Maryland, about age 42. 42 F iii. Elizabeth Parrott was born in Talbot Co., Maryland. Elizabeth married Thomas Powell. Thomas was born on 5 Mar 1711 in Talbot Co., Maryland and died in 1772 in Talbot Co., Maryland, at age 61. 43 F iv. Mary Parrott was born in Talbot Co., Maryland. Notes: Had 3 sons: William, James and David., all b in Talbot Co. Mary married James Thomas, son of William Thomas and Joanna Powell. James was born on 18 May 1739 in Talbot Co., Maryland and was buried in 1771 in Kent Co., Maryland. Notes: Will written 26 Oct 1770, proved 28 Jan 1771; eldest son was heir. Mary next married Aquilla Page. + 44 M v. Aaron Parrott Jr. was born in 1737 in Talbot Co., Maryland and died before 1786. 28. William Parrott (Benjamin Sr.2, William Sr.1) was born in Talbot Co., Maryland and died before Mar 1748 in Talbot Co., Maryland. William married Mary Harwood, daughter of Peter Harwood and Elizabeth Taylor, about 1746. Mary was born about 1703 in Anne Arundell Co., Maryland and died in 1747 in Talbot Co., Maryland, about age 44. The child from this marriage was: 45 F i. Mary Parrott was born about 1747. Fourth Generation (Great-Grandchildren) 31. Isaiah Parrott (Henry Jr.3, Henry Sr.2, William Sr.1) was born before 1714 in Talbot Co., Maryland and died before 1751 in Talbot Co., Maryland. Notes: On 9 September 1746 Isaiah Parrott conveys to William Parrott, wheelwright, 65, a part of Canterbury Manor whereon Isaiah Parrott now dwelled and late in the tenure of Arthur Connor, deceased, adjacent part purchased by George Robins in his lifetime purchased of Henry Parrott, lately deceased, father of Isaiah. The estate of Isaiah Parrott was appraised by Pollard Edmondson and Nicholas Glen, and valued at Â£172.4.6. Next of kin were William Parrott and Joshua Hopkins. Inventory filed on 14 June 1751. On 18 July 1752, the administrix of the estate, Susannah (his widow) and now wife of James Woolcott. After expenses, the remaining was distributed among her 3 children, Sarah, Henry and Elizabeth. Isaiah married Susannah Hopkins, daughter of Dennis Hopkins and Elizabeth Unknown, on 28 Aug 1734 in Third Haven Meeting, Talbot Co., Maryland. Susannah was born in Talbot Co., Maryland. Notes: 27 November 1739, Elizabeth Hopkins, widow of Dennis Hopkins, gives her daughter, Susannah Parrott, wife of Isaiah Parrott and their children, a negro woman named Jenny. Children from this marriage were: + 46 M i. Henry Parrott was born in Talbot Co., Maryland and died in 1793 in Talbot Co., Maryland. 47 F ii. Sarah Parrott . 48 F iii. Elizabeth Parrott . 32. William Parrott (Henry Jr.3, Henry Sr.2, William Sr.1). Notes: From PT 10:71: "The other William, Vol 29 pq 4, is not in the abstracts. he was, I (Pat Freselli) believe, the son of Henry Parrott of Canterbury manor. In an oral will he mentions sons - Thomas & William, wife Penelope and other children unnamed. A distribution of his estate names all of his children: Ruth Mullikin, Thomas, William, Rosanne and James. He married Penelope Sherwood in 1749 and I believe his first wife was Rosanne Clark - 1734." Not sure if all children are from first wife. William married Rosanne Clark in 1734. Children from this marriage were: 49 F i. Ruth Parrott . Ruth married Mullikin. 50 M ii. Thomas Parrott . 51 M iii. William Parrott . 52 F iv. Rosanne Parrott . 53 M v. James Parrott . 36. Joseph Parrott Sr. (George Jr.3, George Sr.2, William Sr.1) was born in Talbot Co., Maryland and died in 1751 in Talbot Co., Maryland. Notes: On 21 May 1735 Joseph and Mary Parrott convey 100 acres to Thomas Martin, gent., Atwell, on the south side of Island Creek, along with 50 acres of Thorny Close. Children who were recipients of his estate's distribution on 21 December 1751: George (the administrator), James, Perry, Margaret, Joseph, Richard and Elizabeth. Joseph married Mary. Mary died about 1764 in Talbot Co., Maryland. Children from this marriage were: 54 F i. Margaret Parrott died young in Talbot Co., Maryland. 55 M ii. Joseph Parrott Jr. died in 1733 in Talbot Co., Maryland. Notes: On 21 September 1733, the estate of Joseph Parrott, worth Â£17.14.0, was distributed by Perry Parrott, administrator, with Richard Parrott and James Dawson as sureties. Distribution was to the brothers and sisters of the deceased: George, Jane, Perry, Margaret, Richard, and Mary wife of William Littleton. 56 F iii. Elizabeth Parrott . 57 F iv. Mary Parrott . Mary married William Litttleton. 58 M v. George Parrott was born on 20 Apr 1730 in Talbot Co., Maryland. George married Mary Brown. 59 F vi. Hannah Parrott was born on 1 Jul 1732 in Talbot Co., Maryland. 60 M vii. James Parrott was born on 17 Feb 1733. + 61 M viii. Peregrine "Perry" Parrott was born in 1736 and died in 1795, at age 59. + 62 M ix. Richard Parrott Sr. died in 1786 in Talbot Co., Maryland. 37. Francis Parrott (George Jr.3, George Sr.2, William Sr.1) was born in Talbot Co., Maryland and died in 1761. Notes: Will dated 9 June 1761, proved 23 June 1761. To children John, Abner, and Mary, slaves. Daughter Mary Parrott should give son John Parrott stock-- (first colt that my bay mare brings, and second colt that my said mare brings to son Abner Parrott) Remainder to rest of children: James, George, Hannah wife of Henry Alexander, Elizabeth wife of Nicholas Holmes. Estate was appraised at Â£148.0.3, and was distributed to heirs on 8 March 1767. Francis married Rosanna Lord on 27 May 1736. Children from this marriage were: 63 M i. James Parrott was born on 22 Nov 1736. 64 F ii. Hannah Parrott was born on 25 Mar 1738. Hannah married Henry Alexander. 65 F iii. Elizabeth Parrott was born on 20 Jan 1739. Elizabeth married Nicholas Holms. 66 M iv. George Parrott was born on 21 Feb 1741. 67 F v. Mary Parrott was born on 4 Jul 1744. 68 M vi. John Parrott was born in May 1746. John married Mary Dobson. + 69 M vii. Captn Abner Parrott was born about 1752 in Talbot Co., Maryland and died on 29 Apr 1809 in Baltimore, Baltimore Co., Maryland, about age 57. 38. Abner Parrott Sr. (George Jr.3, George Sr.2, William Sr.1) was born in Talbot Co., Maryland and died in Nov 1760 in Talbot Co., Maryland. Notes: PREROGATIVE COURT (Wills) Abner Parratt, will, 14 Nov 1760, proved 23 Dec 1760, Liber 31, ff. 169-170, MSA SM16-46, Microfilm no. SR 4425-1. Abstract: â To wife Margaret, two negroes, Nell & Ben â To dau Mary, one negro woman, Rachel, etc. â To dau Elizabeth, one negro woman, Sal, & unborn child â To son Abner, one negro boy, Dick â To son William, one negro boy, Peter â To dau Hannah, one negro boy, Jem â To children Abner, William, Hannah, wife's son Mark, clothes â Personal estate to be div. btw. 5 children after wife's third â Exec: wife Margaret, Mathew Jenkins â Wit: D. Dickenson, James Berry, Peter Coxe â Proved 23 Dec 1760 by Berry (Quaker) affirm, Cox on oath PREROGATIVE COURT (Balance Books) Abner Parrott, estate distribution, 26 Jun 1764, Liber 4, fol. 40, MSA SM9-4, Microfilm no. Roll 11-2. Abstract: â Exec: Margaret Parrott, Mathew Jenkins â Sureties: James Berry, Thomas Jenkins â To widow, one third â To dau Mary, legacy of one Negro woman, Rachel, etc. â To dau Elizabeth, legacy of one Negro woman, Sall â To son Abner, legacy of Negro boy, Dick â To son Wm., legacy of one Negro boy, Peter â To unnamed dau, legacy of one Negro man, Jem â Residue equally div. btw. children. Abner married Joanna Powell on 11 Feb 1740 in Talbot Co., Maryland. Joanna was born on 9 Jan 1716 in Talbot Co., Maryland and died in 1760 in Talbot Co., Maryland, at age 44. Another name for Joanna was Joanna Thomas. Children from this marriage were: 70 F i. Mary Ann Parrott was born on 27 Jul 1742 in Talbot Co., Maryland. Mary married Thomas Delehay. 71 F ii. Elizabeth Parrott was born on 17 Feb 1744. Elizabeth married John Littleton. + 72 M iii. Abner Parrott Jr. was born in 1748 in Talbot Co., Maryland and died in 1792 in Talbot Co., Maryland, at age 44. 73 M iv. William Parrott was born in 1752 in Talbot Co., Maryland. 74 F v. Hannah Parrott was born in 1755 in Talbot Co., Maryland. Abner next married Margaret Unknown. 41. Benjamin Parrott III (Aaron Sr.3, Benjamin Sr.2, William Sr.1) was born about 1731 in Talbot Co., Maryland and died in 1773 in Talbot Co., Maryland, about age 42. Notes: NOTE** No proof this Benjamin was son of Benjamin Jr. In the absence of information of his parents, he is being placed here until further information comes along. ============= Will dated 1 March 1773, probated 1 June 1773. To wife Mary Parratt, excx, dwelling plantation during life then to son Thomas Parratt, if he die without issue to my son William Parratt. Also two negroes to my wife. To son James Parratt, my lands in Queen Anne county, if he die without issue to may son Aaron Parratt. To daughter Elizabeth Parratt, one negress, if she have any children before my daugher marries, the eldest to her, if any more equally between sons Aaron and William Parratt. To son Thomas Parratt, one negress, if she have any children the first born to my son James, any more equally between sons Aaron and William Parrott. To son Aaron one negro if he die without issue to my son William. If he die without issue to my son Thomas Parratt. To children residue of estate equally. Test: George Dudley, William Love, Sarah Parrott. Inventories of Benjamin Parratt, Talbot County, June 26 1773. Appraised by Richard Jones, Solomon Neally. Kindred Aaron and William Parratt. Sum of 349/13/11 3/4 pounds. March 3, 1774. Mary Parratt, excx. Benjamin married Mary Ann Wilson 5th day of 3rd month called March 1755 in Talbot Co., Maryland. Notes: The case of Mary Ann is mentioned in the October & November meetings at Third Haven, 1779. In the records of the meeting of the 12th month, 1779 the issue is made clear: "The Friends appointed to visit Mary Ann Parrot for holding slaves gave this satisfactory information, that they saw her execute a manumission for two negroes, which appeared to be all in her possession, she had a right to a manumitt." Children from this marriage were: 75 M i. Thomas Parrott . 76 M ii. William Parrott . 77 F iii. Elizabeth Parrott . 78 M iv. Aaron Parrott . Notes: This is probably the same Aaron Parrott mentioned in the Third Haven records. Section 311, 28th day of 5th month, 1778. "The report of the committed appointed to visit those possessed of slaves was again read, according to the direction of last meeting and the case of Aaron Parrott, as mentioned, therein, having become the subject of our solid consideration, the meeting therefore appoints James Berry and Howell Powell to visit him again." Section 313, 25th day of 6th month, 1778. "One of the friends appointed to visit Aaron Parrott reports that he has had an opportunity with him and that he does not appear in a disposition to comply with the direction of the yearly meeting in regard to slave keeping and he then charging him with the reports prevailing of his drinking to excess, and having taken an affirmation, which he apprehend enjoins him to contribute to the war, the truth of which he acknowledged his case is continued, another month at the request of Joseph Berry and Daniel Wilson." Section 316, 30th day of the 7th month of 1778. "The friends under whose care the case of Aaron Parrott, was left report that they have had an opportunity with him and that he does not appear, desirous, as in a capacity to make satisfaction-- for his dis-orders, but at the request of Solomon Seal his case is referred to our next meeting. Section 317, 27th day of 8th month of 1778. "The friend under whose care the case of Aaron Parrott was left reports that he does not find him disposed to make satisfaction for his disorders, therefore James Berry is appointed to draw testimony against him and produce it at our next meeting." Section 318, 24th day of 9th month of 1778. "The friend appointed to prepare a testimony against Aaron Parrot- complied therewith, which being read and approved was signed on be-half of the meeting by the clerk, Daniel Wilson is appointed to present it to his view and if he declined appealing to publish it by reading it at the close of a first day meeting at Tuccaho." Sections 322 & 323. By all which it manifestly appears that a dark and libertine spirit has prevailed over him and that he ought to be openly testified against as a person, who disregards the truth and has resisted the dictates thereof, in his own heart, which has brought a wound on himself, and a scandal on our proffession, therefore for clearing the truth as far as is in us lies, we do disown the said Aaron Parrot, as a member of our religious society until by sincere repentance and ____ of wife, he comes to sight and sense for his sorrowful condition and condenms the same to the satisfaction of this meeting, the which is our desire-given fourth from our montly meeting, at Third Haven, 26th day of eleventh month, 1778, signed in and on behalf thereof by Wm. Edmondson clerk this time." + 79 M v. James Parrott was born on 7 Jul 1761 in Talbot Co., Maryland and died on 2 Feb 1813 in Talbot Co., Maryland, at age 51. 44. Aaron Parrott Jr. (Aaron Sr.3, Benjamin Sr.2, William Sr.1) was born in 1737 in Talbot Co., Maryland and died before 1786. Notes: Aaron Parratt, of Talbot Co., being Quaker, age 24, solemnly affirmed on the 3rd day of the 3rd month, 1761, that 25 January last, he was sent for by Hannah Alexander as witness to her will. Aaron married Mary Neal, daughter of Francis Neal and Elizabeth Unknown, 3rd day of 1st month 1763 in Third Haven Meeting, Talbot Co., Maryland. Children from this marriage were: 80 F i. Lydia Parrott . Lydia married Isaac Cox 2nd day of 8th month 1786 in Choptank Meeting, Talbot Co., Maryland. Isaac was born on 11 Nov 1759 and died on 28 Feb 1795, at age 35. Lydia next married Thomas Pearson on 19 Jul 1798 in Choptank Meeting, Talbot Co., Maryland. Thomas was born in Reading, Pennsylvania. + 81 M ii. Aaron Parrott III . + 82 M iii. Benjamin Parrott died in Talbot Co., Maryland. Fifth Generation (2nd Great-Grandchildren) 46. Henry Parrott (Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born in Talbot Co., Maryland and died in 1793 in Talbot Co., Maryland. Notes: Evaluation of the land of Henry Parrott, orphan son of Isaiah Parrott, was made on 18 November 1751. All information on his descendants from file of Otto Palfenier and Parrott Talk 10:66, which in turn cites PARROTT FAMILY:Bible Records Source:Loretta Beck Parrott Henry married Susanna James. Children from this marriage were: + 83 M i. William James Parrott was born on 20 Feb 1755 in Talbot Co., Maryland and died on 20 Aug 1854 in Blooming Grove, Franklin Co., Indiana, at age 99. 84 M ii. Isaiah Parrott was born in 1758 in Talbot Co., Maryland and died before 1793 in Talbot Co., Maryland. 85 F iii. Elizabeth Parrott was born in 1761 in Talbot Co., Maryland and died before 1793. 86 M iv. Henry Parrott was born in 1763 in Talbot Co., Maryland and died before 1772 in Talbot Co., Maryland. 87 F v. Susanna Parrott was born in 1765 in Talbot Co., Maryland and died before 1793. + 88 M vi. Perry Parrott was born on 7 Nov 1768 in Talbot Co., Maryland. 89 M vii. Leven Parrott was born in 1770 in Talbot Co., Maryland. Leven married Nancy. 90 M viii. Henry Parrott was born in 1772 in Talbot Co., Maryland and died in 1815 in Talbot Co., Maryland, at age 43. Notes: Was a tailor. PT 9:17 Henry married Elizabeth Hopkins in 1796. 91 M ix. James Parrott was born in 1773 in Talbot Co., Maryland and died by 1803 in Talbot Co., Maryland, at age 30. 92 M x. John Parrott was born in 1775 in Talbot Co., Maryland. 61. Peregrine "Perry" Parrott (Joseph Sr.4, George Jr.3, George Sr.2, William Sr.1) was born in 1736 and died in 1795, at age 59. Peregrine married Mary Denny, daughter of Peter Denny. The child from this marriage was: 93 F i. Mary Parrott was born in 1771. Mary married Howard Mullikin. 62. Richard Parrott Sr. (Joseph Sr.4, George Jr.3, George Sr.2, William Sr.1) died in 1786 in Talbot Co., Maryland. Richard married Elizabeth Edwards. Elizabeth died in 1788 in Talbot Co., Maryland. Children from this marriage were: + 94 M i. Richard Parrott Jr. was born in 1766 and died on 4 Jan 1823 in Georgetown, Washington, D.C., at age 57. 95 M ii. William Parrott . 96 F iii. Susannah Parrott died about 1806. Susannah married Joseph Hartley. Joseph died in 1784. Susannah next married Matthew Greentree. + 97 M iv. Joseph Addison Parrott was born calculated 1773 and died in 1819 in Louisiana, about age 46. 69. Captn Abner Parrott (Francis4, George Jr.3, George Sr.2, William Sr.1) was born about 1752 in Talbot Co., Maryland and died on 29 Apr 1809 in Baltimore, Baltimore Co., Maryland, about age 57. Notes: Sea Captain. See Parrott Talk 10:87 for list of children. "Captain Parrott's paternal grandfather (ie, Abner Parrott), however, had emigrated from Salem, Mass., to the eastern shore, following the Revolutionary war, in which he had operated the brig, Dolphin, as a privateersman. " From grandson's obituary, The Dayton Herald, 01 Jan 1934, pp 1 and 2. Abner married Abigail Flint. Abigail was born in Salem, Essex Co., Massachusetts and died on 27 Apr 1806 in Talbot Co., Maryland. Notes: "The captain's paternal grandmother was Abigail Flint, of a family which settled in Salem about 1643, going there from the west of England or from Wales." From grandson's obituary, The Dayton Herald, 01 Jan 1934, pp 1 and 2. Children from this marriage were: + 98 M i. Thomas Parrott was born on 3 Mar 1797 in Talbot Co., Maryland and died on 8 Feb 1884 in Dayton, Montgomery Co., Ohio, at age 86. + 99 M ii. William Parrott was born on 7 Jan 1799 in Talbot Co., Maryland and died on 7 Jan 1858 in Dayton, Montgomery Co., Ohio, at age 59. Abner next married Abigail Flint. Abigail was born in Salem, Essex Co., Massachusetts and died on 27 Apr 1806 in Talbot Co., Maryland. Notes: "The captain's paternal grandmother was Abigail Flint, of a family which settled in Salem about 1643, going there from the west of England or from Wales." From grandson's obituary, The Dayton Herald, 01 Jan 1934, pp 1 and 2. Children from this marriage were: 100 M i. Francis Parrott was born on 26 Apr 1787 in Talbot Co., Maryland and died in Apr 1841 in Dayton, Montgomery Co., Ohio, at age 54. 101 M ii. William Parrott was born on 20 Aug 1788 in Talbot Co., Maryland and died about 1792 in Talbot Co., Maryland, about age 4. 102 M iii. Joseph Parrott was born on 6 Oct 1790 in Talbot Co., Maryland and died on 12 Apr 1822 in Easton, Talbot Co., Maryland, at age 31. Joseph married Eliza D. Littleton on 12 Apr 1822 in Talbot Co., Maryland. 103 F iv. Phebe Parrott was born on 25 Jan 1793 in Talbot Co., Maryland and died on 31 Jan 1826 in Easton, Talbot Co., Maryland, at age 33. Phebe married Henry Thomas. 104 M v. Samuel Parrott was born on 1 Feb 1795 in Talbot Co., Maryland and died on 4 Feb 1795 in Easton, Talbot Co., Maryland. + 105 M vi. Thomas Parrott was born on 3 Mar 1797 in Talbot Co., Maryland and died on 8 Feb 1884 in Dayton, Montgomery Co., Ohio, at age 86. + 106 M vii. William Parrott was born on 7 Jan 1799 in Talbot Co., Maryland and died on 7 Jan 1858 in Dayton, Montgomery Co., Ohio, at age 59. + 107 M viii. George Parrott Esq. was born on 5 Apr 1801 in Talbot Co., Maryland and died on 28 Jan 1854 in Aiken, Aiken Co., South Carolina, at age 52. 108 M ix. James More Parrott was born on 8 Jan 1804 in Talbot Co., Maryland and died on 16 Feb 1816 in Talbot Co., Maryland, at age 12. 72. Abner Parrott Jr. (Abner Sr.4, George Jr.3, George Sr.2, William Sr.1) was born in 1748 in Talbot Co., Maryland and died in 1792 in Talbot Co., Maryland, at age 44. Notes: On 22 March 1762 a valuation was made of the land and plantation of Abner Parrott, orphan son of Abner Parrott; Matthew Jenkins guardian. On 13 January 1774, Abner Parrott and his wife Elizabeth convey to John Littleton 100 acres, all of Jamaica heretofore conveyed by Daniel Maynadier unto Abner Parrott his father. [Daniel Maynadier was the stepfather of Abner Parrott Sr.]. Information on additional descendants provided by Patricia Ann Parrott Frensilli. See PT IX:10 and X:85 Abner married Elizabeth Jenkins. Children from this marriage were: 109 F i. Hannah Parrott was born in 1771 in Talbot Co., Maryland and died in Dec 1836 in Talbot Co., Maryland, at age 65. 110 F ii. Mary Parrott was born in 1772 in Talbot Co., Maryland. 111 F iii. Elizabeth Parrott was born in 1773 in Talbot Co., Maryland. 112 F iv. Sarah Parrott was born after 1775 in Talbot Co., Maryland. 113 M v. William Parrott was born in 1781 in Talbot Co., Maryland and died before 1807. 114 M vi. Matthew Parrott died before 1795. 115 F vii. Margaret Parrott was born after 1784 in Talbot Co., Maryland and died before 1812. Margaret married Terrance Connolly on 20 Dec 1806. + 116 M viii. James Parrott was born in 1790 in Talbot Co., Maryland and died on 25 Jul 1880 in Talbot Co., Maryland, at age 90. 117 M ix. Abner Parrott III was born in 1791 in Talbot Co., Maryland and died on 21 May 1829 in Trappe, Talbot Co., Maryland, at age 38. 79. James Parrott (Benjamin III4, Aaron Sr.3, Benjamin Sr.2, William Sr.1) was born on 7 Jul 1761 in Talbot Co., Maryland and died on 2 Feb 1813 in Talbot Co., Maryland, at age 51. James married Sarah Hutchings on 29 Nov 1783 in Caroline Co., Maryland. Sarah died on 17 Feb 1802 in Talbot Co., Maryland. Children from this marriage were: 118 M i. Thomas Parrott was born on 2 May 1785 in Talbot Co., Maryland. Notes: This Thomas might be the one who m Elizabeth Corner, and whose 5th child was James C Parrott, b 21 May 1811 in Easton, Talbot Co. James became a general in the War. See PT 11:43. 119 F ii. Mary Parrott was born on 3 Mar 1787 in Talbot Co., Maryland. Notes: Birth date would be 1786 or 7. page is torn. 120 M iii. Benjamin Parrott was born on 17 Nov 1788 in Talbot Co., Maryland. 121 F iv. Rebecah Parrott was born on 16 Feb 1791 in Talbot Co., Maryland. Rebecah married Robert C. Kirby. 122 F v. Elizabeth Parrott was born in Jun 1795 in Talbot Co., Maryland. 123 M vi. William Hutchins Parrott was born on 3 May 1795 in Talbot Co., Maryland. 124 F vii. Lydia Parrott was born on 26 Mar 1799 in Talbot Co., Maryland and died before 1816. 125 F viii. Sarah Parrott was born on 10 Mar 1799 in Talbot Co., Maryland. Sarah married William Augustus Frederick Ceasar Kemp on 14 Jan 1817. William died on 2 Jan 1844 in Talbot Co., Maryland. James next married Frances Bowman. 81. Aaron Parrott III (Aaron Jr.4, Aaron Sr.3, Benjamin Sr.2, William Sr.1). Aaron married Rachel Bowers 22 3rd month 1797 in Choptank Meeting, Talbot Co., Maryland. Children from this marriage were: 126 M i. John Bowers Parrott was born on 22 Jan 1798 in Talbot Co., Maryland and died on 21 Nov 1846 in Talbot Co., Maryland, at age 48. + 127 M ii. Benjamin Parrott was born on 16 Aug 1799 in Talbot Co., Maryland and died on 21 Nov 1846 in Kent Co., Maryland, at age 47. 128 F iii. Guilielma P. Parrott was born on 4 May 1802 in Talbot Co., Maryland and died on 23 Apr 1846 in Talbot Co., Maryland, at age 43. 82. Benjamin Parrott (Aaron Jr.4, Aaron Sr.3, Benjamin Sr.2, William Sr.1) died in Talbot Co., Maryland. Benjamin married Sarah Parvin 19 6th month 1799 in Choptank Meeting, Talbot Co., Maryland. Sarah died in 1799 in Talbot Co., Maryland. The child from this marriage was: 129 M i. Benjamin Parvin Parrott was born on 27 Mar 1800 in Talbot Co., Maryland and was buried in 1825 in Maiden Creek, Pennsylvania. Sixth Generation (3rd Great-Grandchildren) 83. William James Parrott (Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 20 Feb 1755 in Talbot Co., Maryland and died on 20 Aug 1854 in Blooming Grove, Franklin Co., Indiana, at age 99. Notes: See Parrott Talk IX:49-50 and PT 10:63-66, 79. Also PT 11:42 William married Katherine Smith in Talbot Co., Maryland. Katherine was born in 1775 in Talbot Co., Maryland and died in 1798 in Talbot Co., Maryland, at age 23. Children from this marriage were: + 130 M i. Edward Parrott was born in 1792 in Talbot Co., Maryland and died in 1854 in Franklin Co., Indiana, at age 62. + 131 M ii. William Parrott Jr. was born on 4 Nov 1794 in Talbot Co., Maryland and died on 24 Jul 1879 in Blooming Grove, Franklin Co., Indiana, at age 84. + 132 M iii. James (Dave) Parrott was born in 1797 in Talbot Co., Maryland and died on 12 Feb 1832 in Turtle Creek, Warren Co., Ohio, at age 35. William next married Matilda Ann Tharp circa 1800. Matilda was born in 1776 in Talbot Co., Maryland. Children from this marriage were: + 133 F i. Elizabeth Parrott was born on 19 Jul 1801 in Maryland and died on 19 Dec 1892 in New Carlisle, Indiana, at age 91. + 134 M ii. Dr. Henry J. Parrott was born on 18 Jan 1803 in Maryland and died on 7 Mar 1879 in Delaware Co., Iowa, at age 76. 135 F iii. Lucretia Parrott was born on 14 Feb 1805 in Maryland and died on 12 Apr 1862 in Blooming Grove, Franklin Co., Indiana, at age 57. Lucretia married Ezekiel Bright on 30 Dec 1820 in Warren Co., Ohio. + 136 M iv. Thomas Parrott was born on 17 Jul 1809 in Maryland and died on 6 May 1870 in Dubuque Co., Iowa, at age 60. + 137 M v. John B. 'Jack' Parrott Sr. was born in 1814 in Talbot Co., Maryland and died on 24 Mar 1869 in Cascade, Dubuque Co., Iowa, at age 55. 138 F vi. Ann (Susanna James) Parrott was born on 30 Apr 1815 in Talbot Co., Maryland and died on 30 Jan 1906 in Blooming Grove, Franklin Co., Indiana, at age 90. Ann married Barnett McCombs on 25 Jun 1835 in Franklin Co., Indiana. Barnett was born on 27 Apr 1798 in Talbot Co., Maryland and died on 27 Aug 1849 in Blooming Grove, Franklin Co., Indiana, at age 51. + 139 M vii. Charles S. Parrott Sr. was born on 1 May 1818 in Turtle Creek, Warren Co., Ohio and died on 4 Nov 1907 in Exira, Audubon Co., Iowa, at age 89. 88. Perry Parrott (Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 7 Nov 1768 in Talbot Co., Maryland. Notes: Unconfirmed death place/date: 1812 in Lost City, Hardy, West Virginia Perry married Lucretia Watts on 20 Jul 1795 in Talbot Co., Maryland. Lucretia was born on 10 May 1773 and died on 26 Jan 1832 in Glasgow, Barren Co., Kentucky, at age 58. Children from this marriage were: + 140 M i. Samuel Watts Parrott was born on 8 Jan 1797 in Maryland and died on 3 Feb 1879 in Augusta, Hancock Co., Illinois, at age 82. 141 M ii. William Henry Parrott was born on 12 Dec 1798 in Talbot Co., Maryland and died in 1799, at age 1. + 142 M iii. Josiah Perry Parrott was born on 20 Jul 1800 in Easton, Talbot Co., Maryland and died on 29 May 1881 in Rushville, Schuyler Co., Illinois, at age 80. 143 F iv. Susan Ann Parrott was born on 4 Nov 1805 in Talbot Co., Maryland and died in 1861, at age 56. Susan married Samuel H. Benny on 22 Jun 1826 in Talbot Co., Maryland. Samuel was born in 1800 in Easton, Talbot Co., Maryland. 144 M v. Thomas Perry Parrott was born on 9 Dec 1807 in Talbot Co., Maryland and died on 9 Dec 1864 in Dayton, Montgomery Co., Ohio, at age 57. Thomas married Sarah F. 94. Richard Parrott Jr. (Richard Sr.5, Joseph Sr.4, George Jr.3, George Sr.2, William Sr.1) was born in 1766 and died on 4 Jan 1823 in Georgetown, Washington, D.C., at age 57. Notes: ============= http://www.friendsofpeircemill.org/the-mills-of-rock-creek/ Parrott's Mill. - Little is known about Richard Parrott's Georgetown Wool and Cotton Manufactory located approximately at the present corner of 27th and Q Street, near Dumbarton House on the heights above the creek. The mill, on the same road that served Lyon's Mill down on the creek, carded wool and spun cotton. It was in operation in 1813 and supported a household of five people. His home, "Elderalie," was north of Georgetown in what is now Montrose Park. Nothing remains of Parrott's Mill. ==================== The Union Bank of Georgetown, incorporated on February 18, 1811, included among its founders many names prominent in Georgetown's history - Samuel Davidson, Thomas Corcoran, Francis Dodge, Richard Parrott, John Teakle, among others. Walsh reports on the short life of the bank: Source: Georgetown Architecture--Northwest, Northwest Washington, District of Columbia: Historic American Buildings Survey Selections =========== William A. Gordon. 1915. Old Homes on Georgetown Heights. Source: Records of the Columbia Historical Society, Washington, D.C., 18: 70-91. Stable URL: http://www.jstor.org/stable/40066867 The last place to be mentioned is "Montrose," which lies west of "Oak Hill" and east of Lovers' Lane. It became the property of Richard Parrott by three con-veyances between 1804 and 1813. In one of the deeds the dam over the creek afterwards known as Lyon's Dam is mentioned, showing it was built over one hundred years ago. During the ownership of Parrott he used the level path along the side of the woods as a rope walk, rope being then in great demand for the numerous vessels visiting the port, and by the name "The Rope Walk" it was known to subsequent owners. In deeds as early as 1817 not only the rope walk but the gardens are mentioned, and from constant refer-ence in subsequent deeds to gardens they must have been show places for many years. In 1822 Parrott died, designating himself in his will as "of Elderslie adjoining Georgetown"; so it is probable that the place formerly bore the name of "Elderslie." His estate was much involved, and the property with the exception of the woodland on the east was sold under decree in chancery to Clement Smith in 1822. ============== 2. Biographical note on Richard Parrott: In his Chronicles of Georgetown, D.C., 1751-1878 (Washington, D.C., R. O. Polkinborn, 1878), Mr. Richard Jackson relates an incident which involved Mr. Parrott. "On the 26th of September, 1810, an ordinance was passed authorizing Richard Parrott to make a rope to survey the width of the Potomac River. "The rope was duly made was anchored on one shore, and men on the other began to pull the rope tight. It could not be done however: "the whole town could not draw the rope into a straight ine." It finally had to be pulled ashore and the Potomac was left unmeasured. (p. 37). https://cdn.loc.gov/master/pnp/habshaer/dc/dc0000/dc0002/data/dc0002data.pd ================ https://georgetownmetropolitan.com/2015/09/25/now-and-a-long-time-ago-montrose/ Our first knowledge of the present Montrose Park was as Parrott's Woods. Richard Parrott conducted there a "rope walk." It seems that when they made rope it was necessary to have a long, even stretch where the rope-makers walked up and down manufacturing the hemp into rope. And, of course, in this town with all its ships, the making of rope was a lucrative business. Mr. Parrott evidently was kind in loaning his property for picnics too, for again Mr. Gordon gives us vivid pictures of the Fourth of July annual picnic of all the Protestant Sunday schools. It seems to have been a huge affair, with flags and banners and rosettes of various colors adorning the scholars of the different schools. ============ https://georgetownmetropolitan.com/2010/05/14/battle-of-the-parks-which-is-your-favorite/ Montrose Park is on the northeast border of Georgetown between R St., Oak Hill Cemetery, Dumbarton Oaks (both the estate and the nature preserve) and Rock Creek Park. The land that became Montrose Park was owned by Robert Parrott a rope maker. The long walkway lit by gas lamps once served as the ropewalk where workers braided the rope. The lot was used by Georgetown families for recreation and was known as Parrott's Woods. In the early part of the 20th century, the land was proposed for a housing development (in fact a house once sat on the property). Sarah Louisa Rittenhouse and a group of other Georgetowners petitioned Congress to purchase the land for the benefit of the public. A memorial in her honor stands at the park's entrance. Richard married Jane Banning. Children from this marriage were: 145 F i. Eliza Ann Parrott . Eliza married Thomas W. Williams. + 146 M ii. William Henry Parrott was born in 1800 in Washington, D.C. and died on 28 Feb 1858 in Opelousas, St. Landry Parish, Louisiana, at age 58. 97. Joseph Addison Parrott (Richard Sr.5, Joseph Sr.4, George Jr.3, George Sr.2, William Sr.1) was born calculated 1773 and died in 1819 in Louisiana, about age 46. Joseph married Martha Brown in Louisiana. The child from this marriage was: 147 M i. Phillipe Parrott was born in Louisiana. 98. Thomas Parrott (Abner (Captn)5, Francis4, George Jr.3, George Sr.2, William Sr.1) was born on 3 Mar 1797 in Talbot Co., Maryland and died on 8 Feb 1884 in Dayton, Montgomery Co., Ohio, at age 86. Notes: Moved from Hamburg, SC to Dayton 1828. Thomas married Sarah Ridgeway Sullivan on 30 Dec 1822 in Dorchester Co., Maryland. Sarah was born in 1808 and died in 1883, at age 75. Children from this marriage were: 148 F i. Josephine Parrott was born on 23 Oct 1823 in Maryland and died on 25 Jul 1903 in Loveland, Hamilton Co., Ohio, at age 79. {FGID: 106839767} Notes: SWEETLY SLEEPS UNDER THE SOD Funeral of Mrs. Josephine Gaddis held Monday morning from Grace church NEPHEWS TENDERLY BORE REMAINS TO THE GRAVE. Relatives in Cincinnati Came on the Train Which Brought Remains of the Woman Who Was a True Type of Gentle Christianity All that was earthly of the venerable Mrs. Josephine Gaddie, mother of Thomas P. Gaddie of this city, whose death at her home in Cincinnati was announced exclusively in The News Saturday, was tenderly laid to rest in Woodland cemetery Monday morning. The remains were broughtt o (sic) Dayton at 9 o'clock and were taken at once to Grace church, where the funeral services were held at 10:30. The church was well-filled with relativs and friends and the services were beautiful and impressive. Rev. H.C. Hameson was assisted by Rev. J.J. McCabe of Raper M.E. church and Rev. Mr. Hammaker of the Riverdale M.E. church. After the services at the church the remains were taken to Woodland where they were interred in the family lot. The pallbearers were Mrssrs. Dwight Marfield, Carlisle Gaddis, Mills Matthews, Richard Fowler, John and Roger Parrott, nephews of the diseased. Members of the family and relatives accompanied the remains from Cincinnati and attended the funeral services. Death was the result of injuries received by Mrs. Gaddis by bieing thrown from a carriage in a runaway some two weeks ago. The death of Mrs. Gaddie was the closing of a beautiful life, a life spent in the practice of the virtues of Christian womanhood. She was Miss Josephine Parrott, daughter of Thomas Parrott of Maryland, and was the sister of Colonel E.A. Parrott of Oakwood, and Mrs. F.A. Matthes of North Perry street, who survive of a family of nine children. Che (sic) was married to Rev. Maxwell P. Gaddis in May, 1849, in the old Wesley chapel of this city. In later years she made her home in Dayton, until last fall, when with her daughters, she removed to Loveland, Cincinnati. The members of Mrs. Gaddis' family who survive her are Thomas P. Gaddis of this city and Rev. E.S. Gaddis, Miss Lucretia Gaddis, Miss Sara W. Gaddis and Miss Mary F. Gaddis, all of whom reside in Loveland. The Dayton Daily News, 27 Jul 1903, p 3 Josephine married Maxwell P. Gaddis on 1 May 1849 in Montgomery Co., Ohio. Maxwell was born on 9 Sep 1811 in Pennsylvania and died on 8 Sep 1888 in Ohio, at age 76. {FGID: 106839772} 149 F ii. Frances A. Parrott was born on 22 Mar 1826 in Hamburg, Aiken Co., South Carolina and died on 9 Mar 1909 in Dayton, Montgomery Co., Ohio, at age 82. Notes: DAYTON PIONEER OF NOTED FAMILY CALLED BY DEATH After an illness of ten days death at 6:30 Tuesday evening closed the earthly career of Mrs. Frances A. Matthews, mother of Judge Edwin P. Matthews. Death occurred at home, 20 N. Perry-st. Mrs. Matthews, with the exception of a few years, lived in Dayton continuously since 1828. She was born in Hamburg, S.C., March 22, 1826, and two years later her parents, Thomas and Sarah Parrott, came to Dayton in carriage from South Carolina. Other members of the family made the trip, including Mrs. Josephine Gaddis, mother of Thomas P. Gaddis, Marcus J. Parrott, Joseph S. Parrott, and Anna E. Parrott, all deceased. Other children were born at Dayton, among them Col. E.A. Parrott and H.E. Parrott. The Parrott home was located on what is now Troy-st., but which then in the country. Thomas Parrott headed what became a noted family, notable in the commercial, literary and social life of the city. When the Rebellion broke out, four sons were sent into the service, the father, then a manufacturer of linseed oil, being too old for martial duty. Mrs Matthews received her edication in the Dayton schools and at a seminary in Worthington, O. In 1857 she was wedded to Judge Fitch James Mattews, who died in 1866. Besides Judge Matthews and Miss Lucy K. Matthews, children, the following grandchildren survive Mrs. Matthews: Attorney W.M. Matthews, Miss Margaret Mattews, Edwin P. Mattews Jr., David T. Matthews, George T. Matthews and Mrs. E.M. Fullington, of Columbus. Mrs. Matthews was an active and honored member of Christ Episcopal church and always manifested strong interest in religious work. Her culture was pronounced, memory clear and intellect keen. Her memory served to permit the recital of many interesting sotries of early life in Dayton. She rode on the first train into Dayton over the Mad River railroad. She also told ofttimes of horseback rides in social calls before the general use of carriages, of railroads, electric cars, or autos. The Dayton Herald, 10 Mar 1909, p 7 Frances married Fitch James Matthews in 1857. Fitch was born on 18 Nov 1818 in Ohio and died on 8 Mar 1866 in Dayton, Montgomery Co., Ohio, at age 47. {FGID: 81932831} Notes: DAYTON, O. March 8.-Judge Fitch James Mattews, formerly Judge of the Superior Court at Columbus, O., died at his residence in this city at seven o'clock this evening The Daily Ohio Statesman, 09 Mar 1866, p 3 ----------------------- By a telegraphic dispatch from Dayton, we learn that F.J. Matthews, formerly an attorney at law in this city, and Judge of the Superior Court of this county, died at seven o'clock last evening at his residence in Dayton. He had been in feeble health for several years. As a lawyer and as Judge of our Superior Court, the deceased had aquired a large share of public esteem, and his retirement from office of Judge was the subject of very general regret. His fine social qualities also endeared him to all his acquaintances. The Daily Ohio Statesman, 09 Mar 1866, p 2 + 150 M iii. Marcus Junius Parrott was born on 27 Oct 1828 in Hamburg, Aiken Co., South Carolina and died on 4 Oct 1879 in Dayton, Montgomery Co., Ohio, at age 50. + 151 M iv. Col. Edwin Augustus Parrott was born on 30 Nov 1830 in Dayton, Montgomery Co., Ohio and died on 27 Sep 1931 in Princeton, Mercer Co., New Jersey, at age 100. + 152 M v. Joseph S. Parrott was born in 1834 in Dayton, Montgomery Co., Ohio and died on 1 Jun 1878 in Dayton, Montgomery Co., Ohio, at age 44. 153 F vi. Anna E. Parrott was born in 1837 in Dayton, Montgomery Co., Ohio and died on 21 Oct 1873 in Dayton, Montgomery Co., Ohio, at age 36. {FGID: 86281851} + 154 M vii. Capt. Henry Eugene Parrott was born on 1 Mar 1839 in Dayton, Montgomery Co., Ohio and died on 31 Dec 1933 in Dayton, Montgomery Co., Ohio, at age 94. 99. William Parrott (Abner (Captn)5, Francis4, George Jr.3, George Sr.2, William Sr.1) was born on 7 Jan 1799 in Talbot Co., Maryland and died on 7 Jan 1858 in Dayton, Montgomery Co., Ohio, at age 59. Notes: Parrott Talk IX:44, reproduced from the Genealogical Index of Miami Valley Pionners, Ohio, p 135 William married Margaret Anne Willis in 1831 in Baltimore, Baltimore Co., Maryland. Margaret was born in 1811 and died on 20 Oct 1879 in Montgomery Co., Ohio, at age 68. Children from this marriage were: 155 F i. Virginia Parrott was born in Ohio. Virginia married J. B. Smith. 156 F ii. Louise Parrott was born in Ohio and died in 1886. + 157 M iii. George Parrott was born in 1832 in Ohio and died on 4 Sep 1892 in Montgomery Co., Ohio, at age 60. + 158 M iv. Col. Charles Parrott was born on 2 Sep 1834 in Dayton, Montgomery Co., Ohio and died on 22 Jan 1901 in Columbus, Franklin Co., Ohio, at age 66. 159 M v. William Parrott Jr. was born in 1836 in Ohio and died on 29 Aug 1865 in Montgomery Co., Ohio, at age 29. 160 M vi. Henry R. Parrott was born in 1843 in Dayton, Montgomery Co., Ohio and died on 11 May 1896, at age 53. Notes: Up-Town Shops Consumed by the Fire Fiend. A Strong Breeze Assists in the Destruction and Threatens a Widespread Conflagration. At about ten minutes till eleven last night the ringing of the big fire bell apprised the people that there was a fire. The bell tapped the number 15, and then it was proved that the fire was near the corner of First and Foundry streets, box No. 15, which has been used so often during the past year, being situated on that corner. Soon the streets were alive with the clang of heavy fire apparatus and the clatter of feet of hundreds of curious individuals eager to to look upon the demon destroyer and see a gallant fight, such as Dayton's firemen always give. There was no need of hesitancy of an informed guide, as a great light in the north, illuminating the entire northern space of heaven, gave evidence that the fire was near as the box proclaimed it to be. The fire was a large and fierce one. This could be told by the bright and steady glare above the tree tops. It was such a glare, surmounted as it was by pale, light smoke and this in its turn by volumes darker, as it drew away from the light of the flames and stood out with the black bacground of the dark sky, as to strike terror into the heart of the householder as he beholds it in the distance, if it seems near his beloved home. <snip> The flames were immensely hot, and as sparks and brands were blown about in myriads, the firemen understood, as with anxious eyes they regarded the flying brandsm that it was to prevent a conflagration and extinguish a fire that would be their work, expecially as the neighborhood was the location of valuable shops, and soon their predictions were verified, for almost instantaneously, it seemed, the flames fastened on H.R. Parrott & Co.'s large furniture factory, on the west, the office of the shop on the east, <snip>. The loss on Parrott & Gilbert's lumber, probably amounting to about $300, is fully insured. The safe, though not fire proof, was saved. Firemen were instructied to save it if possible, and they did not let the flames become hot enough to destroy the iron box. All of the valuable papers were saved. <snip> Notes. <snip> Messrs. H.R. Parrott & Co.'s property was heroically protected. The Dayton Daily Herald, 13 Sep 1888, p 2 161 F vii. Margaret Parrott was born in 1845 in Ohio and died on 27 Feb 1916 in Montgomery Co., Ohio, at age 71. 162 F viii. Emily Parrott was born in 1846 in Ohio and died on 26 Feb 1924 in Montgomery Co., Ohio, at age 78. 163 M ix. Thomas Parrott was born in 1849 in Ohio and died on 24 Nov 1882 in Montgomery Co., Ohio, at age 33. + 164 M x. Homer Willis Parrott was born in 1853 in Dayton, Montgomery Co., Ohio and died on 24 Aug 1898 in Montgomery Co., Ohio, at age 45. 105. Thomas Parrott (Abner (Captn)5, Francis4, George Jr.3, George Sr.2, William Sr.1) was born on 3 Mar 1797 in Talbot Co., Maryland and died on 8 Feb 1884 in Dayton, Montgomery Co., Ohio, at age 86. Notes: Moved from Hamburg, SC to Dayton 1828. Thomas married Sarah Ridgeway Sullivan on 30 Dec 1822 in Dorchester Co., Maryland. Sarah was born in 1808 and died in 1883, at age 75. (Duplicate Line. See Person 98) 106. William Parrott (Abner (Captn)5, Francis4, George Jr.3, George Sr.2, William Sr.1) was born on 7 Jan 1799 in Talbot Co., Maryland and died on 7 Jan 1858 in Dayton, Montgomery Co., Ohio, at age 59. Notes: Parrott Talk IX:44, reproduced from the Genealogical Index of Miami Valley Pionners, Ohio, p 135 William married Margaret Anne Willis in 1831 in Baltimore, Baltimore Co., Maryland. Margaret was born in 1811 and died on 20 Oct 1879 in Montgomery Co., Ohio, at age 68. (Duplicate Line. See Person 99) 107. George Parrott Esq. (Abner (Captn)5, Francis4, George Jr.3, George Sr.2, William Sr.1) was born on 5 Apr 1801 in Talbot Co., Maryland and died on 28 Jan 1854 in Aiken, Aiken Co., South Carolina, at age 52. Notes: "Edgefield Death Notices & Cemetery Records," ed by Carlee T. McClendon (The Hive Press, Columbia, SC 1977) The Edgefield Advertiser, Edgefield, SC February 22, 1854 Departed this lief in his residence in Aiken, on January 28, 1854, George Parrott, in his 53rd year of his age. He was born on the Eastern shore of Maryland. At the age of 18, he removed to Baltimore, and about the year 1825 to Hamburg Sc, where he was engaged in mercantile business until he retired in 1837. He was a kind father. George married Margaret M. Walker on 6 Jun 1839 in Cokesbury, Edgefield Co., South Carolina. Margaret was born in Charleston Co., South Carolina. Children from this marriage were: 165 F i. Josephine Parrott died on 26 Aug 1840 in Pretty Run, South Carolina. Notes: "Edgefield Death Notices & Cemetery Records," ed by Carlee T. McClendon (The Hive Press, Columbia, SC 1977) The Edgefield Advertiser, Edgefield, SC September 3, 1840 Died on August 26, 1840, at Pretty Run, South Carolina, Josephine Parrott, infant daughter of George Parrott. + 166 M ii. Abner Flint Parrott was born on 12 Jul 1848 in South Carolina and died on 3 Aug 1909 in Aiken, Aiken Co., South Carolina, at age 61. 116. James Parrott (Abner Jr.5, Abner Sr.4, George Jr.3, George Sr.2, William Sr.1) was born in 1790 in Talbot Co., Maryland and died on 25 Jul 1880 in Talbot Co., Maryland, at age 90. Notes: Parrott Talk IX:9 and X:77 James married Mary Haddaway on 30 Mar 1813 in Talbot Co., Maryland. James next married Jane Wright on 27 Aug 1832 in Dorchester Co., Maryland. Jane was born in 1813 in Dorchester Co., Maryland and died on 7 Jan 1855 in Georgetown, Washington, D.C., at age 42. Children from this marriage were: 167 M i. Abner Parrott was born in 1833 in Maryland and died on 30 Apr 1857 in Washington, D.C., at age 24. Abner married Eliza Ann Collins on 26 Jun 1854 in Washington, D.C. 168 F ii. Jane Martin Parrott was born in 1834 in Maryland and died after 1880 in Solomons Island, Calvert Co., Maryland. 169 F iii. Olivia Lucinda Parrott was born on 25 Sep 1835 in Talbot Co., Maryland and died on 11 Jun 1923 in Talbot Co., Maryland, at age 87. + 170 M iv. James T. Parrott was born in Jan 1836 in Maryland and died on 17 Nov 1892 in Georgetown, Washington, D.C., at age 56. 171 F v. Frances E. Parrott was born in 1838 in Maryland and died on 17 Jan 1930 in Baltimore, Baltimore Co., Maryland, at age 92. Frances married Richard James North on 27 May 1858 in Baltimore, Baltimore Co., Maryland. 172 F vi. Sarah Parrott was born in 1839 in Maryland. 173 F vii. Hannah Matilda Parrott was born on 20 Sep 1841 in Richmond, Virginia and died on 1 Jan 1925 in Baltimore, Baltimore Co., Maryland, at age 83. Hannah married Thomas M. Robier in Baltimore, Baltimore Co., Maryland. Thomas was born in 1833 in Richmond, Virginia and died on 14 Jan 1886 in Baltimore, Baltimore Co., Maryland, at age 53. 174 M viii. Charles W. Parrott was born in 1845 in Maryland and died on 30 Oct 1893 in Easton, Talbot Co., Maryland, at age 48. 175 M ix. George W. Parrott was born in 1846 in Baltimore, Baltimore Co., Maryland and died on 22 Oct 1866 at sea, at age 20. Notes: Appears in Parrott Talk IX:9 as George M and in and Parrott Talk X:77 as George, which is how he appears in the 1850 census. I do not think M is the correct middle initial. Given the dates, the article below probably applies to him, though need better proof: Died at sea. - Captain North, of the bark Manitou, at this port yesterday from St. Johns, P.R., reports that Geo. W. Parrott, of Baltimore, second officer of his vessel, aged 20 years, died on the 22d instant, of bilious fever, and was buried at sea. The deceased is said to have been a promising young seaman. The Baltimore Sun, 30 Oct 1866, p 4 176 F x. Laura Parrott was born in 1848 in Maryland. 177 F xi. Roseanna H. Parrott was born on 18 Jun 1852 in Maryland. Roseanna married William C. Peregoy on 13 Jun 1876 in Talbot Co., Maryland. William was born in 1855 in Maryland. James next married Mary Ann Mulloy Davidson on 6 Oct 1855 in Georgetown, Washington, D.C. Mary was born in 1820. 127. Benjamin Parrott (Aaron III5, Aaron Jr.4, Aaron Sr.3, Benjamin Sr.2, William Sr.1) was born on 16 Aug 1799 in Talbot Co., Maryland and died on 21 Nov 1846 in Kent Co., Maryland, at age 47. Notes: Moved to Cecil co. Benjamin married Rachel Atkinson, daughter of William Atkinson and Hannah Unknown, 18th day 2nd month 1824 in Cecil Meeting House. Rachel was born in Talbot Co., Maryland and died on 12 Nov 1828 in Cecil Co., Maryland. Children from this marriage were: 178 M i. Jacob L. Parrott was born on 9 Sep 1824 in Cecil Co., Maryland. + 179 M ii. John Bowers Parrott was born on 30 Apr 1826 in Kent Co., Maryland. Benjamin next married Mary Rebecca Bowers on 10 Dec 1832 in Kent Co., Maryland. Mary was born in 1811 in Delaware. Children from this marriage were: 180 F i. Sara Lamb Parrott was born in 1834 in Kent Co., Maryland and died on 1 Sep 1887 in Kent Co., Maryland, at age 53. {FGID: 106476311} Sara married Charles W. Warren on 3 Feb 1862 in Bucks Co., Pennsylvania. Charles was born on 4 Nov 1835 in Queen Ann Co., Maryland and died on 24 Oct 1885 in Kent Co., Maryland, at age 49. {FGID: 106476195} 181 M ii. Benjamin William Bowers Parrott was born on 11 Sep 1835 in Kent Co., Maryland and died on 13 Oct 1856 in Kent Co., Maryland, at age 21. {FGID: 106460181} Notes: The son of John & Ann Bowers, as per 1850 census + 182 M iii. George Richard Parrott was born on 28 Feb 1838 in Kent Co., Maryland and died on 26 Aug 1898 in Kent Co., Maryland, at age 60. 183 F iv. Rachael B. Parrott was born in 1841 in Kent Co., Maryland. 184 M v. Robert Thomas Parrott was born on 31 Jul 1844 in Kent Co., Maryland and died on 31 Aug 1851 in Kent Co., Maryland, at age 7. {FGID: 106460878} Seventh Generation (4th Great-Grandchildren) 130. Edward Parrott (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born in 1792 in Talbot Co., Maryland and died in 1854 in Franklin Co., Indiana, at age 62. Edward married Rebecca Skinner, daughter of William Price. Rebecca was born in 1802 in Kentucky and died in Blooming Grove, Franklin Co., Indiana. Children from this marriage were: 185 F i. Sarah Parrott was born in 1823 in Ohio. Sarah married Thomas Morgan on 5 Sep 1854 in Blooming Grove, Franklin Co., Indiana. Thomas was born in 1824 in Kentucky. 186 F ii. Eleanor Parrott was born in 1826 in Ohio. 187 F iii. Eliza Parrott was born in 1828 in Ohio. 188 M iv. William Parrott was born in 1834 in Blooming Grove, Franklin Co., Indiana. 189 F v. Elizabeth Parrott was born in 1836 in Fountain Co., Indiana. 190 F vi. Martha Parrott was born in 1838 in Indiana. 191 F vii. Jerusha Parrott was born on 4 Aug 1838 in Brookville, Franklin Co., Indiana and died on 27 Sep 1902 in Brookville, Franklin Co., Indiana, at age 64. Notes: Death of Miss Jerusha Parrott. As stated in last week's Democrat, Miss Jerusha Parrott on Tuesday morning, while at the house of Mrs. Horn in the valley, fell and sustained serious injuries to her right ar and hip. She had been in feeble health for some time and the shock and her injuries were such as to cause her death about nine o'clock Saturday evening. The following was read at the funeral, which was conducted by Rev. J.H. Carnes, at the home of Frank Thomas, at 10 a.m. Tuesday. Interment in Maple Grove Cemetery: The subject of this sketch, Miss Jerusha Parrott, was born on a farm in Brookville township, Franklin county, Indiana, August 4, 1838, and departed this life at the home of Mr. and Mrs. Frank Thomas, in this city, Sept. 27, 1902, aged 64 yearss, 1 month and 28 days. On Tuesday morning of last week she accidentally fell while making a call on a friend, and injured her right arm and hip, and her age and general weakness made her recovery impossible, although loving friends and neighbors did all in their power to alleviate her sufferings. Jerusha Parrott was a daughter of Rev. Edward and Rebecca Parrott, pioneer residents of this county, and was the next youngest child of a family of ten children, of which only one, Mrs. Rebecca Coldren, of Gas City, Ind., is now living. It is known that some time during her earlier life, Miss Parrott united with the Presbyterian church, but where or at what date the writer is unable to learn. For many years she has resided in Brookville, and as can be attested by her many neighbors and friends, has lived an honest, upright and christian life. She had her faults-- who has not? but it can be truthfully be said that a just and good woman has gone to her reward. The Brookville Democrat, 2 Oct 1902, p 1 192 F viii. Rebecca Jane Parrott was born on 24 Jun 1841 in Franklin Co., Indiana and died on 4 Mar 1912 in Indianapolis, Marion Co., Indiana, at age 70. Notes: COLDREN-- Rebecca Jane Coldren, died Monday, March 4, 1912, at the home of her daughter, age 70 years, 8 months, 9 days. Short funeral services will be held at the residence of the Rev. William Verner Nelson, 144 Butler ave., Wednesday, 9 a.m. Burial March 6, at the I.O.O.F. cemetery, Marion, Ind. The Indianapolis News, 5 Mar 1912, p 14 Rebecca married Rufus J. Harper. Rufus died in 1870 in Indiana. Rebecca next married William Ross Coldren in Dec 1877 in Miami Co., Indiana. 131. William Parrott Jr. (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 4 Nov 1794 in Talbot Co., Maryland and died on 24 Jul 1879 in Blooming Grove, Franklin Co., Indiana, at age 84. William married Amelia Tharp on 25 Aug 1833 in Franklin Co., Indiana. Amelia was born in 1815 in Maryland and died in Blooming Grove, Franklin Co., Indiana. Another name for Amelia was Parmelia Parrott. Children from this marriage were: + 193 M i. Theodore Parrott was born on 20 Dec 1833 in Blooming Grove, Franklin Co., Indiana and died on 13 Nov 1922 in Blooming Grove, Franklin Co., Indiana, at age 88. 194 F ii. Clarissa Parrott was born on 26 Feb 1836 in Blooming Grove, Franklin Co., Indiana and died on 31 Jan 1924 in Indianapolis, Marion Co., Indiana, at age 87. Clarissa married Scott Pratt. Scott was born on 24 Aug 1832 and died on 17 Aug 1891 in Indiana, at age 58. 195 F iii. Harriet Parrott was born in 1839 in Blooming Grove, Franklin Co., Indiana. Harriet married Joseph H. Shepheard on 29 Sep 1870 in Fountain Co., Indiana. + 196 M iv. William Willis Parrott was born on 23 Jan 1841 in Blooming Grove, Franklin Co., Indiana and died on 7 May 1915, at age 74. + 197 M v. Nimrod Parrott was born on 10 Jun 1843 in Blooming Grove, Franklin Co., Indiana and died on 21 Jan 1924 in Centerville, Wayne Co., Indiana, at age 80. 198 F vi. Susan Parrott was born in 1849 in Indiana. Susan married Philomen J. Starr on 4 Aug 1872 in Franklin Co., Indiana. + 199 M vii. Herman Link Parrott was born in 1853 in Blooming Grove, Franklin Co., Indiana and died on 17 Jun 1930 in Kansas City, Wyandotte Co., Kansas, at age 77. 200 F viii. Martha E. Parrott was born in 1857 in Fountain Co., Indiana. Martha married Perry L. McWhorter on 28 Feb 1878 in Fountain Co., Indiana. 132. James (Dave) Parrott (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born in 1797 in Talbot Co., Maryland and died on 12 Feb 1832 in Turtle Creek, Warren Co., Ohio, at age 35. Notes: Could this be the James who married Lydia and had daughter, Narcissa?? The parents, spouse, and children of James is put together just on coincidence of place and time, and totally lacks proper documentation. James married Lydia. Children from this marriage were: + 201 M i. George Parrott was born in Sep 1822 in Ohio and died in 1874 in Delaware Co., Indiana, at age 52. 202 F ii. Charlotte Parrott was born on 12 Nov 1824 in Warren Co., Ohio and died on 14 Jan 1906 in Dallas Co., Iowa, at age 81. Notes: b Nov 1824 in Ohio. Both parents listed as being from Maryland. 1900 census has a servant, John Parrott, b Dec 1840 in Indiana, with both Parents being from Maryland. I believe this is her half 1st cousin, (son of Henry J.), which supports her placement under James & Lydia. Charlotte married Henry Cassatt, son of Henry Cassatt. Henry was born on 11 Jan 1821 and died on 23 Sep 1869 in Dallas Co., Iowa, at age 48. 203 F iii. Narcissa D. Parrott was born on 26 Jan 1832 in Lebanon, Warren Co., Ohio. 133. Elizabeth Parrott (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 19 Jul 1801 in Maryland and died on 19 Dec 1892 in New Carlisle, Indiana, at age 91. Notes: PT 13:102, 1998 Elizabeth married John Lane on 2 Nov 1821 in Warren Co., Ohio. 134. Dr. Henry J. Parrott (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 18 Jan 1803 in Maryland and died on 7 Mar 1879 in Delaware Co., Iowa, at age 76. Notes: source: 1860 census, Dubuque Co., Iowa Henry married Mary Price, daughter of William Price, on 1 Apr 1823 in Warren Co., Ohio. Mary was born on 1 Jan 1804 in Delaware and died on 11 Jan 1875 in Dubuque Co., Iowa, at age 71. Children from this marriage were: + 204 M i. William Parrott was born on 10 Jan 1824 in Warren Co., Ohio and died on 27 Jan 1890 in Jones Co., Iowa, at age 66. + 205 M ii. James Parrott was born on 7 Sep 1826 in Warren Co., Ohio and died on 28 Oct 1901 in Dubuque Co., Iowa, at age 75. + 206 M iii. Leven Parrott was born on 12 Jan 1829 in Warren Co., Ohio and died on 31 Jan 1862 in Dubuque Co., Iowa, at age 33. 207 F iv. Ann Parrott was born on 17 Apr 1831 in Ohio. Ann married Ed McNary. 208 F v. Rebecca Parrott was born on 1 Jul 1833 in Ohio and died on 16 Feb 1838 in Ohio, at age 4. 209 F vi. Mary Parrott was born on 6 Nov 1835 in Warren Co., Ohio and died on 19 Apr 1914, at age 78. Mary married Stephen Martin on 28 Dec 1854. 210 M vii. Henry Parrott was born on 22 Mar 1838 in Bloomington Grove, Franklin Co., Indiana and died on 30 Dec 1846, at age 8. + 211 M viii. Jonathan Parrott was born on 9 Dec 1841 in Bloomington Grove, Franklin Co., Indiana and died on 9 Feb 1904 in Dubuque Co., Iowa, at age 62. 212 M ix. John Parrott was born on 9 Dec 1841 in Bloomington Grove, Franklin Co., Indiana and died on 5 Oct 1905, at age 63. John married Arminda Merrick in 1875. 213 M x. Edward Parrott was born on 17 Jan 1844 in Bloomington Grove, Franklin Co., Indiana and died on 25 Mar 1846, at age 2. 214 M xi. George Parrott was born on 8 Feb 1847 in Bloomington Grove, Franklin Co., Indiana and died on 12 Nov 1848, at age 1. 136. Thomas Parrott (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 17 Jul 1809 in Maryland and died on 6 May 1870 in Dubuque Co., Iowa, at age 60. Notes: Information from the 1850 and 1860 census for Dubuque Co., Iowa. PT 11:48. Thomas married Elizabeth L. Miller on 20 Dec 1832 in Warren Co., Ohio. Elizabeth was born on 28 Mar 1806 in Virginia and died on 20 Mar 1876 in Audubon Co., Iowa, at age 69. Children from this marriage were: + 215 M i. Perry Parrott was born in Feb 1835 in Ohio. 216 M ii. John Parrott was born on 2 Nov 1835 in LaPorte Co., Indiana and died on 25 Feb 1919 in Worthington, Dubuque Co., Iowa, at age 83. John married Amanda Almeda Williams on 7 Feb 1865 in Dubuque Co., Iowa. Amanda was born on 21 Jul 1836 in Summit Co., Ohio and died on 22 Oct 1908 in Dubuque Co., Iowa, at age 72. + 217 M iii. Silas Burton Parrott was born on 4 Mar 1838 in LaPorte Co., Indiana and died on 23 Jun 1886 in Audubon Co., Iowa, at age 48. + 218 M iv. Thomas Miller Parrott was born on 29 Jun 1843 in Dubuque Co., Iowa and died on 23 Feb 1935 in Marshalltown, Marshall Co., Iowa, at age 91. 137. John B. 'Jack' Parrott Sr. (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born in 1814 in Talbot Co., Maryland and died on 24 Mar 1869 in Cascade, Dubuque Co., Iowa, at age 55. Notes: Information from Norma Nielsen's family tree posted on Rootsweb. Information on Jack and his descedants by Grant Hayes, based on his access to the Parrott family bible. Grant writes: "Jack speculated in land sales. He also built some cabins to rent out to travelers passing through town. In Sep, 1876 his son, George, rented a cabin to a man named Jesse James and his companions. They hadn't bothered to tell him they were on their way to rob a bank in Northfield, MN. An elderly Parrott cousin told that Jack taught his sons how to drink, always keeping a barrel of whiskey in the cellar available to the boys." John married Mary Wills, daughter of John Wills and Susannah, on 29 Nov 1834 in LaPorte Co., Indiana. Mary was born in Jul 1814 in Warren Co., Ohio and died on 19 Sep 1843 in Cascade, Dubuque Co., Iowa, at age 29. Children from this marriage were: 219 F i. Hannah Parrott was born on 10 Sep 1835 in LaPorte Co., Indiana and died on 11 Dec 1910 in Atchinson Co., Kansas, at age 75. Hannah married Artemus Heald on 3 Aug 1858. Artemus was born on 29 Oct 1833 in Maine and died on 3 Dec 1909 in Davenport, Scott Co., Iowa, at age 76. Another name for Artemus was Artemus Held. 220 F ii. Sarah Parrott was born on 6 Jan 1837 in LaPorte, LaPorte Co., Indiana and died on 23 Aug 1858, at age 21. 221 F iii. Matilda Ann Parrott was born on 27 Jul 1838 in LaPorte Co., Indiana and died on 9 Feb 1920, at age 81. Matilda married Seth Heald on 10 May 1858 in Dubuque Co., Iowa. Another name for Seth was Seth Held. + 222 M iv. John B. Parrott Jr. was born on 2 Apr 1839 in LaPorte, LaPorte Co., Indiana and died on 15 Aug 1862 in Cascade, Dubuque Co., Iowa, at age 23. 223 M v. David W. Parrott was born on 8 Nov 1843 in Washington, Washington Co., Iowa and died on 4 Feb 1863 in Gallatin, Sumner Co., Tennessee, at age 19. Notes: Notes from Grant Hayes, 12 Feb 15: "d.4 Feb1863 of disease in Military Hospital in Gallatin,TN. Enlisted in Union Army on 11Aug1862. Never married. Owned a farm in LaPorte Co.,IN Note: this data shows David was born after Mary died." If correct, an explanation might be that "A relative has stated in the past that Jack had raised an Indian boy." John next married Catharine Everingham on 6 Nov 1847 in Cascade, Dubuque Co., Iowa. Catharine was born on 10 Mar 1828 in Willoughby, Welland Co., Ontario, Canada and died on 30 May 1897 in Cascade, Dubuque Co., Iowa, at age 69. Children from this marriage were: 224 F i. Florence Parrott was born on 30 Sep 1848 in Cascade, Dubuque Co., Iowa and died on 1 Sep 1883 in State Center, Marshall Co., Iowa, at age 34. Florence married Abner Joel Phillips on 13 Sep 1873. Abner was born in 1844 in Illinois. 225 F ii. Mary H. Parrott was born on 11 Mar 1850 in Cascade, Dubuque Co., Iowa and died on 5 Oct 1906 in Dubuque Co., Iowa, at age 56. Mary married Albert A. Anderson on 27 Oct 1870 in Dubuque Co., Iowa. Albert was born in Jan 1849 in Iowa and died in Cedar Rapids, Linn Co., Iowa. + 226 M iii. George Washington Parrott was born on 19 May 1852 in Cascade, Dubuque Co., Iowa and died on 31 Aug 1942 in Cascade, Dubuque Co., Iowa, at age 90. 227 M iv. Henry James Parrott was born on 24 Dec 1853 in Cascade, Dubuque Co., Iowa and died on 31 May 1872 in Cascade, Dubuque Co., Iowa, at age 18. 228 F v. Celia Parrott was born on 11 Mar 1856 in Cascade, Dubuque Co., Iowa and died on 17 Jun 1889 in Cascade, Dubuque Co., Iowa, at age 33. 229 M vi. Artimas E. Parrott was born on 17 Oct 1858 in Cascade, Dubuque Co., Iowa and died on 20 May 1871 in Cascade, Dubuque Co., Iowa, at age 12. 230 F vii. Kate Parrott was born on 4 Apr 1860 in Cascade, Dubuque Co., Iowa and died on 22 Apr 1860 in Cascade, Dubuque Co., Iowa. + 231 M viii. Horace Evering Parrott was born on 14 Jul 1861 in Cascade, Dubuque Co., Iowa and died on 20 Oct 1945 in Rochester, Olmsted Co., Minnesota, at age 84. 232 M ix. Earnest Ferdinand Parrott was born on 23 Aug 1863 in Cascade, Dubuque Co., Iowa and died on 30 Jun 1885 in Cascade, Dubuque Co., Iowa, at age 21. + 233 F x. Eugenia Daisy Parrott was born on 16 Oct 1866 in Cascade, Dubuque Co., Iowa and died on 10 Mar 1950 in Denver, Denver Co., Colorado, at age 83. 139. Charles S. Parrott Sr. (William James6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 1 May 1818 in Turtle Creek, Warren Co., Ohio and died on 4 Nov 1907 in Exira, Audubon Co., Iowa, at age 89. {FGID: 55058661} Charles married Anna M. Sweete on 26 Jul 1840 in Berrian Co., Michigan. Anna was born on 18 Aug 1823 in Indiana and died on 26 Mar 1907 in Audubon Co., Iowa, at age 83. {FGID: 55058658} Children from this marriage were: 234 F i. Lucretia Parrott was born on 5 Aug 1841 in LaPorte Co., Indiana and died on 8 Aug 1874, at age 33. Lucretia married Josephus Williams on 20 Sep 1860 in Dubuque Co., Iowa. Josephus was born on 10 Jun 1833 and died on 12 Jul 1909 in Page Co., Iowa, at age 76. + 235 M ii. Ezekiel Parrott was born on 23 Sep 1842 in Iowa and died on 5 May 1923, at age 80. 236 F iii. Mary Ann Parrott was born on 30 Sep 1844 in Dubuque Co., Iowa and died on 27 Apr 1918 in Audubon Co., Iowa, at age 73. Mary married James Jefferson Lewis on 11 Jan 1865 in Delaware Co., Iowa. James was born on 15 Jan 1843 and died on 31 Jan 1923 in Audubon Co., Iowa, at age 80. 237 M iv. Thomas Parrott was born on 10 Jun 1845 in Dubuque Co., Iowa and died on 19 Jan 1890 in Audubon Co., Iowa, at age 44. {FGID: 55058673} Notes: Based on marker on tombstone, served in the Civil War, 1863-1865. Thomas married Ellen E. Clark on 26 Dec 1877 in Hamlin Co., Iowa. Ellen was born on 1 Aug 1853 in Connecticut and died on 11 Oct 1942, at age 89. {FGID: 81124233} 238 F v. Matilda Parrott was born on 15 Jan 1847 in Audubon Co., Iowa and died on 27 Feb 1938 in Gage Co., Nebraska, at age 91. {FGID: 187684750} Notes: Mrs. Matilda Tibbetts, 91, died Sunday night at her home at 19th and Park Streets, Beatrice. She had been in poor health for some time. Her husband died some years ago. She leaves no relatives here. Funeral services will be held at 1:30 o'clock Tuesday afternoon from Mincks' chapel with Rev. M. Horsch officiating. Interment in Evergreen Home cemetery. Beatrice Daily Sun, February 28, 1938 Posted on Find a Grave 187684750 Matilda married James Tibbetts. James was born on 8 Jul 1846 in Iowa and died on 29 Jan 1926 in Oklahoma, at age 79. {FGID: 159911898} + 239 M vi. Charles Parrott Jr. was born on 10 Oct 1847 in Dubuque Co., Iowa and died on 7 Apr 1920 in Audubon Co., Iowa, at age 72. + 240 M vii. William James Parrott was born on 26 Jun 1850 in Cascade, Dubuque Co., Iowa and died on 13 Oct 1931 in Adams Co., Iowa, at age 81. 241 F viii. Elizabeth Parrott was born on 31 Jul 1851 in Dubuque Co., Iowa and died on 27 Sep 1923 in Carthage, Miner Co., South Dakota, at age 72. {FGID: 84691842} Notes: Mrs. Elizabeth Tripp Buried Sunday Afternoon. The body of Mrs. Elizabeth Tripp which had been shipped from Carthage, S.D., following her death there Thursday 27, arrived in Newkirk Saturday morning. It was taken immediately to the Weber Funeral Home where arrangements were made for the funeral Sunday afternoon. Mrs. Tripp's death is said to have been due to a sudden attack of the heart since she had been in apparently the best of health. She was found dead in bed Thursday morning by her daughter, Mrs. William Ackers, with whom she had been living during the past two months. Mrs. Tripp's health had in fact gained in health during her brief stay in South Dakota. Her daughter and granddaughter accompanied the body to Newkirk. The funeral services held at 2:30 o'clock Sunday afternoon from the Weber Funeral Home were conducted by Rev. A.A. Armstrong of the First Baptist church. Burial was in the Newkirk cemetery. Mrs. Tripp was an old resident of Newkirk. She is survived by the following children, Mrs. William Ackers, Carthage, S.D., Frank Skinner, Newkirk, Richard Skinner, Newkirk, W.D. Skinner, Ogdon, Utah, John Skinner, Ponca City, C.N. Skinner, Ashton, Ark., Mrs. J.C. Coffey, Kansas City, Mo., Mrs. L.W. Marquis, Newkirk, besides three brothers and three sisters. The Republican News Journal (Newkirk OK), October 5, 1923, p 5 (transcribed by Judy Mayfield) Oct. 2020 and posted on Find a Grave 84691842 Elizabeth married Curtis N. Skinner on 8 Feb 1871 in Audubon Co., Iowa. The marriage ended in divorce on 14 May 1893. Curtis was born on 24 Mar 1849 in Illinois and died on 24 Aug 1925 in Kay Co., Oklahoma, at age 76. {FGID: 41238635} Elizabeth next married Edward P. Marsh. Edward was born in 1868 and died on 20 Jan 1900 in Columbus Junction, Louisa Co., Iowa, at age 32. Elizabeth next married William Tripp on 3 Jan 1901 in Page Co., Iowa. William was born in 1843 in Harrietsville, Noble Co., Ohio and died on 2 Aug 1931 in Los Angeles Co., California, at age 88. {FGID: 3759687} 242 M ix. George Washington Parrott was born on 25 Oct 1852 in Dubuque Co., Iowa and died on 10 Nov 1925 in Cass Co., Iowa, at age 73. {FGID: 55058666} 243 F x. Clara Adeline Parrott was born in 1854 in Dubuque Co., Iowa and died on 24 Dec 1876 in Audubon Co., Iowa, at age 22. {FGID: 101198157} Clara married Nathan Stewart Wheeler on 24 Dec 1876 in Hamlin Co., Iowa. Nathan was born on 17 Dec 1848 in Cook Co., Illinois and died on 8 Feb 1929 in Willow Springs, Howell Co., Missouri, at age 80. {FGID: 101198212} 244 F xi. Ida Evelyn Parrott was born on 4 Nov 1856 in Dubuque Co., Iowa and died on 24 Oct 1940, at age 83. Ida married James Samuel Burns on 14 Dec 1876 in Audubon Co., Iowa. James was born on 20 Mar 1847 in Missouri and died on 22 Jan 1925, at age 77. + 245 M xii. Eleven "Lev" Parrott was born on 22 Apr 1858 in Dubuque Co., Iowa and died on 12 Jun 1921 in Adair Co., Iowa, at age 63. + 246 M xiii. Martin Alexander Parrott was born on 2 Apr 1860 in Cascade, Dubuque Co., Iowa and died on 27 May 1937 in Corning, Adams Co., Iowa, at age 77. + 247 M xiv. Wilson Mcclearly Parrott was born on 23 Nov 1865 in Dubuque Co., Iowa and died on 9 Dec 1935 in Audubon Co., Iowa, at age 70. 140. Samuel Watts Parrott (Perry6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 8 Jan 1797 in Maryland and died on 3 Feb 1879 in Augusta, Hancock Co., Illinois, at age 82. {FGID: 118579871} Samuel married Mary M. Young on 26 Oct 1822 in Berkeley Co., West Virginia. Mary was born on 17 Apr 1801 in Virginia and died on 2 Feb 1878 in Hancock Co., Illinois, at age 76. {FGID: 118579687} Children from this marriage were: + 248 M i. William Parrott was born on 29 Jun 1823 in Kentucky and died on 16 Aug 1906 in Augusta, Hancock Co., Illinois, at age 83. + 249 M ii. Josiah Parrott was born on 3 Mar 1826 in Tompkinsville, Monroe Co., Kentucky and died on 16 Oct 1888 in Jacksonville, Morgan Co., Illinois, at age 62. 250 F iii. Susan Thomas Parrott was born on 2 Feb 1828 in Kentucky. + 251 M iv. Theodore Parrott was born in Dec 1830 in Kentucky and died on 11 Nov 1912 in Quincy, Adams Co., Illinois, at age 81. + 252 M v. John B. Parrott was born in 1834 in Kentucky. 253 F vi. Nancy Turner Parrott was born in 1838 in Kentucky and died on 28 Jun 1910 in Henry Co., Missouri, at age 72. Nancy married George Stark. George was born in 1821 in Scotland. 254 F vii. Mary F. Parrott was born in 1838 and died in 1906 in Augusta, Hancock Co., Illinois, at age 68. {FGID: 118402404} Mary married William C. G. Cassady. William was born in 1835 in Kentucky and died on 4 Jun 1909 in Augusta, Hancock Co., Illinois, at age 74. {FGID: 118402788} + 255 M viii. Henry H. Parrott was born on 29 Jun 1841 in Illinois and died on 5 Jan 1901 in Idaho, at age 59. 142. Josiah Perry Parrott (Perry6, Henry5, Isaiah4, Henry Jr.3, Henry Sr.2, William Sr.1) was born on 20 Jul 1800 in Easton, Talbot Co., Maryland and died on 29 May 1881 in Rushville, Schuyler Co., Illinois, at age 80. Notes: Information on Josiah Perry and descendants provided by Marsha Unger Nicklaus, Ungeralls@yahoo.com, on 4 Dec 2014 Josiah married Nancy Glasgow Bransford on 1 Jul 1824 in Barren Co., Kentucky. Nancy was born on 17 Jul 1807 in Buckingham Co., Virginia and died on 27 Jul 1835 in Rushville, Schuyler Co., Illinois, at age 28. Children from this marriage were: + 256 M i. Thomas Perry Parrott was born on 3 Sep 1825 in Tompkinsville, Monroe Co., Kentucky and died on 16 Jan 1910 in Rushville, Schuyler Co., Illinois, at age 84. + 257 M ii. James Henry Parrott was born on 11 Jul 1828 in Glasgow, Barren Co., Kentucky and died on 24 Dec 1912, at age 84. 258 F iii. Elizabeth Parrott was born in 1829. 259 M iv. John Bransford Parrott was born on 17 Sep 1830 in Kentucky and died on 17 Jun 1860 in Buena Vista, Schuyler Co., Illinois, at age 29. 260 F v. Susan Mary Parrott was born on 6 Jan 1833 in
correct_death_00083	FactBench	3	35	https://www.vaia.com/en-us/explanations/english-literature/american-literature/william-s-burroughs/	en	William S. Burroughs: Biography & Famous Work	https://website-cdn.stud…icon-120x122.png	https://website-cdn.stud…icon-120x122.png	[ "https://website-cdn.studysmarter.de/sites/21/2024/03/Vaia_Logo_Single-Colour-1.svg", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-laptop.png", "https://www.vaia.com/app/themes/studypress-core-theme/dist/assets/images/explanations/welcome-mobile.png", "https:/...	[]	[]	[ "" ]	null	[]	null	William S. Burroughs: ✓ Biography ✓ Achievements ✓ Famous Work ✓ Quotes ✓ Characters ✓ Writings ✓ Vaia Original	en	https://website-cdn.stud…icon-120x122.png	Vaia	https://www.vaia.com/en-us/explanations/english-literature/american-literature/william-s-burroughs/	William S. Burroughs's Biography William Seward Burroughs was born into a wealthy family in St. Louis, Missouri, in 1914. His grandfather founded the Burroughs Adding Machine company, and his father owned a store called Cobblestone Gardens. Money was never an issue for Burroughs, who attended private school and was given a monthly salary from his parents well into adulthood. In 1932, Burroughs left home to continue his education at Harvard University. After graduating in 1936, he traveled to Europe, where he experienced homosexual relationships for the first time. He married a Jewish woman in order to help her escape the Nazis. The two later divorced. When the United States entered World War II after the bombing at Pearl Harbor, Burroughs enlisted in the army but was later released due to concerns about his mental health. The rejection caused him to turn to drugs, eventually becoming addicted to morphine and heroin. In 1943, Burroughs moved to New York City. There, he met Jack Kerouac and Allen Ginsberg, who would become two of Burroughs's closest friends and, along with Burroughs, principle figures in the Beat Generation. A year late, Burroughs began living with Joan Vollmer Adams. Although they never had an official marriage, Vollmer lived with Burroughs as his common-law wife. Burroughs, Kerouac, and Ginsberg are considered the founding members of the Beat Generation. The Beat Generation was a literary movement situated in post-war America that rejected traditional values, social norms, and economic materialism. Beat writers celebrated sexual liberation and resistance to conformity. The Beat Generation was largely influenced by jazz music and argued that one could find heightened awareness through jazz music, sex, and drug usage. Burroughs' Naked Lunch (1959), Ginsberg's Howl (1956), and Kerouac's On the Road (1957) encompass some of the major literature of the Beat Generation. Burroughs was often in trouble with the law for misdemeanors, causing him to flee to Mexico with his family in 1949. They intended to stay in Mexico for five years, but their time was cut short when Burroughs shot and killed Vollmer after a drunken prank gone wrong. He awaited trial in Mexico for a while before returning to the United States, where he was given a two-year suspended sentence. Burroughs then spent time wandering through the Amazon searching for a drug called yagé; this experience is recorded in his book The Yage Letters (1963). Facing legal issues and the loss of his family, Burroughs spent the next several years traveling to Rome, London,Paris, andTangier. He published his first novel, Junkie: Confessions of an Unredeemed Drug Addict (later republished as Junky in 1977), under the pseudonym William Lee in 1953. This novel is considered confessional, as it delves into drug ("junky") culture and is influenced by Burroughs's own struggle with drug use. Junky was followed by the highly-controversial Naked Lunch, published in Paris in 1959 but not published in the United States until 1962 due to obscenity laws. Naked Lunch became notorious for its controversial depiction of sexuality (especially homosexuality). The Commonwealth of Massachusetts actually prosecuted the novel in a court case, claiming that the book violated obscenity laws. The Massachusetts Supreme Judicial Court declared that the book was not obscene in 1966. Naked Lunch is still banned in many schools today. Around the same time as the novel's release, Burroughs began experimenting with the cut-up literary technique, which he popularized with British writer and artist Brion Gysin. In this literary technique, a written text is cut up and rearranged to create an entirely new text. It was intended to promote new ways of thinking, free readers from conventional limitations, and give new life to language. The cut-up technique is the literary equivalent of a collage in the visual arts. Burroughs's later novels used the cut-up technique extensively. A few of these works include The Soft Machine (1961), Exterminator! (1973), Cities of the Red Night (1981), Queer (1985), The Western Lands (1987), and My Education: A Book of Dreams (1995). Burroughs's experimentation with traditional structures of the novel situates him firmly in the postmodernist movement. Burroughs settled in Kansas in 1981. His novel Queer, written in 1952, was finally published in 1985. Burroughs was inducted into the American Academy and Institute of Arts and Letters in 1983. He continued using heroin until the end of his life and died at the age of 83 from a heart attack. Junky Junky, Burroughs's first novel, also follows the character William Lee and his experiences in the world of "junk" (or drugs). Lee is addicted to heroin and becomes increasingly more dependent on it as the novel progresses. He lives in New York City, and the novel opens with him shooting morphine for the first time. Lee has a wife and kids, but his relationship with drugs takes center stage in his life and the novel. He becomes involved in the underground world of New York City, selling drugs to make enough money to fuel his own habit. Lee's life soon centers entirely around drugs. When he gets in trouble with a group of police informants, he escapes New York and travels to Texas, where he is sober for a few months. Lee becomes bored with life and starts having sex with men to entertain himself. This doesn't work for long, and he soon starts shooting heroin again to avoid his boredom. Throughout the novel, Lee falls into a cycle of sobriety followed by boredom and drug use. At the end of the novel, he travels to South America in order to find a new mind-altering drug. William S. Burroughs's Quotes and Writing Below are some of Burroughs's most famous quotes. Silence is only frightening to people who are compulsively verbalizing." Burroughs originally said this quote in an interview in the 1960s, and it was printed in the collection The Job: Interviews with William S. Burroughs (1969). Burroughs valued silence and was especially weary of politicians who spoke just to hear themselves speak. Like many Beat writers, Burroughs was a non-conformist and did not particularly trust the government or traditional values. [Most drug addicts] did not start using drugs for any reason they can remember. They just drifted along until they got hooked. If you have never been addicted, you can have no clear idea what it means to need junk with the addict’s special need. You don’t decide to be an addict. One morning you wake up sick and you’re an addict." This quote is included in the prologue of Burroughs's Junky. As mentioned above, Burroughs explores much of his own relationship with drugs in this novel. Drugs and their effects are a central theme in much of Burroughs's work, and many rebels in the Beat Generation romanticized drug use. In this quote, Burroughs reveals the complicated mind of a drug addict—it's not that they want to get addicted to drugs, it's that they were running from something else, and now they can't stop. The junk merchant doesn't sell his product to the consumer, he sells the consumer to his product. He does not improve and simplify his merchandise. He degrades and simplifies the client. (Introduction)” Coming from Naked Lunch, this quote once again reveals the gritty world of drugs. The narrator implies that drug addicts are dehumanized by the supplier, who only cares about making money. The more the consumer buys, the more addicted they become and the more money the "merchant" makes. William S. Burroughs - Key takeaways William S. Burroughs was born in St. Louis, Missouri in 1914. He was a famous writer in the Beat Generation, along with Allen Ginsberg and Jack Kerouac. Burroughs was addicted to heroin for most of his life and recorded his experiences in drug culture in many of his novels and short stories. Burroughs is most famous for his 1959 novel Naked Lunch, which was the subject of an obscenity trial for its lurid, taboo content. Burroughs died in 1997 from a heart attack.
correct_death_00083	FactBench	2	4	https://www.biography.com/authors-writers/william-s-burroughs	en	William S. Burroughs	https://hips.hearstapps.…op&resize=1200:*	https://hips.hearstapps.…op&resize=1200:*	[ "https://www.biography.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.biography.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://hips.hears...	[]	[]	[ "Last Name: Burroughs", "Death City: Lawrence", "Group: Beat Writers", "Death State: Kansas", "Birth Year: 1914", "Death Month/Day: August 2", "Birth City: St. Louis", "Birth Month/Day: February 5", "Life Events/Experience: Were Involved in Scandals", "Birth Month: 2", "Birth State: Missouri", ...	null	[]	2014-04-02T09:56:12	William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture, most famously in the book 'Naked Lunch.'	en	/_assets/design-tokens/biography/static/images/favicon.3635572.ico	Biography	https://www.biography.com/authors-writers/william-s-burroughs	(1914-1997) Who Was William S. Burroughs? William S. Burroughs became one of the founding figures of the Beat Movement. An addict for years, he crafted books like Junky and Naked Lunch, which were harrowing, often grotesque looks at drug culture. He is cited as a major influence on countercultural figures in the world of music as well and worked on several recording projects. School and Travels Born on February 5, 1914, in St. Louis, Missouri, Burroughs was born to Laura Lee and Mortimer Burroughs. Burroughs was named after his famous grandfather, an inventor who was a pioneer in adding-machine technology. Burroughs attended prep schools and later studied English literature at Harvard University, where he graduated in 1936. He traveled to Europe and met and married Ilse Klapper for the purpose of allowing her entry into the United States. The two ended the union upon their entry into the states. Meeting Fellow Beats Ginsberg and Kerouac Trying different career paths to no avail, Burroughs eventually traveled to New York and met writers Allen Ginsberg and Jack Kerouac in the mid-1940s. The three would be heralded as starting the Beat Movement, an artistic outpouring of nontraditional, free expression. During the mid-1940s, Burroughs and Kerouac collaborated on a novel about the murder of a friend—And the Hippos Were Boiled in Their Tanks—that was published decades later posthumously. Burroughs developed a relationship with Joan Vollmer during this time as well and they would live together as husband and wife starting in 1945. Burroughs was also open about his attraction to men, and he and Ginsberg had been lovers. Burroughs had started to use opiates and descended into heroin addiction. He was also a gun enthusiast and, while living with his family in Mexico City in 1951, played a drunken game of target practice with Vollmer and accidentally shot her to death. He did not receive major prison time, yet would struggle with demons for years to come as a result of the killing. Writing 'Junky' and 'Naked Lunch' Burroughs published his first novel, Junky, in 1953 under the name William Lee. The work featured an unflinching, semi-autobiographical look at drug, or "junk," culture. He continued to travel and eventually ended up in Tangiers, strung out and running out of financial resources. He realized he would perish if he didn’t change his path and so traveled to London to receive apomorphine treatments, which he credits as curing his addiction. With the help of Ginsberg and Kerouac, Burroughs wrote the novel Naked Lunch in Tangiers, which continued to follow the exploits of William Lee in a disturbing drug culture journey. The book featured nonlinear narrative forms with elements of sadomasochism, metamorphoses and satire. Published in 1959, the book wouldn’t be released in the United States until the 1960s due to a highly publicized governmental ban over its content, which pushed Burroughs into the spotlight. He became a figure both acclaimed and spurned. Around the time of Lunch's release, inspired by artist Brion Gysin, Burroughs began to experiment with the cut-up technique, where random lines of text were cut from a page and rearranged to form new sentences, with the intention of freeing reader's minds from conventional, linear modes of thought. Using this technique with elements of satire and sci-fi, the 1960s saw Burroughs releasing novels like The Soft Machine (1961) and Nova Express (1964), which indicted consumerism and social repression, and the nonfiction work The Yage Letters (1963). Musical Influence Burroughs played with audio cut-ups as well via tape recordings. He released his first album in 1965, Call Me Burroughs, which featured his readings of text from Naked Lunch and The Soft Machine. Burroughs not only made waves in the literary world but became a huge influence for many musical artists of the day. The acts Soft Machine and Steely Dan took their names from the writer’s work and Burroughs went on to collaborate with artists of the avant-garde like Laurie Anderson, Sonic Youth and Genesis P-Orridge. Burroughs continued his literary pursuits as well in the early 1970s, publishing The Wild Boys: A Book of the Dead (1971) and Exterminator! (1973) and penning a screenplay, The Last Words of Dutch Schulz. By the end of the decade, he worked on a book with Gysin that delved into their cut-up philosophy—The Third Mind (1978). Burroughs would face family tragedy yet again as his son Billy Burroughs Jr., also a writer, succumbed to substance addiction and died from alcohol-related trauma in 1981. Death Burroughs died in Lawrence, Kansas, in 1997. QUICK FACTS Name: William Seward Burroughs Birth Year: 1914 Birth date: February 5, 1914 Birth State: Missouri Birth City: St. Louis Birth Country: United States Gender: Male Best Known For: William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture, most famously in the book 'Naked Lunch.' Industries Fiction and Poetry Astrological Sign: Aquarius Schools Harvard University Death Year: 1997 Death date: August 2, 1997 Death State: Kansas Death City: Lawrence Death Country: United States Fact Check We strive for accuracy and fairness.If you see something that doesn't look right,contact us! CITATION INFORMATION Article Title: William S. Burroughs Biography Author: Biography.com Editors Website Name: The Biography.com website Url: https://www.biography.com/authors-writers/william-s-burroughs Access Date: Publisher: A&E; Television Networks Last Updated: May 5, 2021 Original Published Date: April 2, 2014 QUOTES
correct_death_00083	FactBench	0	6	https://surrealgoogling.com/f/if-you-see-kaye-20220424	en	if you see kaye [20220424]	https://img1.wsimg.com/i…20cycle-0001.jpg	https://img1.wsimg.com/i…20cycle-0001.jpg	[]	[]	[]	[ "" ]	null	[ "Surreal Googling" ]	null	Memory > Search > Data > Dreams > Fiction >> Dream Interpretation	en	//img1.wsimg.com/isteam/ip/static/pwa-app/logo-default.png/:/rs=w:57,h:57,m	Surreal Googling	https://surrealgoogling.com/f/if-you-see-kaye-20220424	We use cookies to analyze website traffic and optimize your website experience. By accepting our use of cookies, your data will be aggregated with all other user data.
correct_death_00083	FactBench	2	63	https://www.tamupress.com/book/9781585445479/the-lost-years-of-william-s-burroughs/	en	The Lost Years of William S. Burroughs	https://texas-am.imgix.n…uto=format&w=298	https://texas-am.imgix.n…uto=format&w=298	[ "https://www.tamupress.com/wp-content/themes/tamupress/assets/svgs/logo.svg", "https://www.tamupress.com/wp-content/themes/tamupress/assets/svgs/searchicon.svg", "https://texas-am.imgix.net/covers/9781585445479.jpg?auto=format&w=145&dpr=2.5&q=100", "https://texas-am.imgix.net/covers/9781623499099.jpg?auto=for...	[]	[]	[ "" ]	null	[]	2018-05-17T12:50:28+00:00	The sometimes raunchy, often legally dubious New York and Mexican exploits of William S. Burroughs, one of the godfathers of the "Beat" generation, are well ...	en		Texas A&M University Press	https://www.tamupress.com/9781585445479/the-lost-years-of-william-s-burroughs	Beats in South Texas By Robert Earl Johnson Jr. 978-1-58544-547-9 Paperback 6 x 9 x 0 in 208 pp. 11 b&w photos. Pub Date: 05/23/2006 Available BUY NOW Paperback $19.95 The sometimes raunchy, often legally dubious New York and Mexican exploits of William S. Burroughs, one of the godfathers of the "Beat" generation, are well known. Less familiar are his experiences in the Lower Rio Grande Valley of South Texas, where for several years he was a cotton farmer (while avoiding the law in New York). This intriguing chapter in the famous author's life is thoroughly recounted for the first time in Rob Johnson's new book. From 1946 to 1949 Bill Burroughs prepared himself for the writing of his first books by, among other pursuits, raising marijuana and opium poppies and entertaining Beat visitors such as Allen Ginsberg and Neal Cassady at his farm in New Waverly, Texas. Less known, though, are stories about his other farm, a "serious" fifty-acre spread, in the Valley near Edinburg, described in the 1977 edition of Junky. Here he raised legal crops such as cotton, carrots, and peas. Other Beat writers move casually in and out of the narrative, which includes the "William Tell" episode in Mexico in which Burroughs fatally shot his wife, who had placed a drink glass on her head as a target. As a setting in Burroughs's work, the Valley is central in Junky (1953), "Tiger in the Valley" (an unpublished 1955 short story), and, to a less extent, Queer (1985). But the Valley recurs as a setting in almost all of his books, in some form or another. Rob Johnson conducted over forty hours of interviews with people in South Texas and Mexico who knew Burroughs, his business partner Kells Elvins, and other "South Texas Beats." Johnson paints a picture of a fascinating place, time, and people: South Texas and Northern Mexico in the post-World War II period and the Anglos, Mexican Americans, and Mexicans who lived there. Tarleton State University Southwestern Studies in the Humanities About the Author Rob Johnson is an associate professor of English at the University of Texas–Pan American. With a Ph.D. from the University of Southern California, he specializes in the study of Mexican-American writers, the Beat Generation, and Southern writers. Published by Texas A&M University Press
correct_death_00083	FactBench	3	78	https://www.nybooks.com/articles/2014/10/09/dark-dreams-william-burroughs/	en	The Dark Dreams of William Burroughs \| Andrew O’Hagan	https://www.nybooks.com/…/NYR_800x800.png	https://www.nybooks.com/…/NYR_800x800.png	[ "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=360", "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=652", "http://www.nybooks.com/wp-content/uploads/2014/09/ohagan_1-100914.jpg", "http://www.nybooks.com/wp-content/uploads/2014/09/ohagan_2-100914.jpg", "https://www...	[]	[]	[ "" ]	null	[ "ANDREW O’HAGAN" ]	2014-10-09T00:00:00	Some writers have a style that readers must absorb and adopt, and for fans of William Burroughs, the compulsion can be a little hallucinogenic,	en	https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico	The New York Review of Books	https://www.nybooks.com/articles/2014/10/09/dark-dreams-william-burroughs/	Some writers have a style that readers must absorb and adopt, and for fans of William Burroughs, the compulsion can be a little hallucinogenic, particularly for vengeful teenagers with a plan to shock their parents. The irony is that Burroughs is probably the most adult American writer of his generation. He commands his own reason, and to read Burroughs is briefly to make contact with a Burroughvian version of oneself. You stagger back, newly paranoid, from a hundred pages of his novel The Soft Machine (1961), wondering about the degree of state control embedded in your life. That’s how it goes. Having, say, enjoyed the smiles and services of your postman for many a year, you will suddenly, après Burroughs, wonder if the postman is not in fact a strangely mutated cockroach feeding government lies through your mailbox. With a head full of Burroughs you are apt to enter your own Interzone, a place where real things and dreams are indistinguishable. He had magical skills for liquefying reality and bombing your mind. Everything becomes a little Burroughsy when I try to remember what happened in Lawrence, Kansas, on August 2, 1997. It was the hottest afternoon I had ever experienced. I had come from Lowell, Massachusetts, and I wasn’t alone; there was a BBC director with me, a cameraman, a sound man, and a researcher. We were making a film about Jack Kerouac’s time on Desolation Peak, about the roots of his alcoholism, and we were booked to interview Burroughs at his home in Lawrence. Before getting on the plane, we spoke to him on the telephone and he said that Kerouac’s mother had made him drink. I think it was me who told him to keep it fresh for the cameras. Cut to Kansas, where the air conditioning was broken at the Hampton Inn and where I was almost relieved to hear the telephone ringing in the early hours. I went down to the lobby to hear from Burroughs’s friend and manager, James Grauerholz, that the novelist had died in the hospital the previous evening at 6:30. Grauerholz suggested that we come the next day and film at the house. “Bill loved the BBC,” he said. The whole thing passed like a Burroughs routine, we were dazed, and I took some flowers the next afternoon to 1927 Learnard Avenue, a red-painted bungalow with four steps up to a porch with a white fence around it. There was a strange humming. The crew hung back in the car as I walked up to the screen door and peeked through. I thought I saw the singer Patti Smith and I definitely saw the poet John Giorno (the guy asleep in Warhol’s film Sleep). They were sitting in a circle and there were other men including Grauerholz, who soon came to the door. As he opened it, what seemed like a dozen cats shot out of the house. He told me the friends were performing a Buddhist chant to send Burroughs’s spirit up. I declined to join when he asked me, but seeing that the bowls on the porch were empty and licked clean, I said I might feed the cats. “Oh, man,” said Grauerholz, “that is so Zen.” They were very nice to us, the people. A man called Wayne took us to his own workshop and we had drinks and I noticed the television screen was smashed. Apparently Burroughs had been over quite recently and had shot the television before he left. This conversation led to an early evening session of shooting in the garden, the only time I’ve ever used a gun. Our submersion in the Burroughs ether was so total that after the trip, it took me a while, years in fact, to fully believe that I hadn’t cooked some of it up in the wild dreaminess he promulgated. Burroughs would have been one hundred this year. He died thinking he’d done very badly with the people he loved: the wife he shot, the mother he didn’t visit, the son who went off the rails and died trying to impress him, as well as the other young men, the lovers, who never made it like him to the end of a quiet street. It seems Burroughs was often lonely. He ate TV dinners and drank liters of cheap vodka and smoked pot, and he kept, Giorno told me, “barrels of methadone in the garage, just in case there’s a nuclear war.” (I think that was a joke.) This portrait of Burroughs, so carefully painted in Barry Miles’s comprehensive and comprehending biography, is different from the one we usually have of him as perpetual outlaw and countercultural shaman. A good literary biography will show the ways in which personal history both informs and baffles the work, and in meeting that demand Miles provides us with a rather more responsible enigma than we’re used to. “Burroughs did not have a happy life,” Miles writes, and he quotes from the author’s Last Words: “You never loved anybody except your cats, your Ruski and Spooner and Calico…. Mother, Dad, Mort, Billy—I failed them all.” The punk generation, and the Beat Generation before it, would position Burroughs as a kind of peerless, amoral literary gangster, but we now can begin to look at him as a fatal role-player with an upsetting and huge talent. But how do you get to be a man whose conscience is somehow cleansed by the relentless contemplation of filth? Advertisement Burroughs was a moralist and the principal source of his moralizing was disgust. In what Mary McCarthy called his crafty Swiftian temperament, he never turned away from what was nauseating in himself and others; he gave it the full comic stare all his life. Yet only one of his books, Naked Lunch, reads terrifically nowadays, showing us, with a kind of phantasmagoric and comical genius, how everyday paranoia, government surveillance, and state control were threatening to alter the metaphysics of the human race, over twenty years before Edward Snowden was born. Kafka, Orwell, and Burroughs were the great twentieth-century obsessives on the issue of “control,” and of the three, it is Burroughs who best appears to have brought the matter into his own personal homeostasis. Mary McCarthy had her say in the inaugural issue of The New York Review: Control, as Burroughs says, underlining it, can never be a means to anything but more control—like drugs, and the vicious circle of addiction is reenacted, worldwide, with sideshows in the political and “social” sphere—the social sphere has vanished, except in quotation marks, like the historical, for everything has become automatized. She could have been describing the antics of the National Security Agency today. We are all increasingly automatized and scrutinized now as we go about our activities, but what was it about William Burroughs that made his prescient understanding so completely personal? Barry Miles is a shadow-catcher, a reality-gleaner, and his biography captures Burroughs’s dark adventures in paragraphs that are well tuned and evocative. He gets it right, capturing the ways in which the author was deviously autobiographical, and he shows us how Burroughs was also configured by what he wrote and how it was received. In childhood, young Billy, from the rich St. Louis family that started the Burroughs Corporation, liked to stand by the town sewer sniffing the coal gas and enjoying the smell of shit being funneled down into the river. He had a dream, writes Miles, “accompanied by the smell of coal gas, that he was standing in front of his mother, leaning over her like a dinosaur and eating her back.” Quite early in life, Burroughs grew attached to a keening nostalgie de la boue, fueled by tales of burglars, railroad hobos, and junkies. Yet where there was always something rather professional about the self-consciousness of his friend Allen Ginsberg, Burroughs—like that other writer from St. Louis, T.S. Eliot—was always mordantly detached. You feel his love of the low life is not merely a way of refusing the morality of the home crowd, but of seeking another code of life that would allow disgust and self-loathing a higher ordinance. For a great part of his life he was secretive about his sexual interests, el hombre invisible as the boys in Mexico called him, but for all his avant-garde instincts, he put his past into his books as carefully as Thomas Wolfe did. Not only the later experience, the heaps of drugs and the unguent sex, the jobs—the fumigator in Exterminator!, the deranged private detective in Nova Express—but the slow events of childhood, too. In 1930, Burroughs was enrolled by his parents at the Los Alamos Ranch School. It made a “huge impression on him,” writes Miles, “featuring in many of his utopian fantasies about all-male societies, particularly in The Wild Boys.” Utopian fantasies on the land where the Bomb was invented? One is tempted to call it a day right there, and say we have located the core of Burroughs’s imagination. But some writers have minds that act as flypaper to their themes: the pests simply fly toward them, and they wriggle there and die and rot into the mind. When a young man Burroughs admired was killed in a car crash, the future author took the blow personally and said nothing. At Harvard, Burroughs grew interested in witchcraft, the occult, and the Tibetan Book of the Dead. He had brought with him a .32 Smith and Wesson revolver. The preoccupations of his life were settling in. To impress a cheap Greenwich Village hustler called Jack Anderson, he cut one of his fingers off at the joint, and felt, as he later wrote, that “a lifetime of defensive hostility had fallen from him.” Advertisement Not quite fallen from—risen out of, you might say. Two years later his best friend David Kammerer was stabbed to death by another friend, Lucien Carr. This event would prove to be a central one for the ragbag of Columbia students and others who formed the Beats, because it showed them a possible price of their experiments. (Their great hero, the child-poet Rimbaud, enjoyed a similar eye-opener, when his “derangement of all the senses” philosophy met its natural manifestation, in the mad, degraded Verlaine coming at him with a gun.) Before the death of Kammerer, the fledgling Beat crowd, Kerouac, Ginsberg, Burroughs, and the others, might have been merely experimenting with the lower depths, befriending criminals and fizzing with drugs as an accompaniment to jazz “revelations.” But Lucien Carr, in a moment of madness, showed them what really happens in the vicious underworld. Barry Miles combines the biographer’s art and some of the novelist’s in describing the scene. Here he causes the reader to enter Kammerer’s studio apartment in the Village: Kammerer’s room was large but low-ceilinged. A small writing table stood against another French window that looked out over a courtyard littered with old tin cans. At the other end of the room a comfortable sofa sat against an ugly black partition that separated off a kitchenette. There was a disused white icebox with its doors open to reveal empty whiskey and soda bottles. The sink was littered with can openers, half-eaten food, and strands of red hair. Adjacent to the sofa was a large open fireplace, packed high with newspapers, half-burnt wood, cigarette butts, and used matches. On the mantel was an open copy of Rimbaud in which was placed a small drawing of a dark windswept, swirling sea with a rock jutting out of the waves. He could go easier on the use of the word “littered,” but otherwise this is a portrait as sympathetic and detailed as one of Zola’s. The homosexual Kammerer will face his death so that these boys can get it together and write, though other deaths, and other breakdowns, would take place before the group was published in book form. This murder forms the central event in a recent film, Kill Your Darlings, directed by John Krokidas.* When we first meet Burroughs (Ben Foster) he is lying in a bath at a party wearing a face mask, through which he is breathing nitrous oxide. “Is he a criminal?” asks Allen Ginsberg (Daniel Radcliffe). “He wishes he were a criminal,” replies Lucien Carr (Dane DeHaan). “He’s going to be an amazing artist. His current medium is himself.” The film, like many others that exploit myths of hot jazz and cold murder among the group of naughty students who formed the Beats, is too excitable to be reliable, but it captures something of the period’s manic self-abasement, when middle-class boys with literary ambitions took to playing with states of psychosis. A few years later Burroughs shot his wife dead in a “William Tell” shooting accident. (Also the central incident in a film: the David Cronenberg version of Naked Lunch.) Joan Vollmer was twenty-eight years old at the time and the mother of his only child. You might say that all of Burroughs’s life and ideas were leading up to this point—“he already knew,” writes Miles, “that he had been invaded by the Ugly Spirit”—but it might be more interesting to note that all his talent and his writing would flow from it. Controversially, he noted the fact himself decades later, in an introduction to his book Queer. “I am forced to the appalling conclusion,” he writes, that I would never have become a writer but for Joan’s death, and to a realization of the extent to which this event has motivated and formulated my writing. I live with the constant threat of possession, a constant need to escape from possession, from Control. So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have had no choice except to write my way out. I’m not sure this could be called an apologia, but to his friend James Grauerholz, it seemed so. “This apologia may be just a bit disingenuous,” Miles quotes him writing, “because Burroughs had already written a nearly-complete draft of Junkie by December 1950, eight months before Joan’s death.” If you could choose a moral life to live, you wouldn’t choose William Burroughs’s. But you might say he had the courage of his past convictions. He wrote his way out, as he said, and at the same time he wrote his way in, finding, in his imaginative predicament, a nearly perfect simulacrum of the cold war quagmire of the period. When you see documents from the FBI, with their blocks of blacked-out text, their hieroglyphics of referral and concealment, what do they look like if not a page of William Burroughs’s famous cut-up? His own psychosis, you might say, was met with the psychosis of the period, and I won’t be the first to note that Burroughs would have been a natural employee of the CIA if he hadn’t been busy elsewhere. It turns out that the novels of this mid-twentieth-century artist and human wreck can speak to a matter that is seemingly deathless in the moral experience of the West—the matter of covert operations. Long before there was a closed-circuit TV camera, a laptop computer, a drone, or a mobile phone, he saw that surveillance, however it came, was a cancer that grew by itself in the body politic. Every man was his own state to be invaded and corrupted by addictive forces, some of them government-sponsored, and his picture of this phenomenon, across eighteen novels, is the best we have, despite their faults. Such are the rudimentary dualities of American writing. Burroughs was a nightmare to himself and others, a man who just happened, and happens, via a singular talent, to awaken readers to a horror of our own collective making. We don’t just experience our nightmares, we vote for them, and we pay for them with our taxes. In his 1965 Paris Review interview, Burroughs manifested his contradictions with aplomb, supporting Scientology while railing against the corporate world. And by this time he was bent on being clear. “I do definitely mean what I say to be taken literally,” he said, to make people aware of the true criminality of our times, to wise up the marks. All of my work is directed against those who are bent, through stupidity or design, on blowing up the planet or rendering it uninhabitable. Like the advertising people…, I’m concerned with the precise manipulation of word and image to create an action, not to go out and buy a Coca-Cola, but to create an alteration in the reader’s consciousness. It would take a later novelist, Don DeLillo, to introduce the idea that a gunman or a bomber might more successfully alter the consciousness of our time than a writer. And Burroughs, with what Miles calls his “puerile infatuation with guns,” might be the one writer who could both feed and contradict DeLillo’s prediction. Burroughs will always be a hero to those who wish their artists to go personally to the dark places of their art, especially if the fans are going there too, as the rock star Kurt Cobain knew himself to be when he visited Burroughs. Rock music is a performance art, and so was the Beat movement. They each wanted drugs and freer sex, they each wanted to live the thing they were making signs about, and, with the writers, it begins to seem that what they believed in was a kind of Method Writing. They had to draw it from themselves. They had to experience the thing in order to know it. They didn’t do research; they did it for real. They walked the walk, in other words, or they staggered the stagger, and each of them, primarily William Burroughs, was compelled to go underground and come back with the goods. The goods, or the evils. Some of those young literary men wanted so much to experience evil that one could almost forget they were just nice boys. I don’t know that William Burroughs really had a bad bone in his body or an evil thought in his head, though he liked it when his old friend Brion Gysin said that “man is a bad animal.” Burroughs shared with Robert Louis Stevenson an almost feverish ability to conjure with monsters, though the man from St. Louis found it harder to extract himself from being implicated in monstrous processes. Death became him because death had always been the seed from which he grew. The human animal, in any event, was always an ectoplasmic thing to him, and in the end he struggled to perceive a soul in human beings—as opposed to a ghostliness—that could equal that of his cats. “When Ruski was in the hospital with pneumonia,” he writes in The Cat Inside, I called every few hours. I remember once there was a long pause and the doctor came on to say, “I’m sorry, Mr. Burroughs”…the grief and desolation that closed around me. But he was only apologizing for the long wait…“Ruski is doing fine…temperature down…I think he’s going to make it.” And my elation the following morning: “Down almost to normal. Another day and he can go home.”
correct_death_00083	FactBench	3	39	https://www.artnews.com/art-news/news/precarious-immortality-william-s-burroughs-on-film-5473/	en	Precarious Immortality: William S. Burroughs on Film	https://www.artnews.com/…slider.jpg?w=700	https://www.artnews.com/…slider.jpg?w=700	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif", "https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif", "https://www.artnews.com/wp-content/...	[]	[]	[ "" ]	null	[ "Andrew Marzoni" ]	2015-12-08T14:30:50+00:00	Few humans maintained a courtship with death as intimate and prolonged as that of William S. Burroughs. Despite a decades-long addiction to heroin, numerous run-ins with the law, and an unabashed love of gunplay, the author of Naked Lunch (1959) died in 1997, at the age of 83, outliving his wife, Jo...	en	https://www.artnews.com/…e-touch-icon.png	ARTnews.com	https://www.artnews.com/art-news/news/precarious-immortality-william-s-burroughs-on-film-5473/	Few humans maintained a courtship with death as intimate and prolonged as that of William S. Burroughs. Despite a decades-long addiction to heroin, numerous run-ins with the law, and an unabashed love of gunplay, the author of Naked Lunch (1959) died in 1997, at the age of 83, outliving his wife, Joan Vollmer; his son William S. “Billy” Burroughs Jr.; and his fellow Beats Jack Kerouac and Allen Ginsberg, though they were more than a decade younger. Add to that list Howard Brookner, filmmaker and fellow denizen of the Lower East Side, who died of AIDS in 1989, at the age of 34, after completing only three films. Brookner’s first film, Burroughs: The Movie (1983), is the only documentary about the 20th century’s most literary junky produced during the writer’s lifetime. After having been presumed lost for almost 30 years, the film was recently discovered in MoMA’s archives and restored by the filmmaker’s nephew Aaron Brookner, receiving a screening at last year’s New York Film Festival for the Burroughs centennial and now a proper release by the Criterion Collection. Burroughs’s former lover, adopted son, and literary executor, James Grauerholz, recalled in an interview at the NYFF that the idea for the film came about in 1978 when Brookner, a student at NYU, walked into Phebe’s, a bar on the Bowery, having lost his keys, and told Grauerholz that he wanted to make his senior thesis film about Burroughs; Grauerholz suggested that he document the upcoming Nova Convention, a three-day conference on Burroughs’s work and ideas held at the Entermedia Theater that December. The convention was an assemblage of downtown New York figures. The event was organized by the founder of Semiotext(e), Sylvère Lotringer, along with Grauerholz and poet John Giorno, and featured performances by Ginsberg, Patti Smith, Philip Glass, Laurie Anderson, and Frank Zappa, readings from Peter Orlovsky, Anne Waldman, and Burroughs himself, and panel discussions with Timothy Leary and Brion Gysin. The Nova Convention could have filled an entire documentary on its own. Brookner filmed the event, but most of the footage was left on the cutting-room floor. (Thankfully, Criterion has included much of it in the DVD’s outtakes.) It was Burroughs—the man, and not the scene he engendered—that interested Brookner, and it is a human being, first and foremost, that his film portrays. In interviews Brookner and his collaborators insist that they were lucky that Burroughs, who was good at being difficult, cooperated with them as fully as he did. The same could be said of the writer, who was fortunate enough to be filmed by a director as skilled as Brookner, have his words recorded by Jim Jarmusch, Brookner’s sound man, and have his image captured by Tom DiCillo, Jarmusch’s cinematographer on Permanent Vacation (1980), Stranger Than Paradise (1984), and Coffee and Cigarettes (2003), not to mention Bette Gordon’s Variety (1983) and Brookner’s second film, Robert Wilson and the Civil Wars (1987). DiCillo’s camera did much to define Jarmusch’s aesthetic of hip, urban malaise, a carefully exaggerated realism that has since been universalized by Instagram. That such an aesthetic was honed on the first floor of 222 Bowery, Burroughs’s apartment in a former YMCA locker room now known as the Bunker, with Brookner, DiCillo, and Jarmusch shooting a group of men in their 60s getting drunk, playing with weapons, and talking about the good old days, is no stranger than anything that happens in any of Burroughs’s novels. Burroughs moved into the Bunker in 1975, having returned to the United States a year prior, after more than two decades overseas: in Mexico, South America, Tangier, Paris, and London. He rented the apartment from Giorno, who still owns and resides in the building, and stayed there until 1981, when Burroughs and Grauerholz moved to Lawrence, Kansas, where Burroughs spent his final years. Brookner’s film preserves a crucial chapter in Burroughs’s life: when the author in his three-piece suit began doing readings at rock clubs and became the godfather of punk, and the Bunker became a Mecca for the junkies of the Lower East Side. Toward the beginning of the film Patti Smith, tuning a clarinet backstage at the Entermedia, tells Brookner that Burroughs is “a hard guy to get into bed. That’s why I like him, I guess.” By the end of the film Burroughs is in Kansas, staring across the flat landscape with one of his beloved cats, playing the role of gentleman farmer. Burroughs tells Brookner that before he became a writer he wanted to be a doctor (he briefly attended medical school in prewar Vienna) and then a spy (he blames an old Harvard rival for curtailing his career with the CIA), but more than anything Brookner’s film showcases Burroughs’s talents as an actor. Burroughs was no novice to film when Brookner came knocking: during his London years Burroughs collaborated on a series of experimental short films with British director Antony Balch, and he played a prominent role as Opium Jones in Conrad Rooks’s psychedelic elegy to addiction, Chappaqua (1966). Brookner’s film begins with Burroughs’s 1981 appearance on Saturday Night Live, the first of several notable onscreen appearances in the next decade, including his roles as a butler in Brookner’s final film, Bloodhounds of Broadway (1989), and as Tom the Priest in Gus Van Sant’s Drugstore Cowboy (1989). Despite his flirtations with cinema, Burroughs’s own writing proved difficult to film. A screenplay of his first novel, Junky (1953), that Dennis Hopper commissioned Burroughs to write with Terry Southern (who appears in the documentary) was never produced due to disagreements with Hopper and an excess of cocaine. David Cronenberg’s 1991 adaptation of Naked Lunch tries to work around the unrepresentability of Burroughs’s fictional world by literalizing some of his metaphors, but ultimately fails to tap the filmic source of Burroughs’s style: the cut-up, that technique of textual mutilation that Gysin invented in 1959, leading the artist to declare that “writing is 50 years behind painting.” Burroughs took this as his mantra in the early 1960s, advancing the method in his “Nova Trilogy,” cutting, pasting, and reconfiguring the 1,000-page-long mass of text Burroughs called “The Word Hoard” into the sci-fi universe of the novels The Soft Machine (1961), The Ticket That Exploded (1962), and Nova Express (1964). In his cut-ups, Burroughs used language like film negatives, rearranging and disfiguring in the service of “The Electronic Revolution,” as he titled a 1970 essay, his most sustained elaboration of a militant theory of media that attempts to reconcile and revise the ideas of L. Ron Hubbard and Marshall McLuhan. In Brookner’s film, though, Burroughs comes off as less of a political agitator than a sweet old man with mischievous tendencies. At one point Burroughs and Jackie Curtis reenact a scene from Naked Lunch, the author in the role of Dr. Benway, his most famous character, performing a ridiculous surgical procedure that leaves the actors soaked in obviously fake blood. But Burroughs’s most compelling performance is in the role of William S. Burroughs, his air of sophistication disguising his penchant for madness, his Burberry raincoat concealing a revolver, his cane a deadly blade. Brookner portrays Burroughs as a man of endless contradictions. As the filmmaker tells Burroughs’s biographer Ted Morgan in a 1985 conversation included in the Criterion DVD, “With William, you’ll know he’ll say things that he never did.” Burroughs “talks best when he’s had a few drinks in him,” Brookner says, “but then he sounds like a raving lunatic.” Jarmusch and Grauerholz credit the film’s success to Brookner’s unique adeptness at convincing the notoriously paranoid Burroughs to trust him. Although it probably didn’t hurt that Brookner was charming, attractive, and only 23 years old when filming began (Burroughs’s predilection for younger men is well documented), it is the filmmaker’s gentle, sensitive touch that allows for such an intimate portrait. References to drug addiction, though inescapable in Burroughs’s writing, are subdued here: aside from a brief mention of “the methadone clinic,” which Burroughs asked Brookner to cut, the filmmaker tells Morgan, Burroughs’s battles with addiction are merely implied. Most remarkable are the scenes featuring Burroughs and his son Billy, semi-estranged since Burroughs shot his wife, Joan, Billy’s mother, in an ill-fated game of William Tell in 1951. In the introduction to Queer (1985), Burroughs attributes his writing career to Joan’s death: “the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have had no choice except to write my way out.” Like his father, Billy was haunted by the Ugly Spirit, and he wrote about it in the novels Speed (1970) and Kentucky Ham (1973). Adolescent abuse of amphetamines gave way to chronic alcoholism, and “the last beatnik,” as Giorno calls Billy in the film, died in 1981, at the age of 33. Brookner’s footage of father and son together documents the end of a relationship that never really began, their tentative camaraderie revealing a familial resemblance that is ultimately tragic. Even sadder, perhaps, is Brookner’s stated intention, as expressed to Morgan, to return to his subject, filming Burroughs again every few years until the writer’s funeral, which Brookner never lived to see. Brookner battled AIDS secretly, going off of his meds in order to complete Bloodhounds of Broadway, which was released after his own funeral—a story that will doubtless be told in Aaron Brookner’s forthcoming documentary, Uncle Howard. In Burroughs: The Movie, Ginsberg, staring straight into Brookner’s camera, recites from memory his famous opening lines to “Howl” (1955): “I saw the best minds of my generation destroyed by madness, starving hysterical naked, / dragging themselves through the negro streets at dawn looking for an angry fix, / angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night…” Though those lines were written when Brookner was still an infant, they could not be more applicable to his own generation, an unfortunate through line connecting the two New Yorks which Burroughs’s life bookends. Andrew Marzoni is a Marion L. Brittain Postdoctoral Fellow in the School of Literature, Media, and Communication at the Georgia Institute of Technology.
4384	dbpedia	2	7	https://www.hollywoodreporter.com/business/business-news/thinkfilm-sold-capco-25-million-140672/	en	ThinkFilm sold to Capco for $25 million	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/23cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/23cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc...	[]	[]	[ "" ]	null	[ "Gregg Goldstein", "The Associated Press" ]	2006-10-25T05:00:00+00:00	David Bergstein and Ron Tudor's film financing and production company Capco Group has purchased indie distributor ThinkFilm for about $25 million.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/business/business-news/thinkfilm-sold-capco-25-million-140672/	David Bergstein and Ron Tudor’s film financing and production company Capco Group has purchased indie distributor ThinkFilm for about $25 million. Capco plans to add several $15 million-$20 million films to ThinkFilm’s annual slate and create a wider distribution network with its London-based film financing and sales outfit Capitol Films. All Capitol films less than $20 million will be distributed domestically via ThinkFilm, while most of Capitol’s larger titles will continue to be sold to U.S. studios. ThinkFilm, which has traditionally acquired films for distribution, also will begin producing more projects. Capco plans to increase its companies’ theatrical films to 25 a year and its direct-to-video features to 50 a year. The Los Angeles-based Capco already has a few higher-budget indies like Gregory Nava’s crime thriller “Bordertown,” starring Antonio Banderas and Jennifer Lopez, that it will release next year via ThinkFilm. The $25 million picture will be rolled out with a $15 million-$20 million P&A budget, Bergstein said. Capco also assumed several million dollars in debt from ThinkFilm as part of the deal, which has been widely rumored since May’s Festival de Cannes. “ThinkFilm was the most inexpensive way into the U.S. market,” Bergstein said with a laugh. Bergstein will assume the role of chairman at ThinkFilm, a title he now holds at Capitol, while Tudor will be a shareholder. Executives at ThinkFilm will retain their titles and their New York and Toronto offices for the foreseeable future. The companies might merge to form a new entity, but there are no plans for that at the moment, ThinkFilm CEO Jeff Sackman said. The new deal will give ThinkFilm the ability to prebuy projects, Bergstein added. “It opens up a universe for them to buy films for much wider distribution,” he said. Bergstein and Tudor purchased Capitol in January and placed seven titles from their production company Mobius Entertainment into Capitol’s slate, including “Bordertown” and “Laws of Attraction” ThinkFilm senior vp and chief financial officer Marc Hirshberg negotiated the deal, with CAA serving as an adviser and broker.
4384	dbpedia	3	41	https://engagedsociology.wordpress.com/2017/05/03/a-sociological-look-inside-a-film-reel/	en	A Sociological Look inside a Film Reel	https://engagedsociology…gprivateryan.jpg	https://engagedsociology…gprivateryan.jpg	[ "https://engagedsociology.wordpress.com/wp-content/uploads/2019/08/iup-logo-white.png?w=600", "https://engagedsociology.wordpress.com/wp-content/uploads/2017/05/savingprivateryan.jpg?w=1000", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp....	[]	[]	[ "" ]	null	[]	2017-05-03T00:00:00	By Ryan Redilla In Dr. Vaccaro’s Honors Core course, the students learned about art worlds. An art world contains many different characteristics and is very subjective. The class turned to sociologist Howard Becker to help figure out what an art world truly is. The class defined an art world as a realm that consists of…	en	https://s1.wp.com/i/favicon.ico	Engaged Sociology	https://engagedsociology.wordpress.com/2017/05/03/a-sociological-look-inside-a-film-reel/	By Ryan Redilla In Dr. Vaccaro’s Honors Core course, the students learned about art worlds. An art world contains many different characteristics and is very subjective. The class turned to sociologist Howard Becker to help figure out what an art world truly is. The class defined an art world as a realm that consists of all the people and activities involved in creating what is deemed by others as “art”. There is a myriad of art worlds and it’s hard to select just one to discuss. I decided to take a closer look into the art world of film. Film is a very diverse and unique art world. It has millions of collaborators and conventions, uses many different resources, is distributed through various mediums, and judged by many viewers. Film is by far my favorite art form. I think the skill that it takes to act, direct, and produce a motion picture is extraordinary. Film is one of the most popular art forms and has been around since the late 1870s. It has evolved drastically over the last 100 years and has a very profound and interesting history. What all goes into making a film? The answer is a lot. The film process consists of five main stages: development, pre-production, production, post-production, and distribution. The idea or main story of a film is created during the development stage and eventually written into a script. Then during pre-production, all the costumes, props, and film plans are developed and scheduled so that the film can reach the production stage and actually be filmed. Next is post-production where the film is edited and any last minute changes are made. And finally during distribution the filmmaker sells his/her film to a distributor, whether it be a streaming source or Hollywood movie distributor, to be seen by an audience. Why is film considered an art world? According to sociologist Howard Becker for an object or product to be considered art it has to meet five criteria. It has to have collaborators, conventions, resources, distribution, and judgement. The film process is very demanding and consists of many jobs and workers. There are many jobs that go into making a film, ranging everywhere from extra to director. Films can have a credits list containing thousands of people before a film is finalized and ready for theaters. For example, the legendary 1998 World War II flick, Saving Private Ryan had over 200 collaborators in the art, costume, and makeup departments alone. The biggest or most well-known jobs that go into filmmaking are the directors, producers, writers, actors/actresses, and directors of photography. These jobs are very prestigious among the careers in film; they have many assistants and positions below them. They basically cover all of the leadership aspects that get films developed, produced, and distributed. Whether it’s a small independent movie or a blockbuster film there is always a hierarchy of roles on a film project. Some famous collaborators include Steven Spielberg, Martin Scorsese, Quentin Tarantino, Richard Deakins, Christopher Nolan, and the Coen Brothers. All of these artists are either directors, producers, or directors of photography. Their works include Jaws, Indiana Jones, The Dark Knight Trilogy, No Country for Old Men, Goodfellas, and Pulp Fiction. These are just some of the most well-known directors and producers in the film industry. But like I stated earlier, when you look at a film’s credits you will see a list of hundreds of collaborators mentioned. That’s because art isn’t created individually; it’s a collaborative subject and takes a lot of work and cohesion to produce. Read More: Quentin Tarantino, Ridley Scott, Four More Directors on the Decline of “Middle-Class Films,” Facing Retirement But everything isn’t always so cohesive. Collaborators have different motives for producing films. While money drives everything in the film world, the directors are more focused on creating art and capturing the screenwriter’s story. The screenwriter wants to have his/her story told and the producers or technicians are mainly in it for the income. Collaborators often argue with one another and end up changing or adapting to find a middle ground where most, if not all of the crew, is happy. A perfect example of this is the movie Apocalypse Now. Director Francis Ford Coppola went so insane from the pressures and hardships of filming in the Philippines that he went way over budget, had to fund most of the film himself, took over a year longer to film than originally anticipated and pushed his actors to a breaking point. He bickered with Hollywood over funding and production time and even had to pay one of his main actors, Marlon Brando, more money to show up unprepared and overweight for his role. The film industry has many different conventions. Conventions are defined as the ways or methods of doing something. In this case it’s the techniques and methods used to create film. With the increase in technology over the last 60 years, film has drastically changed. The industry is constantly coming out with new types of cameras, different platforms, special effects, and ways to tell their story. Just take the different types of film and cameras for example. You have digital cameras, 360° cameras, film cameras, and various types of film. Film comes in 35mm, 120, 4×5, black and white, color, and infrared. Not only are there technological conventions but there are also different techniques filmmakers use to produce movies. For instance, director Martin Scorsese uses a wide overhead camera angle in a lot of his films to portray a more omniscient or god-like point of view. Many editors have their own tips and tricks that they use in post-production to make a film have a certain look or to convey a certain theme. After filmmakers achieve a higher status they start collaborating with many of the same artists. This is to help facilitate the filmmaking process and help all parties make a film that they can all enjoy and agree on. Director Quentin Tarantino has casted actor, Samuel L. Jackson in a lot of his movies because they have a cohesive partnership and know what both want from the other. There is a lot of opportunity in the world of conventions but at the same time a lot of problems. Like I stated earlier, how some artists choose to work together because they have a nice partnership, well it goes both ways. Some artists will never work together again because of their disagreements on conventions. When making the 1974 film Chinatown director Roman Polanski and actress Faye Dunaway had a falling out. Dunaway focused on the art of acting and asked Polanski many questions on what he wanted from her while Polanski told her to just read the lines and leave him alone. To produce a successful movie you need tons of resources and support to assure that everything runs smoothly. Film resources include everything such as the support of family and friends, film locations, and equipment (cameras, cast/crew, and catering to feed the collaborators). All resources are crucial and important to producing a movie, but the most essential part of any film’s resources is the movie budget. The budget can range anywhere from thousands of dollars to hundreds of millions. For instance, director Christopher Nolan’s first feature film, Following, was made on a budget of $6,000 while Pirates of the Caribbean: At World’s End had a whopping budget of $300,000,000. Remember how Saving Private Ryan had a massive cast and crew for production, budgeting was what allowed everyone to get paid and everything to go according to plan. It is an extremely vital part of the film process. After a film is created it has to be distributed. There is a myriad of distributors for filmmakers to choose from to get their product out there. Distribution occurs so filmmakers can reach an audience. The problem with this is, how to go about actually distributing the film. Distribution involves a ton of legal action and decisions regarding copyrights, trademarks, and of course, money. A director can contact a movie conglomerate like Paramount Studios, Warner Bros, Metro Goldwyn Mayer, or Universal Studios to promote their film and scatter their work throughout the film world; but many filmmakers like to self-distribute their film and advertise it on their own to avoid having to pay distributors big bucks and avoid giving up their rights to the film. With a new variety of distributors, many filmmakers have turned to streaming mediums like Netflix and Hulu to get their work to an audience. Whether the distribution is funded by a company or the filmmaker, with so much content out there today it is easier than ever before to advertise film. Movies are available 24/7. Most citizens have the power to watch a film anytime and anywhere. And with so many viewers, film is able to have a world of critics. Every single moviegoer is a critic and part of the judgment process. Even though every viewer is able to form his or her own opinion, there are professional critics and analysts of film. Movie critics are an important part of deciding what’s worth watching and what isn’t. Some famous movie critics include IMDb, Rotten Tomatoes, Rolling Stone Magazine, and Roger Ebert. There is also festivals like Sundance and Cannes that attract new filmmakers every year and judge films. But the ultimate film critic is the Academy Awards. The Academy Awards ceremony or Oscars, has been a huge promoter and critic of film and continues to go in popularity. The Academy Awards have been around for 89 years and have judged or assessed over 1,000 films since its existence. Now the issue with the judgement of film is that, like many other art worlds, it’s very biased. While every viewer has his/her own opinions and preferences, it’s ultimately up to the critics and festivals/ceremonies to judge quality film. And the reason this is skewed or a poor judgement of film is that it excludes a lot of well-made movies and doesn’t give many artists a chance to promote their works and get their art properly assessed. But on the bright side with more film critics than ever before, filmmakers are more easily able to get their films evaluated. There are many online sites and critics willing to read and judge work available to collaborators today. Since film contains all five of the essential elements that make up art, it is considered an art world. Now that I have discussed why film is deemed an art world, what should we do about it? There are a lot of opportunities in the film art world, but there is also just as many issues. Many talented and underrated filmmakers aren’t receiving a fair chance in the film industry. To solve this problem, I would create facilities dedicated to specifically reading over movie scripts and training interested individuals on proper camera etiquette and techniques. It would give many inexperienced artists a chance to develop their skills and produce art and original work, unlike all the franchises and remakes of today’s film industry. With a dedicated and professional crew, filmmakers could get hands on experience and learn from industry pros, who are important critics and resources in the film industry that can get the true artists the credit they deserve. In conclusion, film is a vast and comprehensive art world. I described all that goes into the filmmaking process and how based off of the five categories: collaborators, conventions, resources, distribution, and judgement, film is deemed as art. I also discussed what, therefore, we should do about the film industry. The world of film is massive and contains millions of components. And with so many moving parts, the mechanism that is film isn’t always a well-oiled machine. There is a lot of opportunity as well as a lot of conflict. Overall, I think film is heading in a new and exciting direction and with so many new conventions and collaborators coming about, viewers are in for an enjoyable ride for years to come. Works Cited Barrance, Tom. “The Filmmaking Process.” Learn about Film <learnaboutfilm.com/making-a-film/organising-filmmaking-process>. Becker, Howard Saul. Art Worlds. Berkeley; London: University of California Press, 1982. Hale, Benjamin. “The History of the Hollywood Movie Industry.” History Cooperative, 12 Nov. 2014, <historycooperative.org/the-history-of-the-hollywood-movie-industry>.
4384	dbpedia	3	16	https://www.filmindependent.org/blog/undercover-indies-dumb-dumber-smarter-indie-think/	en	Undercover Indies: Why 'Dumb and Dumber' is Smarter (and More Indie) Than You Think	https://www.filmindepend…turedImage-1.jpg	https://www.filmindepend…turedImage-1.jpg	[ "https://www.filmindependent.org/wp-content/uploads/2024/07/new-logo.png", "https://www.filmindependent.org/wp-content/uploads/2016/06/HaroldAndLloyd_midroll.jpg", "https://www.filmindependent.org/wp-content/uploads/2016/06/JimCarrey_midroll.jpg", "https://www.filmindependent.org/wp-content/uploads/2024/08/Fi...	[ "https://www.youtube.com/embed/l13yPhimE3o?feature=oembed", "https://www.youtube.com/embed/S4AmLcBLZWY?feature=oembed" ]	[]	[ "" ]	null	[ "Kaia Placa", "Film Independent", "Matt Warren" ]	2021-10-18T15:30:03+00:00	For most people, the most widely accepted definition of “independent film” is any sort of movie made outside (or largely outside) the Hollywood studio	en	https://www.filmindepend…n-57x57.png?v=a1	Film Independent	https://www.filmindependent.org/blog/undercover-indies-dumb-dumber-smarter-indie-think/	For most people, the most widely accepted definition of “independent film” is any sort of movie made outside (or largely outside) the Hollywood studio system. Many of our most critically acclaimed and important films have been indies, yet too often the average moviegoer has no clue that what they’re watching has been made through means different than the typical blockbuster. With Undercover Indies we hope to shine a light on some familiar film titles that you may be surprised to learn are actually—surprise!—independent productions. In 1994, a new kind of comedy changed our idea of lowbrow humor. Peter and Bobby Farrelly’s Dumb and Dumber essentially began with the simple idea of making a movie about two dumb guys and the obstacles they face. Nothing terribly groundbreaking. However, it was done in such a charming (and dare I say, clever) way, audiences were hooked. The film is essentially a road movie, but replace the road movie’s usual angst-filled-leads-on-a-journey-to-find-themselves with two outrageous morons on a mission to find a pretty woman (to return a briefcase full of ransom money intended for her husband’s kidnappers)—and the typical rundown road-movie convertible with a giant, furry van made up to look like a dog. Why you don’t think it’s an indie. When Dumb and Dumber was released, ‘90s-comedy icon Jim Carrey was smack in the middle of blasting into superstardom. The In Living Color alum had just released Ace Ventura: Pet Detective, which had catapulted him from a relative unknown to a household name. He’d gotten wind of Dumber while on the set for The Mask, which was also released later in 1994 and became another big success. Carrey broke records, becoming the first actor in Hollywood history to have three #1 movies at the box office in the same calendar year. Furthermore, the actor was inhabiting roles that truly only seemed doable by him, and the Jim Carrey brand was in high demand. Acting across from Carrey was Jeff Daniels, who at the time mostly had success with “critical darlings” such as Terms of Endearment, and who was primarily known for more serious work. However, Daniel’s bizarre transition to such an in-your-face comedy turned out to be brilliant move, helping propel the actor to a diverse, long-lasting career that continues to this day. Dumb and Dumber was a massive success, making almost $250 million worldwide. A year later, an animated series aired on ABC based on the film’s characters, and in 2003 a prequel was released with an entirely different cast and crew. The original film is still so famous that its sequel, Dumb and Dumber To was released in 2014, a full 20 years later, with Carrey and Daniels returning, respectively, as Lloyd Christmas and Harry Dunne. The style of Dumber itself is so loud and slapstick, it doesn’t seem to at all adhere to the indie stereotype of being subtle and poetic. There are of course well-known indie comedies, but one tends to imagine them with someone like Michael Cera mumbling their way throughout quirky, dry dialogue. Not Jim Carrey making “the most annoying sound in the world” or Jeff Daniels trying to cover up an inopportune bowel malfunction. Why it is an indie. After a bit of flip-flopping and exchanging hands over the course of a few years, Dumb and Dumber was produced by the independent production company New Line Cinema. Not only was 1994 a big year for Jim Carrey, it was a big year for New Line, still one of the largest independent production companies in America—and who, in 1994, was about to become much, much larger. The same year Dumb and Dumber came out, Turner Broadcasting Systems bought New Line. At the time New Line was just starting to put out some films with more conventional marketing (The Mask being a prime example, with tie-ins with McDonald’s and toy-makers). However, the company was still putting out smaller, more typically independent films, and promoting them in creative ways. Peter and Bobby Farrelly had been writing for nine years without getting any films actually made. They’d never directed before, and only did so because a studio exec had enjoyed their passionate pitch so much, he agreed to install them at the helm. They went into production essentially winging it, literally knowing next to nothing about directing—something that would never happen at a major studio, then or now. The brothers were such novices they were convinced for the first few weeks of production that someone else would be brought on to replace them. The duo is now considered one of the most successful comedy filmmaking teams of all time. Sure, the film had a famous cast. But after a little more digging, one finds out that, as new (and independent) filmmakers tend to do, the Farrelly brothers took a fair amount of risks and made some fairly bizarre choices. When Jim Carrey was first presented with the film, he was still considered a bit of an unknown. He was on set for The Mask and hadn’t yet released any of his major 1994 hits. After he’d already agreed to make the film, his career began to blossom, and was actually in a position to be able to renegotiate his Dumber acting fee. Additionally, the studio flat-out did not want to hire Jeff Daniels—they didn’t have faith that the traditionally serious actor could pull off comedy. The Farrellys wanted him so badly, though, that the studio reluctantly agreed, intentionally lowballing him his acting fee, thinking he’d say no. He didn’t. And it’s probably safe to say that neither New Line nor Daniels regrets the decision casting him in the role. Dumb and Dumber is truly a movie where, looking back, nothing about the film was as it seemed at the time of its release. Frequently, enduring indies have this effect. We think of them and their success fondly, of their talented actors and quotable one-liners, but we fail to remember the difficult circumstances and counterintuitive (at the time) decisions that went into their actual making. With Dumber you had a writing duo without any prior film success, an up-and-coming actor with only minimal name recognition, and another actor who seemed totally wrong for the role. Pair that with a small, but growing studio willing to take a chance on an unconventional style of humor and you had one of the most famous comedies of all time. Ultimately, the Farrellys went from having panic attacks because they didn’t even know what “coverage” meant to getting phone calls that their film had just gone to #1. Indie filmmaking allows artists to take these risks and follow their guts, and in some cases, it really, really pays off. NOTE: a version of this blog originally ran in 2016, authored by Film Independent blogger Kaia Placa. It appears in a revised version here. Special thanks to Kaia. Film Independent promotes unique independent voices, providing a wide variety of resources to help filmmakers create and advance new work. To support our efforts with a donation, please click here and become a Member of Film Independent here. Follow Film Independent…
4384	dbpedia	1	19	https://www.filminfinland.com/en/movie-cases/bordertown-mural-murders	en	Bordertown: Mural Murders (2021)	https://www.filminfinlan…&h=630&mode=crop	https://www.filminfinlan…&h=630&mode=crop	[ "https://www.filminfinland.com/Static/dist/assets/icon-nav-menu.svg", "https://www.filminfinland.com/4a99a7/siteassets/fif_logo_250.png", "https://www.filminfinland.com/4acc9b/siteassets/film-in-finland-photos/sorjonen_muraalimurhat_elokuvajuliste_p.jpg?w=360", "https://www.filminfinland.com/Static/dist/asset...	[]	[]	[ "movie", "tv", "action", "thriller", "bordertown", "crime", "drama", "mystery" ]	null	[]	null	Film is a spinoff of the popular Nordic crime series which is now in its third season.	en	/Static/dist/assets/favicons/favicon-32x32.png?1515157992		https://www.filminfinland.com/en/movie-cases/bordertown-mural-murders	Country of Origin: Finland Director: Jarkko Hentula Writers: Miikko Oikkonen, Antti Pesonen Stars: Ville Virtanen, Anu Sinisalo, Sampo Sarkola Production companies: Yellow Film & TV Distribution: Aurora Studios Filming Location in Finland: Lappeenranta, town on the Russian border in Southeasternmost part of Finland
4384	dbpedia	3	57	https://www.southcoasttoday.com/story/news/2004/09/27/sex-cinema/50321082007/	en	Sex and the cinema	https://www.gannett-cdn.…ages/favicon.png	https://www.gannett-cdn.…ages/favicon.png	[]	[]	[]	[ "" ]	null	[ "MARK CARO, Chicago Tribune, New Bedford Standard-Times" ]	2004-09-27T00:00:00	The line between art film and porn is becoming as thin as a G-string , \n Fine Line Features \n John Waters' new comedy, \	en	https://www.gannett-cdn.…ages/favicon.png	Standard-Times	https://www.southcoasttoday.com/story/news/2004/09/27/sex-cinema/50321082007/	The line between art film and porn is becoming as thin as a G-string , Fine Line Features John Waters' new comedy, "A Dirty Shame," starring Tracey Ullman, is rated NC-17.Got sex? That could be the art-film circuit's new slogan as explicit sex has returned to the big screen with a vengeance. Never mind that the porn industry has migrated from grungy theaters to home video and the Internet. Never mind that U.S. broadcast companies and the Federal Communications Commission continue to act as if Janet Jackson's Super Bowl "wardrobe malfunction" marked the end of civilization as we know it. Never mind that politicians continue to tout their "traditional values" by treating the entertainment industry like a pinata. The cinema is in the midst of its own sexual revolution, flouting taboos and exploring sexuality more brazenly than ever, even if American filmmakers have been slow to pick up the mantle and explicit sex remains an anathema to mainstream theater and video chains as well as the Motion Picture Association of America. You know something's going on when Brian Grazer, Ron Howard's producing partner, is preparing a sexually graphic documentary about the cultural impact of '70s porn film "Deep Throat." You know something's going on when one of the Oscar season's most anticipated films is a biopic about sex researcher Alfred Kinsey. You know something's going on when veteran shockmeister John Waters takes an NC-17 movie about sex to the Toronto International Film Festival, and it comes off as the festival's tamest take on the subject. Sure, the characters talk and gesticulate nastily amid the one-note campiness of Waters' "A Dirty Shame," but other films on the horizon are confronting viewers with the real thing. It's as if the cultural wars have exploded in incoherence outrage over an exposed breast sandwiched between ads addressing sexual dysfunction. "One can argue that over the last three years, there's been this kind of paranoia and conservatism in the world, and artists always thrive when it's a little repressed," said Canadian director Clement Virgo, who just completed filming the sexually explicit "Lie with Me" for ThinkFilm. Yet at the same time, "on the TV you see an ad talking about 'if you have an erection for more than four hours.' People are talking about this openly now." Grazer, whose "Inside Deep Throat" is scheduled to be released unrated by no less than Universal Pictures in January, sees the dynamics surrounding that landmark 1972 porn film as being repeated on a larger scale. "We're experiencing in a much grander fashion porno chic," the producer said in a phone interview. "I think it's now entered the mainstream in a much more pervasive way than the fad surrounding 'Deep Throat.' " Grazer added "If you're going to spend the time or money to make a movie, and you want it to be sexually charged, you're forced to go further because we've become somewhat sexually desensitized. Every poster and television ad, you get on the Internet, and it's clogged on pornography. I think if a filmmaker wants to have impact or shock you -- and that's what movies have to do -- you have to find original images that shock." Often these are sexually graphic images transplanted from the low-rent aesthetic of pornography into the high-brow world of art films. "9 Songs," a Toronto premiere from prolific British filmmaker Michael Winterbottom ("Welcome to Sarajevo," "24-Hour Party People"), is almost completely composed of explicit sex scenes between a rather vapid young couple intercut with concert footage of Franz Ferdinand and other rock bands. The idea is to show a relationship's arc through its sex, though it more convincingly shows a relationship's sex (and its many varieties) through its sex. Swedish filmmaker Lukas Moodysson's "A Hole in My Heart" and French director Catherine Breillat's "Anatomy of Hell" offer close-ups of female genitalia in their confrontational explorations of sex and power, and more than a few people who caught German filmmaker Bruce LaBruce's "The Raspberry Reich" at the Toronto or Sundance festivals this year likened it to hard-core gay (and straight) porn. Meanwhile, much of the modest $224,000 gross that Vincent Gallo's "The Brown Bunny" has racked up is no doubt due to actress Chloe Sevigny's well-publicized oral-sex scene with the star-director. "I'm all for it," Waters said of the drive toward explicitness. This is the filmmaker, after all, who had Divine doing a Chloe Sevigny on her character's son back in 1972's "Pink Flamingos." "Eventually when finally two Hollywood stars do penetration for real, maybe that will end the MPAA. That's the only thing left. That will happen." Sex is no stranger to the cinema, as early '70s films such as Bernardo Bertolucci's "Last Tango in Paris" and Nicolas Roeg's "Don't Look Now" portrayed the act with striking candor. But, myths about "Don't Look Now" aside, these actors were acting. The recent wave of European films, at first starring unknowns, has removed that barrier of simulation, with directors such as Breillat, Bruno Dumont ("L'Humanite"), Gaspar Noe ("I Stand Alone") and Leos Carax ("Pola X") leading the way. French director Patrice Chereau's English-language "Intimacy" (2001) pushed the envelope by showing two relatively well-known actors, Mark Rylance and Kerry Fox, cavorting for real. Presenting her new film in Toronto, Breillat took credit for the trend. "I'm the explanation, the fact that I've been making my films for over 25 years," she said. "It's gotten to the point where any new French directors, in their first film, it's almost a necessity to prove themselves by including a very violent sexual scene." Sex has become such a non-issue overseas that Moodysson said the Swedish government provided most of the funding for "A Hole in My Heart" with full knowledge of its content. That Europeans are willing to finance sex-themed movies -- and that these movies have found ways to make money in the U.S. -- has not gone unnoticed on this side of the pond. John Cameron Mitchell, who directed and starred in his musical "Hedwig and the Angry Inch" (2001), said that investors have been "scared" of his planned next film, "Shortbus," a comedy that will depict actual sex. But he sees "The Brown Bunny" as turning the tide. "It is funny that the sexual zeitgeist has finally hit North America because it's been in Europe for a while," Mitchell said. "We're finally getting some money in." Who's investing? "Our first money has come from European foreign-sales companies," Mitchell said, "and I expect the rest will be more adventurous people with money rather than film companies in North America." Making money on such films also has become easier thanks to the digital video. "The digital revolution does make it very possible to do things very intimately minus the intrusion and inhibition of cameras and large crews, and these films can be made very thriftily," ThinkFilm U.S. distribution chief Mark Urman. "When you're experimenting, that's perhaps not a bad idea." So it's not surprising that the upcoming sex-themed film with the widest distribution, Bill Condon's "Kinsey," isn't particularly experimental. "In order to talk about sex, it placed itself within quite a conventional romantic movie structure," Cowan said. "It's very traditionally made. There's such a careful attention to how sex is treated." Condon, who will present "Kinsey" to open next month's Chicago International Film Festival, doesn't disagree. "There is a movie to be made about Kinsey that would be really in-your-face, but I thought it was important to suggest the context in which this amazing figure emerged," the writer-director said. In other words, Kinsey's theories and sexually explicit slides seem that much more shocking in the sunny context of a lovingly shot biopic (which stars Liam Neeson). Even so, Condon said that although Fox Searchlight will release "Kinsey" this fall, a British company provided the bulk of its financing, and the process took years. (He finished the script in 2000.) The filmmaker was anticipating a ratings battle until the MPAA surprised him by giving the movie an R without demanding that photos of aroused genitalia be cut. "Kinsey" triumphed in its Toronto premiere while the reaction to the more graphic fare was mixed. Even filmmakers not crossing such lines were drawn into the discussion. "Sex scenes have gotten increasingly explicit in film, so it's not surprising to me that there's been this crossover to real sex," said Nicole Kassell, whose well-received directorial debut "The Woodsman" stars Kevin Bacon as a pedophile struggling to reform. "The thing that I find curious is that they say that it's just a natural part of the film, but personally as a viewer I find it impossible not to separate myself from the fact that I'm watching real people have real sex. That does take me out of the film. Somehow it's not as safe as when you know it's acted." British director Sally Potter, who uses iambic pentameter rather than naked bodies to depict the affair between an American-Irish woman (Joan Allen) and a Lebanese man (Simon Abkarian) in "Yes," said her own tendency is to pull back from graphic depictions to tap into deeper currents. "The sexual impulse is a complicated one," she said. "Some of it's to do with reproduction. Some of it's to do with attraction. Some of it's just to do with affection, communication, the need for touch, which is not necessarily the same as sex. All of these complicated factors are involved, and to reduce it to just kind of humping buttocks is not really for me." To Potter, these explicit new films veer into pornography, of course a highly profitable industry itself. But Virgo and other directors insist the whole point is to view sex with an artist's sensibility. "Michael Winterbottom, no one can say he's a porn director," said the Canadian Virgo. "Catherine Breillat, Alfonso Cuaron -- these are real filmmakers. I think it's filmmakers really trying to push the frontier in the same way they pushed the frontier in violence." Cowan sees a clear distinction "Pornography's sole purpose is to titillate. And films are intended to promote intellectual reactions." He added "It may be a sad commentary that these two things rarely coincide." This story appeared on Page B1 of The Standard-Times on September 27, 2004.
4384	dbpedia	1	35	https://www.goodnewsfinland.com/en/articles/opinion/2023/film-and-tv-finland-blooming/	en	The film and TV sector in Finland is blooming	https://www.goodnewsfinl…/jcr:content.jpg	https://www.goodnewsfinl…/jcr:content.jpg	[ "https://www.goodnewsfinland.com/static/images/SVG/GnfGlobeWhite.svg 1x, /static/images/SVG/GnfGlobeWhite.svg 2x" ]	[]	[]	[ "" ]	null	[]	null	The Finnish film and TV industry is thriving. It’s finding new audiences, picking up awards and offering an excellent base for international collaboration, writes Hanna Vuorinen, head of Film in Finland.	en	/favicon_gnf/apple-touch-icon.png		https://www.goodnewsfinland.com/en/articles/opinion/2023/film-and-tv-finland-blooming/	The Finnish audiovisual sector has grown and become more international in the past few years. As a result, the total revenue of production companies rose by more than 40per cent from 2017 to 2019. This upward trend continued in 2022 as films like Girl Picture, Hatching and My Sailor, My Love were awarded at several international festivals. This year looks equally promising. One of the most anticipated Finnish films is Sisu, an action thriller directed by Jalmari Helander (known for Big Game and Rare Exports). The word sisu refers to a combination of resilience and stoic determination. It is found at the very core of Finnishness and the film, where a Finnish gold miner fights the Nazis in the deep wilderness of Lapland. In September 2022, Sisu premiered at the Toronto Film Festival and a month later won four awards at the prestigious Sitges International Film Festival in Spain. Furthermore, the film already has a distribution deal with Lionsgate and will be released across North America. Finnish TV series are also thriving. According to Laura Kuulasmaa, executive director at the producers’ association APFI, Finland released 30 original, high-quality drama and comedy series for domestic audiences in 2022 alone. Many of these exceeded commercial expectations, were sold internationally, and received positive reviews and audience reception. The same trend is set to continue. Many anticipated Finnish series, such as Estonia and Dance Brothers, will premiere this year. Estonia, a 15 million-euro series about Europe’s deadliest civil maritime disaster, is made in collaboration with creatives from series such as Chernobyl and Bordertown. On the other side, Dance Brothers is a modern story about two brothers who start a dance company. It’s produced by YLE, Finland’s national public broadcasting company, and Netflix. Another exciting output comes from a new kid in town, Ilkkas’ Creative Studio. The studio has started with a bang and is collaborating with BBC Studios Nordics to create a noir crime spoof Nordic Police Force. The series is produced by the undeniable masters of spoof comedy, David Zucker and Pat Proft, best known for their work on Naked Gun and Airplane!. Currently in development, “NoPoFo”centres on an elite team of special agents who investigate gruesome and overly elaborate murders committed by twisted killers in the Nordic countries. In short, it’s Nordic noir meets Police Squad. But Finns aren’t all about tragic stories and melancholy. That is proven by the success of the animation company Gigglebug. Its hit series, Unstoppable Yellow Yeti, was commissioned by Disney Channel in Europe, the Middle East and Africa and the Nordic broadcasters YLE, DR, NRK and SVT. This is just the start. Anttu Harlin, CEO and founder of Gigglebug, believes there is plenty of more growth potential in the Finnish animation industry. Gigglebug is a good example: Harlin estimates the company’s turnover has grown by 500 per cent in five years and that its productions alone will bring about 45 million euros to Finland between 2019 and 2025. In addition to original content, Gigglebug is a service provider for industry giants like Disney, Netflix, Nickelodeon and Warner Bros Animation. This is a promising sector also outside animation. Jupe Louhelainen from Film Service Finland has worked with several international big-budget productions and notes that foreign productions are increasingly looking to bring their projects to Finland. According to Louhelainen, in the past year, several productions have spent a total of around 18 million euros in Finland through a Film Service Finland incentive. Foreign capital made up for 100 per cent of this. In 2023, the incentive is estimated to bring in around 21 million euros. This is partly thanks to Finnish service providers’ reputation as reliable and trustworthy. Lee Kim, a Los Angeles-based producer at Resolute Films and Entertainment, has first-hand experience with that: “any time you go to a new place to shoot and you’re working with new people you have to build trust – and the Finns were very direct and consistently did exactly what they said they would deliver on.” The above are just some examples of how Finland’s film and TV industry is blooming. It’s finding new audiences internationally, picking up awards and offering a solid base for foreign productions and collaboration. It’s an encouraging way to start the new year.
4384	dbpedia	2	37	https://distributionadvocates.substack.com/p/da-presents-film-school	en	Distribution Advocates Presents: The Truth About Film School (Episode 4)	https://substackcdn.com/…f49_1280x780.png	https://substackcdn.com/…f49_1280x780.png	[ "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fcb272ec7-a655-487a-a8a3-80d08e8b3f49_1280x780.png", "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%...	[ "https://open.spotify.com/embed/episode/20LLDhyqf4jPGMlbhbPZmD" ]	[]	[ "" ]	null	[ "Avril Speaks" ]	2024-02-14T16:02:10+00:00	Why is distribution almost completely absent from film school curriculums?	en	https://substackcdn.com/icons/substack/favicon.ico		https://distributionadvocates.substack.com/p/da-presents-film-school	Why is distribution almost completely absent from film school curriculums? Host Avril Speaks delves into this discrepancy and looks at the real-world consequences for filmmakers. This episode features conversations with , , Alece Oxendine, and Pat Murphy. Listen on Spotify, Apple Podcasts, Amazon Music, and iHeartRadio. EPISODE TRANSCRIPT Avril Speaks: I do want to ask you just the pointed question, do you think film school is a scam? Jameka Autry: Okay. Are we asking? Are we going there? Is this the question? Avril Speaks: Yeah, that’s my question. Do you think film school is a scam? Jameka Autry: I don’t think it’s a scam. I do think that it is overpriced for the actual value on the other side. In a lot of jobs and a lot of positions, you’re not going to be making a significant amount of money. You really have to weigh the pros and cons of if film school is going to be worth it, meaning am I in a position to take on a quarter of a million dollars worth of debt? And that’s a lot of money. It’s a lot of money to think about paying something back. I don’t think it’s a scam. I do think that you can learn really valuable skills, but is it overpriced? Absolutely. So here’s my story. Avril Speaks: Hello out there and welcome to Distribution Advocates Presents. I am your host, Avril Speaks, producer, filmmaker, and co-founder of Distribution Advocates. Our team has commissioned this series of conversations where we delve into concerns about the current landscape of independent film distribution. We’ll chat with folks who are navigating these spaces, debunk some outdated myths, and look to innovative, sustainable, and equitable solutions for distributing films to their waiting audiences. In this episode, we’ll amble through the hallowed and expensive halls of film school as we dissect its function and value in the current industry of distribution. I’ll be joined by filmmaker-turned-professor Jameka Autry. We’ll also hear from Columbia Film School’s Industry Outreach Director Alece Oxendine, and filmmaker Pat Murphy, who attended NYU Tisch. Thank you so much for doing this. Why don’t you introduce yourself to our audience? Jameka Autry: Sure. My name is Jameka Autry. I am a producer, filmmaker, investigative storyteller. I am a professor at Columbia University. All of those things. Avril Speaks: How long have you been teaching at Columbia? Jameka Autry: I first started teaching in the fall of 2020. Avril Speaks: You came into this experience having had experience in the field as a producer. Talk a little bit about your experience as a producer and what you were doing before you went into the classroom as an educator. Jameka Autry: Absolutely. By training, I was a photographer. I decided I wanted to go into business for myself. I was doing a lot of photojournalism, and so I went to Duke and they had a Center for Documentary Studies program. I started off on the photography side and there was a class that I took with Elisabeth Haviland James, and she was an amazing producer. She did The Loving Story (2011), and I just fell in love with filmmaking from taking her class. So I started over my program at Duke. Duke Center for Documentary Studies when I was there was not an accredited MFA program. There was only a certificate program, and so it was exponentially cheaper than it is now. I went and pursued a certificate, and then I moved to New York after I finished that program and ended up working for almost five years with Ricki Stern and Annie Sundberg, who are two amazing producers. But I got my start really working on the post-production side first, which I think is different from most producers. They usually go from a production assistant to an associate producer to then producer, and I started opposite of that. I was an assistant editor and then I went to an associate producer, and then a co-producer and then a producer. Did a ton of all the non-glamorous things such as clearances, post-production supervising. I was really in the weeds on a lot of the technical things, which at first, I think I was really upset about, but it was the best training ground possible because it made me a better producer on the front side. I worked with Ricki and Annie for about five years, then I went to Cinereach, worked with their original productions team, which was also a wonderful experience. I learned a lot about the industry, but from a different side, learned more about the business and that prepared me to actually go out and become an independent producer. Avril Speaks: I love your story about how you got started coming up through post, because sometimes, I feel when we talk about producing, we don’t even talk about the opportunities there. That’s a whole other skill set. Jameka Autry: There is, I think now, more of a place to specialize in your specific field of producing, and I think it’s a better place to start than just saying upon graduation, “I’m an independent producer,” and hanging out a shingle and being expected to do every single thing and every single job, which we know is an immense list for independent producers. And sometimes it’s better to start in the skill set where you can really grasp and make an impact. So I had been independently producing for about three to four years when I had an opportunity to go to Berkeley. I did a fellowship at UC Berkeley at their Investigative Reporting Program, which for me, was just building another skill set in the investigative reporting realm. The fellowship at Berkeley was amazing. It was a, quote unquote, job, so I was a salaried employee of the university but also had the opportunity to audit classes, learn from amazing investigative journalists, although it was only for one year instead of their traditional two-year program. So that’s how I was able to make it work for me. That’s a film school hack. Jemma Desai: I didn’t come through film school, but I did come to it through a love of watching films, watching Parajanov films, every single Pasolini film. Really, that was my film school. Barbara Twist: I went to film school for undergrad. I studied film studies with also some film production. I’m a big believer in knowing what’s come before you so that you’re better informed. It gives you an opportunity to explore and see what’s out there. Avril Speaks: A good friend of mine that I went to school with is always like, “I demand a refund. They need to refund me my money.” Pat Murphy: I think film schools should orient more towards the business side of filmmaking. Avril Speaks: So stepping into the world of academia, once you started teaching, what were you starting to see? What were some of the first things you started to notice in terms of those differences between your real lived experience versus the classroom teaching experience of teaching film, or documentary film in particular? Jameka Autry: When I got the job at Columbia, I asked really specifically, “What are my thresholds? What can I teach? What can I not teach?” And they said, “Well, really, it’s up to you. We really trust you in this role,” and they let me build the program or my class structure in the way that I thought it should run, which was great. Duke really teaches you how to be a one-man-band-type filmmaker. It doesn’t teach you anything about the business. That part was something that I still had to really learn when I came to New York. In the real world, you’re working in teams. There’s always a collaboration. You have a lot of voices and opinions that you have to navigate, but everything is done in a team structure. The one-man-band setup is great to learn those technical skills about “how do I run camera at the same time I’m running sound,” and “how do I actually learn to edit?” It really gave me a foundation for some of those things, but it’s not at all like the actual industry. Avril Speaks: I would love to know, just from your class, what are some things that you’ve implemented to try and bridge this gap? Jameka Autry: It’s hard because I think in a classroom setting, you are in a position where you’re still getting to know the students and they have a structured program that they go through. Columbia’s program is three years, even for producing students. But I really, really focus on the fact that you have to know who you are as a producer before you’re actually going to be really good to anyone else, and so figuring out what you don’t like is as important as figuring out what you do like. Because we know that “producer” is no longer like a one-size-fits-all. There’s different specialties within the producing field. Some people are line producers, some people are creative producers, some people just work on distribution, so it really just depends on where your skill set lies, and I focus a lot with the students on trying to figure out, what do you not like? Because if you know what you don’t like, you can figure out what you do like. And just through some of these practices and walking them through the steps of making a budget, making a treatment, working on a pitch deck, I figure out, okay, you’re really good at writing, you’re not great at visuals, or you’re really great at numbers. Do you like the numbers? One of the things that I do in my class and the way it’s structured is that we talk about money and financing. I give the students a very, very accurate picture of what the industry is and how to navigate it, meaning that it’s not a lot of theory and “let’s study film.” It’s really the basics about producing. It’s how do you write a treatment? What are some of the things you look for in legal conversations? How do you put together a distribution deal? And again, a lot of this is classroom discussion and not real life, but I wanted to mirror it and make the class as close to real life as possible. Because I think this industry is really full of smoke and mirrors, especially on the unscripted side. There’s so much independent wealth that’s floating around in these spaces. You’re working alongside people who have trust funds or who have a wealthy spouse, and they don’t have to actually worry about the paying of the bills on a monthly basis. They’re just doing this for the passion, but that’s not most people’s journey. I think a lot of people that are working below the line are people that need the paycheck. Really dispelling some of those myths is also important, and you have to be committed in the classroom to telling that story. You have to be committed to telling the story of when you graduate, you are probably going to be making no money for a really long time. What does that look like? How do you navigate that? How do you get your first job? And so I’m really focused on some of the skill sets that people have so that they can actually go out and apply for a job. Avril Speaks: So let’s talk about some illusions of grandeur, especially as it relates to the myth of film school. I laugh because in Distribution Advocates, we often talk about filmmakers having a plan for their film, and oftentimes, people are just like, “Oh yeah, my plan is to premiere at Sundance and then get a deal with A24, and then just become famous.” The question we’ve been asking at Distribution Advocates is does film school help perpetuate that idea and also everything that comes along with that idea? Can you talk about that a little bit in terms of that myth? Jameka Autry: Yeah, it’s a really dangerous myth that I think has been sold, and I don’t know where it comes from exactly. I think of Spike Lee being discovered out of NYU and becoming this overnight phenomenon. That was a very, very, very different time and I think that that time has passed. I don’t think that that is at all the landscape that is out there anymore. Avril Speaks: Similar sentiments were also shared by Alece Oxendine and Pat Murphy when I sat down with them. Alece Oxendine: My name is Alece Oxendine. I’m the Director of Industry and Festival Outreach for Columbia University’s film program. 15 years ago, you could be an auteur. If you went to film school 15 years ago and you’re making films and you’re doing what you have to do, you can be an auteur. You cannot be an auteur right now. Right now, you have to be an entrepreneur and there’s no way of getting around that. When I say entrepreneur versus auteur, I feel like an auteur can create in a vacuum and there’s people that support that auteur, and they tend to be mostly men unfortunately. They have the privilege, I should say, of creating in the vacuum and just being in their own esoteric world that is an anomaly and not the norm. We need to be paying attention to distribution. You need to learn about it, you need to know about it. Avril Speaks: And so you’ve had some experience with producer and professor, Michelle Materre. She was someone who did make it a point to educate filmmakers about distribution while she was here, and her class in film distribution at the New School was very well known and lauded, from what I understand. Alece Oxendine: Michelle was a formidable voice when it came to distribution. One of the few classes I’ve ever heard of about distribution, I actually begged her for a syllabus, so I have one of her syllabus on distribution somewhere floating around on my Google Docs. I would see her talking to an echo chamber or see her talking into empty spaces, yelling, “Hey, y’all.” I know how challenging it was for her to make sure she had a voice in distribution, and that’s been what my crusade is. We are living in a different world than we’ve ever had before in the industry, and this is coming from someone who studied the historiography of cinema. We need to be paying attention to distribution. Know about it, learn about it, be respected in the space of distribution, and she was the first person I learned this from. Avril Speaks: As someone who went to film school and also as someone who’s a former professor, I used to teach everything from pre-production through post. I’ve never taught a distribution class. I know that there are some schools that have them here and there, but it’s rare. Pat Murphy: My name is Pat Murphy. I’m a documentary editor and director and producer. I definitely don’t want to say that I regret my NYU film school education whatsoever. I’m very grateful and lucky to have been able to have that experience. I learned a ton about the craft of filmmaking and documentary filmmaking specifically at Tisch. Professors there ended up being some of my first jobs out of the industry. NYU did not teach anything about the business of film, about marketing or distribution certainly. You do have to question this kind of system. While I learned a ton about the craft, they did not really prepare me for the real world. Avril Speaks: I went to Columbia and I also used to teach film at a couple of different colleges, and I so value education. I loved teaching, but in retrospect, what type of education were we pushing? Now that I’m no longer teaching and I’m full throttle as an independent filmmaker, it’s something that I think about a lot, but it’s rare that you touch on that side of things in terms of what happens to your film after you’ve made it? Jameka, I’m wondering if you have any insight or any thoughts on that in terms of why that is and why film school is set up that way, that it’s very much on practice and very little on business? Jameka Autry: I think there’s a disconnect. A lot of it is systemic and also political. I think that you have a mismatch of systems in a way. I think that adjunct professors are the ones who are able to actually go out and have the time to still navigate and work a lot of times in the industry, so they’re seeing these things firsthand. Whereas, tenured professors who are there and teaching full time, their access to the actual industry is a little bit more limited. They might be learning from their colleagues who are out in the field, but I don’t think that they actually are on the front lines anymore. So they’re teaching practice, meaning they’re teaching things that are technical in nature, things that are going to be stable and usually never change, but the business around is changing and there’s not a lot of actual business courses. And when they are, I think you see them taught by adjuncts who are actually out in the business in a more real way and can actually report back and bring back that information. But adjuncts are in a place where they’re being paid very low wages for teaching a class, and so you still have this system of taking and extracting, and not actually giving back to those sources that are actually pouring into the system. Avril Speaks: You mentioned a lot of adjuncts, they’re just coming in for that class so they’re not necessarily ingrained in the day-to-day of that program and of the students, and just what that means in terms of the overall structure of the program. I think the other thing too is having schools that will support tenured professors in making work. I’ve experienced at times that not every program supports professors taking a semester to go and make a film, you know what I’m saying? It’s really also a matter of that program supporting those professors getting that kind of real world experience, so I think that’s an issue as well. Jameka Autry: I’m a huge advocate for anyone having to go back in the field and relearn their skills. I don’t care if you’re a professor. I actually think that industry execs who are making a lot of decisions also need to go back into the field. It’s funny because a lot of them unfortunately have never sometimes been in the field, but I think even if you started off there, you need to go back every 10 years and maybe re-up. I think that when you’re not out in the field, it’s really easy to make a lot of decisions that impact people in really specific ways, and if you don’t have that understanding, if you don’t have that skill set, if you don’t have that training, you’re making decisions that really are out of your place, out of your bounds. Avril Speaks: The industry changes so fast, even in terms of distribution. What works today is not what people were doing even three years ago. Even before the pandemic, things were different than they are now. You have to be in it in order to know and to understand what’s trending. Also, let’s be real. This is kind of a closed door industry. Jameka Autry: The level of nepotism in this industry is unlike anything I’ve ever seen, and I think there’s different degrees of nepotism. I will say that I got my first big job because the person who was interviewing had gone to Duke, so there was a name recognition and that’s how I got my foot in the door. But I’ve also seen a lot of production studios where someone will say, “I was also a graduate of XYZ College and I’m looking for a job, and do you have a job?” And I can’t tell you how many interns or production assistants that I had to teach the basics. There was no skill set there. Avril Speaks: It’s so funny, when I graduated from Columbia, Michael Moore spoke at our graduation and his whole speech was basically like, “You’ve just wasted your money.” Jameka Autry: Oh, no. That was the graduation speech? You wasted your money? Avril Speaks: That was our graduation speech. I mean, it was essentially like, “You spent all this money and now you’re going to spend the rest of your life trying to pay it back, working for corporate America to try and pay this money back.” And essentially, his graduation speech was, you just spent, in my case, six years in a scam. Jameka Autry: So as someone who has gone through the Ivy League system, you feel that it is a scam. Avril Speaks: It’s a very heavy term. For a long time, I really felt like I had wasted money and time because first of all, that program broke my soul. It’s okay, I got it back, but I came out of it broken mentally, spiritually, in many ways. So for a long time, I felt like this was such a waste. I didn’t really understand the value of it until I started teaching. I realized, particularly Columbia because they’re so story focused, it’s a very story-heavy program, and I started to understand the importance of story, and I still feel that way. That’s something I’ve been able to carry with me as a producer, as an exec. Basically in every arena of my career, I’m understanding how important story is and how helpful that time was to really understand what that is and what that looks like and how to build the story. Now, did I need to put myself into this kind of debt in order to learn that? I don’t know. That’s a question I can’t answer. Scam is a heavy word, but I do really think that it’s a structure that needs to be looked at on both ends, from a student perspective in terms of students going into film programs, but also on the administrator end. As professors, as admins who are running film schools, I think that there needs to be some work on what is the narrative about the film industry that we’re perpetuating and that we’re giving the students. They’re coming out of these programs with certain expectations about how their career is going to go and how they’re going to get there that I think are unrealistic. And I get asked a lot, would you recommend film school? I love teaching and so I placed a lot of value on education, but in retrospect, in thinking about what type of education we were pushing or we were teaching, even as a professor, it’s something that’s really worth taking a look at, both from a film school perspective and also from the perspective as filmmakers who are looking to make our work. So Alece, I’m curious from your perspective, whether or not filmmakers choose to attend film school or not, what do you believe they need to know about the business of film, specifically as it relates to distribution? Alece Oxendine: When filmmakers go and they’re talking to the distributor or they’re talking to—whether a financier or anybody along in the process—the more you understand your audience, the better. It makes that distribution process easier, because that’s distribution. I think people miss what the definition is, and that’s how people get confused and scared. When they hear distribution, they’re like, “It’s money, and I didn’t want to work in finance. I’m a filmmaker. I don’t know anything about finance. I don’t know what I’m doing. I get really scared.” And I said, “Actually, it is just you connecting with your audience.” Think of distribution being that way, and it kind of demystifies everything and it makes it a lot easier for you to approach distribution. It’s like, no, it’s just connecting with my audience. I know who my audience is. So when you talk to a distributor, you talk to a sales agent, you talk to anybody, you say, “Here’s my audience. Can you reach this audience?” It’s an important question to ask when you’re talking to distributors and you’re talking about distribution. “Can you reach this audience?” The first question you ask. Avril Speaks: So we’ve heard here some useful tools that can be gained by going to film school, but there are also real flaws with the current model. Film school tends to focus on the creative. Not even every film school teaches business, period. It’s like an ongoing conversation that I feel like I’m always having. Whenever I do panels, you have to stress, this is the film business. It’s a business. And I think a lot of times when people see the stars walking the red carpet and stuff, people think that that’s all that film is, and they’re just like, “Oh, I just want to be a part of it. I want to be a part of that.” Or, “I have a story to tell and I want to learn how to tell that story.” So when you go to film school and when people create film schools, when they create these departments, you’re teaching people how to tell stories. But the problem I think that we have in the industry is that this thing of telling stories and this thing of a business, they don’t always match up. I do think that there needs to be some restructuring of graduate film school. It’s an MFA, which is a master of fine art, but filmmaking is a business. It hasn’t been a fine art for a while, and so I think that there needs to be a restructuring that looks at the film school experience in that light, as a business in terms of what are you creating and also what are you thinking about in terms of audience and how does that connect with the market that’s in place today? But I also think if that’s going to be the case, there has to be the support for students and for faculty to make it a program of practice. You have professors in here who are very knowledgeable in their craft. Why aren’t the professors out making movies and bringing the students in on that filmmaking process? Kind of like shadowing or like an apprenticeship type of situation. That had always been my dream of how to do this whole thing of teaching, of teaching film school, is making the practice of it be incorporated into the curriculum. How about we make a film from soup to nuts, from beginning to end, and really see what that process is like putting a film together, financing it. Yes, making it, but it’s financing it. It’s finding the audience, distributing it, exhibiting it, and letting students see the entire process of that. That’s all for this episode of Distribution Advocates Presents. Tune in for other series installments discussing the landscapes of film festivals, distribution, sales agents, awards, and exhibition. This episode is produced by Moso Haus. Our producer is Nacey Watson Johnson. Our supervising producer is Ivana Tucker, and our production manager is Samiah Adams. Sound design is by Emily Crain. Special thanks to the team at Distribution Advocates, Abby Sun, Carlos Gutierrez, Karin Chien, Amy Hobby, and Kelly Thomas, as well as this episode’s guests, Pat Murphy, Jameka Autry, Alece Oxendine, Jemma Desai, and Barbara Twist. And of course, a heartfelt thank you to our funders, Ford Foundation, Prospective Fund, and Color Congress. Until next time, I’m your host, Avril Speaks, signing off.
4384	dbpedia	1	74	https://lux.collections.yale.edu/view/text/a3bf187f-1913-4dce-9b30-ecae991eb314	en	LUX: Yale Collections Discovery	https://lux.collections.…du/opengraph.png	https://lux.collections.…du/opengraph.png	[]	[]	[]	[ "" ]	null	[]	null	Explore Yale University's cultural heritage collections	en	https://lux.collections.yale.edu/favicon.ico		https://lux.collections.yale.edu
4384	dbpedia	1	23	https://demo.locate.ebsco.com/search%3Foption%3Dauthor%26query%3DBergstein%252C%2520David	en	EBSCO Locate	https://demo.locate.ebsco.com/favicon.ico	https://demo.locate.ebsco.com/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null	EBSCO Locate	en	/favicon.ico		null
4384	dbpedia	2	99	https://moviedistributionfacts.wordpress.com/distributor-links/	en	Movie Distribution Facts	http://beltmastersdirect.com/nyc-timessquare-paramount.jpg	http://beltmastersdirect.com/nyc-timessquare-paramount.jpg	[ "https://i0.wp.com/beltmastersdirect.com/nyc-timessquare-paramount.jpg", "https://2.gravatar.com/avatar/b616e782f3a5d0d907e37882e72f81ae9123309305be56b4a7c3c1ab5d0445cd?s=40&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D40", "https://graph.facebook.com/v2.9/10208290128930588/p...	[]	[]	[ "" ]	null	[]	2008-06-06T17:58:18+00:00	DC COMICS ENTERTAINMENT http://www.dccomics.com/ MARVEL COMICS ENTERTAINMENT http://www.marvel.com/ LIONS GATE FILMS http://www.lgf.com/ WEINSTEIN COMPANY http://www.weinsteinco.com TROMA ENTERTAINMENT http://www.troma.com ROGUE PICTURES http://www.roguepictures.com KINO INTERNATIONAL CORP. http://www.kino.com SONY PICTURES CLASSICS http://www.sonyclassics.com/ MERCHANT IVORY PRODUCTIONS http://merchantivory.com/ NEW LINE CINEMA http://www.newline.com/ MIRAMAX http://www.miramax.com/ FOCUS FEATURES http://www.focusfeatures.com/ GRAMERCY PICTURES http://www.focusfeatures.com/ IFC FILMS ENTERTAINMENT http://www.ifcfilms.com PICTUREHOUSE ENTERTAINMENT http://www.picturehouse.com/ THINKFilm http://www.thinkfilmcompany.com MAGNOLIA…	en	https://s1.wp.com/i/favicon.ico	Movie Distribution Facts	https://moviedistributionfacts.wordpress.com/distributor-links/
4384	dbpedia	1	0	https://en.wikipedia.org/wiki/Bordertown_(2007_film)	en	Bordertown (2007 film)	https://upload.wikimedia…rtown_poster.jpg	https://upload.wikimedia…rtown_poster.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50p...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2006-01-04T13:35:29+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Bordertown_(2007_film)	2007 American crime drama movie directed by Gregory Nava BordertownDirected byGregory NavaWritten byGregory NavaProduced byGregory Nava Jennifer Lopez Simon FieldsStarringJennifer Lopez Martin Sheen Maya Zapata Sônia Braga Antonio BanderasCinematographyReynaldo VillalobosEdited byPadraic McKinleyMusic byGraeme RevellDistributed byTHINKFilm Capitol Films Release date Running time 100 minutesCountryUnited StatesLanguagesEnglish SpanishBudget$21 million[2]Box office$8.3 million[3] Bordertown is a 2007 American crime drama film written and directed by Gregory Nava, and starring Jennifer Lopez (who also served as a producer), Martin Sheen, Maya Zapata, Sônia Braga and Antonio Banderas. This is the second film which featured the collaboration between Nava and Lopez, following the 1997's biopic film Selena. The film is inspired by the true story of the numerous female homicides in Ciudad Juárez and tells the story of an inquisitive American reporter sent in by her American newspaper to investigate the murders. Lopez also recorded a song for the film entitled Porque La Vida Es Asi. Plot [edit] The opening titles explain that American corporations are using the North American Free Trade Agreement by opening large maquiladoras right across the United States–Mexico border. The maquiladoras hire mostly Mexican women to work long hours for little money in order to produce mass quantity products. Lauren Adrian (Jennifer Lopez), an impassioned American news reporter for the Chicago Sentinel wants to be assigned to the Iraq front-lines to cover the war. Instead, her editor George Morgan (Martin Sheen) assigns her to investigate a series of slayings involving young maquiladora factory women in a Mexican bordertown. Worker Eva (Maya Zapata), originally from the southern Mexican state of Oaxaca, takes a bus to go back to her shanty-town home after work. After a while she is the last passenger still in the bus. The driver asks her if she minds if he goes to a gas station to fill up, and Eva agrees. However, he takes her to a remote place and assaults and rapes her, together with another man, who then tries to strangle her. The two men, believing she is dead, bury her alive. With the little energy she has left, Eva escapes. Adrian heads to Ciudad Juárez, Chihuahua, on the U.S.–Mexico border to investigate the murders, hoping that if she does well she will be promoted by Morgan to be a foreign correspondent. In Juárez, Adrian meets up with Diaz (Antonio Banderas), whom she had been working with six years before, and who is now the editor for the local newspaper El Sol de Juárez. She also meets Eva. The three try to find the two killers and have them prosecuted. For this purpose Adrian starts working in the factory in order to act as bait on the bus ride. The driver tries to assault her in the same way he did Eva, and although police assistance has been arranged, they are at the wrong place. She manages to escape her attacker. Later Diaz gets shot and killed in a drive-by shooting. Eva changes her mind and does not want to testify any more for fear of revenge, and tries to flee to the U.S., together with others in the trunk of a car. She gets caught and is sent back. Adrian convinces her to testify after all. For political reasons the Chicago Sentinel refuses to publish Adrian's story. Adrian quits and becomes the editor for El Sol de Juárez. Cast [edit] Jennifer Lopez as Lauren Adrian: reporter for the Chicago Sentinel, and daughter of Mexican immigrants. Antonio Banderas as Alfonso Diaz: founder of newspaper El Sol. Maya Zapata as Eva Jimenez: factory worker and rape survivor. Sônia Braga as Teresa Casillas: founder of an organization trying to help the women in Juárez. Teresa Ruiz as Cecila Rojas: a young factory worker. Juan Diego Botto as Marco Antonio Salamanca: son of the extremely rich Salamanca family, owner of one of the maquiladora. Zaide Silvia Gutiérrez as Lourdes Jimenez: Eva's concerned mother. Martin Sheen as George Morgan: Lauren's boss. Randall Batinkoff as Frank Kozerski: Lauren's co-worker and friend. Kate del Castillo as Elena Diaz. Rene Rivera as Aris Rodriguez: rapist. Irineo Alvarez as Domingo Esparza: bus driver and rapist. Juanes as himself Production [edit] Background [edit] The motion picture is based on a series of unsolved murders in Ciudad Juárez, Chihuahua, a large Mexican border city across the Río Bravo del Norte (Rio Grande) from El Paso, Texas.[4] When Gregory Nava first heard about the murders in Ciudad Juárez he wanted to do something. He said that his vision became to tell the stories through "an exciting thriller-drama".[5] Gregory Nava approached Jennifer Lopez to do the film in 1998 and she was receptive. Lopez said, "Since first hearing of these atrocities in 1998, when Gregory Nava came to me with this project, I desperately wanted to tell this story. I began working to ensure we made this film in order to bring the attention of the world to [the] tragedy and to pressure the Mexican government to bring to justice those responsible for these horrible crimes."[6] Director Gregory Nava and executive producer Barbara Martinez-Jitner believed that the film would bring strong reactions. Gregory Nava has said the production received threats against himself and the cast. Also, there was stolen equipment and intimidation of film crew members when they filmed in Mexico. According to Martinez-Jitner, when they first filmed in Ciudad Juárez, the police began threatening locals who were helping the production. They also began stalking the crew. A camera truck was vandalized and $100,000 worth of film equipment was stolen. Bordertown places the blame for the murders upon the Mexican government, the United States and the maquiladora assembly plants that were brought rapidly into existence by the North American Free Trade Agreement. Gregory Nava said, "[When] there are very powerful forces involved, you're going to be attacked. I expect the Mexican government to get very upset about it."[7] Screenplay [edit] The inspiration for the story, according to Gregory Nava, was the work of Guatemalan writer Miguel Ángel Asturias, the magic realism of novelist Gabriel García Márquez, and the social dramas of Britain's Charles Dickens. He also said the screenplay was a return to an El Norte type of screenplay (Oscar nominated). In El Norte he created a screenplay from many of the interviews he conducted. He did the same in Bordertown.[5] Financing [edit] Mobius Entertainment, the production company, borrowed money to complete the project from the New Mexico State Investment Council (NMSI) but was late in paying back the loan in March, 2006.[2] A second $12.65 million loan could be called in by NMSI before its November, 2007 due date because of the late payments. The second loan calls for zero interest because the state of New Mexico will take ten percent of any profits the film might make. Film producers said the delay of payment was due to filming taking longer than expected. At one point the film was in development with both New Line Cinema and MGM.[8] Filming locations [edit] Filming locations include: Albuquerque, New Mexico, in the United States; and Nogales, Sonora, Ciudad Juárez, Chihuahua, and Mexicali, Baja California, in Mexico. Reception [edit] Box office [edit] The movie was released in theaters internationally only, starting in Germany on February 22, 2007. The film ended up grossing $8,327,171 worldwide.[3] It was released straight-to-DVD in the United States on January 29, 2008. Critical response [edit] Kirk Honeycutt, in The Hollywood Reporter, wrote: "It wants to be a thriller, a piece of investigative journalism, a political soapbox and a vehicle for Jennifer Lopez. It serves none of these masters well." Honeycutt also said the screenplay is full of plot holes.[9] According to media reports, the audience reacted with a mixture of "boos and muted applause" when the film finished screening.[when?][10] The film was also criticized for a gratuitous musical performance and cameo by the Colombian recording artist Juanes, seen by many as pandering to a Latino audience.[11] Variety magazine film critic, Leslie Felperin, had a problem with some of the arguments made in the film, namely: that the North American Free Trade Agreement (NAFTA) and the exploitation of Mexican labor directly led to the killing of many women in Ciudad Juárez. Felperin wrote, "Possible co-factors or causes of the real crime spree, such as rife drug-related criminality, domestic violence largely ignored by the authorities, and the possibility that at least some of the culprits may be U.S. citizens crossing the border to kill for kicks, are not explored here." As for the film, Felperin calls the movie "only fair-to-poor".[12] Accolades [edit] Jennifer Lopez received the "Artists for Amnesty" award presented by Amnesty International at the Berlin International Film Festival. She won the award for her role as producer and star of a film "examining the ongoing murders of hundreds of women in a Mexican border town".[6][13][14] References [edit] Film portal Mexico portal United States portal
4384	dbpedia	2	40	https://chrisjonesblog.com/2012/04/12-ways-film-distribution-must-change-for-distributors-and-filmmakers-to-survive-a-manifesto-for-change.html	en	It’s time for film makers to take action over distribution… it’s OUR problem, not theirs!	https://chrisjonesblog.c…pg?_t=1603530465	https://chrisjonesblog.c…pg?_t=1603530465	[ "https://chrisjonesblog.com/images/2024/07/twisted50.jpg", "https://chrisjonesblog.com/images/2012/04/at-the-movies-8FHMXXH-scaled-e1603530439749-1024x458.jpg?_t=1603530465", "https://secure.gravatar.com/avatar/8a7e0e4619a5d9915948912ac82603d7?s=40&d=mm&r=g", "https://secure.gravatar.com/avatar/128b3813a5f387...	[]	[]	[ "" ]	null	[ "Chris Jones" ]	2012-04-12T00:00:00	It’s no secret that the current distribution model is broken, but I believe that a whole new model is about to evolve. And I woke this morning in something of a…	en	https://www.chrisjonesbl…erboard-icon.png	Chris Jones Filmmaker Blog	https://chrisjonesblog.com/2012/04/12-ways-film-distribution-must-change-for-distributors-and-filmmakers-to-survive-a-manifesto-for-change.html	It’s no secret that the current distribution model is broken, but I believe that a whole new model is about to evolve. And I woke this morning in something of a frenzy, needing to brain dump my thoughts… so here they are… Here are the distribution problems right now… 1. The high impact life of your film is 14 days, max. Any buzz you create, any momentum you build, is now created on a global scale. Social media does not know boundaries – posters, trailers, interviews, articles – all go global in a moment, and ideally viral. I believe that you can only get REAL buzz for your project for a few weeks, something Morgan Spurlock discussed at NAB last week. After those two weeks, internet dies back considerably. 2. It follows then that you need to get your movie out as quickly as possible, and in as many territories as you can, and finally on all devices (TV, web, phone etc.). Ideally this would happen on the same day too. 3. If we create buzz and then fail to deliver an easy way for people to legally watch our films, we are simply begging people to rip and upload our films to share. I don’t believe these people think of themselves as pirates. This isn’t about money, it’s about us promising something amazing and then failing to deliver a way to watch the film legally and easily. 4. No single platform, aside from iTunes, seems to work well as yet. And iTunes being Apple owned, is housed a ridiculous walled garden. 5. Forget theatres, they are operating in a different century. As a film maker, all this means that I will get very little back from current distribution methods and my film will get seen mostly via illegal downloads. So the problem really comes down to an archaic distribution infrastructure run by largely backward thinking business people. Like all empires, this one will topple, and topple very soon. I genuinely wonder what the Cannes Film Market will look like in five years as I can’t see how things can carry on as they are. Three Structures we need in place Here’s what needs to happen for your film, and my film, to have a better chance of success today… 1. We need to release globally on the same day. 2. We need to release on every platform available to us (phone, online, VOD, theatre etc) on that same day. People should be able watch your film in their chosen environment and on the platform or device that suits them. 3. We need to remove as many barriers to purchase as possible (no staggered release, no geolocking, must be value for money, must be easy to purchase). Without these three structures in place, the future is extremely challenging for filmmakers. We need to own it So, we as filmmakers need to own this problem. We need to own the destiny of our films and not just pass it on to third parties and cross our fingers. We need to find bold new collaborators who think like we do. The distributor of tomorrow is more likely a technology company with great marketing, transparent accounting and strong media partners than what we have today. My Manifesto… Filmmakers and sales agents need to start to think truly globally. Sales agents and distributors need to wake up to the fact that filmmakers are now powerful marketers in the life cycle of the film, not just the creators. The audience is no longer just a passive consumer, through social media and transmedia the audience are active participants. If the audience wants a film right now, because we have created demand – they will find it. You either supply it to them, in the way they want it, at a price point that they accept, or they will find it illegally. Distributors need to start thinking collaboratively – they MUST embrace new technology, transparency and partnerships. Theatre owners need to enter the digital age – movies should be uploaded and downloaded online, not transported on 35mm or hard drives as is the current and ridiculous state of affairs. Theatre owners (especially independents) should open themselves up to deals where film makers can use tools like ‘Demand It!’ in order to build a small, local audience for a film – the filmmaker can then upload remotely – the theatre would screen their film, maybe for one day, or even just one screening, after the film maker having driven traffic there. And while we are on it, let’s see large plasma screen that are hooked to the web replacing paper posters inside theatres. Really, why on earth is this not happening now? Artwork should be centralized so that all distributors can share and benefit from each others hard work. Yes I know they will bitch about who pays for what, but we need to move past this and start to really collaborate. Rewards MUST be shared honestly – what if a centralized third party, money-service held all cash, releasing it to parties in accordance with deals made between all parties? Before we all say, ‘that will never happen’, remember, PayPal stole the internet market from Visa and Mastercard (at least at the low end of the market). It is possible and there is money to be made with an online collection agency. This would also make investment easier due to confidence and transparency. And it’s a global release on one day people, on ALL platforms. This is why we need sales agents and distributors with vision, who can work collaboratively. We the filmmaker cannot do this alone, it’s too much work and we don’t have the connections or relationships. We need reliable and honest partners. Let’s ditch DVD and BluRay. Mastering and carrying stock makes no sense when we live in an online world. There is no stock to warehouse or ship when your film is delivered via non-physical digital files. Can we make moves toward a genuine ‘universal master’? So we make ONE file, from which all other files and formats are derived? Maybe uncompressed 1920×1080 HD in 4:4:4 with six discrete audio channels? In order to future proof your movie, there may be a higher quality master that you create before making this Universal Master. But when your film hits sales and distribution, why is there not one single format we can all work toward? Final thoughts… over the years, I have seen filmmakers struggle with film technology that was expensive and a genuinely high barrier to entry. MiniDV removed that barrier, and cameras like the 5D MkII and now the Black Magic camera have crystalised that entry point. Desktop editing, proliferation of knowledge on the web, books and training courses have brought tools, knowledge and experience to everyone. Social media has connected us all in a way that we can genuinely help each other and collaborate… We are now in the final furlong… and distribution is the final fence to jump. Make no mistake, distribution that genuinely works for filmmakers and investors is the highest, most challenging barrier to overcome… but it will happen. I have said it many times, but it needs to be said again. There’s never been a more exciting time to be a filmmaker. Onwards and upwards! Chris Jones My movies www.LivingSpiritGroup.com My Facebook www.Facebook.com/ChrisJonesFilmmaker My Twitter @LivingSpiritPix
4384	dbpedia	1	15	https://www.bbfc.co.uk/release/bordertown-q29sbgvjdglvbjpwwc01mza0ody	en	Bordertown	https://m.media-amazon.c…tps://bbfc.co.uk	https://m.media-amazon.c…tps://bbfc.co.uk	[ "https://queue.simpleanalyticscdn.com/noscript.gif" ]	[]	[]	[ "" ]	null	[ "BBFC" ]	null	BORDERTOWN is a drama, from 2006, in which a Chicago journalist investigates a spate of violence against women in Juarez.	en	/_next/static/images/favicon-7dbebdc25cd083286e777238d2431e44.ico		https://www.bbfc.co.uk/release/bordertown-q29sbgvjdglvbjpwwc01mza0ody	sexual violence and sexual threat There are two rapes and a further sexual assault. In one scene, a woman is dragged from a bus by the driver, and is raped by another man, who hits and chokes her, bites her breast, and buries her alive. injury detail In one sequence, a journalist examines crime scene images which depict women who have been murdered - some are graphic, and one woman's head and face have been smashed to a pulp. flashing/flickering lights This work contains flashing images which may affect viewers who are susceptible to photosensitive epilepsy."] Scenes of violence include shooting, choking and eye gouging. Violence is sometimes accompanied by bloody images. During a sequence which takes place in a strip club, topless dancers perform onstage while, in a more private area, women have sex with customers. There is infrequent strong language ('f**k'), as well as milder terms including 'shit', 'piss', 'bastard' and 'balls'. A woman claims Indian people are unable to distinguish between real and imagined events.
4384	dbpedia	2	17	https://www.billboard.com/music/music-news/new-line-to-distribute-thinkfilm-1429681/	en	New Line To Distribute THINKFilm	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Weaver.jpg?resize=225,169", "https://www.vibe.com/wp-content/uploads/2024/08/hughley.png?resize=225,169", "https://wwd.com/wp-content/uploads/2024/08/street-style-trend-brooches-...	[]	[]	[ "" ]	null	[ "Billboard Staff" ]	2004-08-30T04:00:00+00:00	New Line Home Entertainment has entered into a multi-picture distribution deal with independent film company THINKFilm.	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/music-news/new-line-to-distribute-thinkfilm-1429681/	New Line Home Entertainment has entered into a multi-picture distribution deal with independent film company THINKFilm. New Line will have U.S. distribution rights to THINKFilm projects that include “The Story of the Weeping Camel,” “The Agronomist” and “Bright Young Things.” The first title under the deal is “Festival Express,” a rockumentary detailing the 1970 Festival Express concert that featured the Grateful Dead, Buddy Guy, the Flying Burrito Brothers, Janis Joplin, the Band and many others. The two-disc DVD ($24.98) will be released Oct. 5. Extra features include 50 minutes of previously unseen footage, interviews with tour participants and a featurette on the making of the film.
4384	dbpedia	3	77	https://footprintfeatures.com/netflix-mystery-shimmer-lake-opens-up-a-conversation-about-the-new-world-of-film/	en	Netflix Mystery ‘Shimmer Lake’ Opens Up a Conversation About the New World of Film – Footprint Features	https://j3i3c2.p3cdn1.se…icon-150x150.png	https://j3i3c2.p3cdn1.se…icon-150x150.png	[ "https://j3i3c2.p3cdn1.secureserver.net/wp-content/uploads/2020/10/FootprintFeatures-logo.png?time=1722085171", "https://j3i3c2.p3cdn1.secureserver.net/wp-content/uploads/2017/02/shimmer-17.jpg?time=1722085171" ]	[]	[]	[ "" ]	null	[]	null		en	https://j3i3c2.p3cdn1.se…icon-150x150.png		https://footprintfeatures.com/netflix-mystery-shimmer-lake-opens-up-a-conversation-about-the-new-world-of-film/	Prior to becoming CEO of Footprint Features, Adam Saunders was an actor. His performance roots are ingrained within Footprint’s ethos, which places an emphasis on character and actor. “We only make movies that are character driven, that by definition have great roles for actors,” explains Saunders. Shimmer Lake is Footprint’s third feature following Family Weekend and About Alex. It continues the themes of the trials of friendship and family that thread together Saunders’ body of work as producer, yet each film possessing a distinct narrative identity amidst his thematic inclinations. Writer-director Oren Uziel’s crime thriller Shimmer Lake tells the story of the fallout from a bank robbery gone awry in a small town. Told over the course of a week, the film reverses cause and effect, telling its story backwards. In conversation with PopMatters, Saunders spoke of how Uziel’s own film experiences influenced his choice to tell his crime thriller in reverse, the contrast of conflicting tones within the film, the uncertainty of the storytelling process and the actors as forces of revelation. Following its exclusive release on Netflix, Saunders also discussed the changing world of film production and distribution, and how tradition is giving way to modernity. Christopher Nolan and Sofia Coppola recently spoke out asking people to watch their films at the cinema, not on Netflix. There was a time when the movie theatre was the heart of film distribution, but online platforms have grown in popularity. What is the place of Netflix in the current distribution model, and is the alluring spell of the movie theater waning? It’s certainly something we spent a lot of time thinking about. At Footprint Features, we make character-driven movies that traditionally would be these independent releases—these type of platform releases back in the day. Christopher Nolan is a great example of somebody who started with those types of smaller movies before becoming a huge iconic director. But if you look at Memento and some of his smaller early films, those relied on the theatrical distribution models. For me personally, I lament that’s not a bigger part of the release strategy for these types of films. We just had our premiere for Shimmer Lake, and it was an amazing experience to be able to sit there with a couple of hundred other people in a room and to go through it with them—to hear them laugh at the jokes and to hear the gasps. I love that collective experience of seeing movies together, but that said, I’m realistic about how the world is changing. Studios are not making these types of movies anymore, as we are all well aware, and so places like Netflix, Amazon, Hulu and YouTube Red are coming in and filling the void. On the one hand, I’m incredibly grateful because it allows us to get these movies out, but on the other hand, I just recognise that in the same way there were silent films, then there were talkies. Things constantly evolve and while I would love to always have theatrical releases, I recognise the world is changing, and that’s not the way it seems to be heading. There are also bigger theaters that are making the viewing experience part of it, whether they bring you food, the chair shakes, or they simulate the rain. But it feels like the traditional theatrical model is changing. Filmmaker David Fairhead remarked to me: “You know there’s a mountain in front of you to climb, and of course, you hope that you’re going to get up to the top of that mountain and I guess come back down again [laughs]. That’s the trickiest bit actually, getting back down. I suppose the coming back down when you are making a film is how do you deal with the distribution. You can make the film, but it’s difficult getting it out there to an audience.” It’s a faulty logic to assume that the democratisation of distribution through technology has made it easier to reach an audience because the market is now flooded with more competing voices. Technology and these distribution models create opportunity, but with opportunity comes new challenges. Yeah, I think that’s right. I feel to some extent Footprint lucked out, because when we started our company seven years ago, it was right at the beginning of the democratisation of these technologies. We shot our first movie on Red and it was relatively inexpensive, and as a result, we were able to get the movie made for under a million dollars. That was several years ago and we were able to get a good cast, and we were able to get people to see it. But fast forward seven years and a lot of people are making these types of movies for much less than we made that first movie. As a result, as you say, the competition is very steep. If you are making these types of films, whether it’s a piece of the cast or a director, it’s critical that there’s some element that separates it from the pack. It’s interesting, it’s almost like a new studio system because whereas five years ago you could just make a movie and sell it, you now need to have some outlet, whether it’s Netflix or Amazon, that’s going to buy it. This is an emergence of a different kind of studio system. I think film festivals are still a place for these films that don’t end up getting the big distribution to be seen, but in terms of having distribution where the world sees your film, I agree with you that the competition is incredibly steep. One of the immediate connections of Shimmer Lake would be to Christopher Nolan’s psychological reverse thriller Memento. Was there a reason for telling your story in reverse? If you were to ask Oren this question, he’d tell you that when he was a kid he used to watch movies on HBO, and he’d watch them at different parts—he would come in halfway through the movie, or he would watch it another time and only catch the first half. It would take him a while to watch the whole movie and he always thought it was such an interesting experience, and so he wanted to create a story that told it in parts, that you had to understand out of order. If you are looking at comparatives, like you say, there is Memento, there are also the John Dahl movies like Red Rock West and The Last Seduction, and then there are Blood Simple and Fargo, these bags of money thrillers where the people who are stealing the money aren’t particularly sophisticated. But in this particular one, going back in time is a critical component of the story—it’s not just a gimmick that Oren threw in there. If the story was told in order, it would be far less interesting. It’s only as we go back in time to reveal what actually happened the day of the bank robbery, that the story has its resonance. I remember being young and curious, asking questions about all matter of things. There’s the idea that as we age we lose that fervent sense of curiosity, yet Shimmer Lake is all about asking questions. It suggests that as adults we are still curious, which we channel through storytelling. Whenever I watched TV shows with my mom as a kid, because I would be interrupting every five seconds, she’d say: “Write all your questions down and I’ll answer them in the commercial break.” You’re right, we certainly don’t do that as adults. But to your point, films like Shimmer Lake require you to think, require you to pay attention. I tell some of my friends that I think have a little Attention deficit hyperactivity disorder (ADHD) to pay attention at the beginning of the film, because if you are not paying attention, you are going to miss what’s going on. I think we do have a curiosity, and Oren has done such a good job of building in so many little tiny things, that if you are focussed and you think about it, you’ll go back the next day and you’ll have what we call refrigerator moments. There are a thousand of those things in Shimmer Lake and I think it does play to people’s curiosity. In as much as the film appeals to our curiosity, its charm should be credited to the comedy. Yeah, I think it’s a critical component of what makes a film work, and Oren obviously has a comedy background. He wrote 22 Jump Street and we cast a lot of comics: Rainn Wilson, Rob Corddry, Ron Livingston and Adam Pally. These are all people that have a comedic background, and even though the story at its core is a very serious subject, a thriller, in that way genre, it’s not by definition a comedy. It’s the other side of the coin. You can’t have one without having the other, and human existence is peppered with comedy—it’s a critical component of good storytelling. The comedy is the glue that holds Shimmer Lake together and hiring actors that understand that is at the base of why these performances work. It’s a small town and there are little quirky and weird things. When Zeke is talking to the FBI guys he says: “We all know each other. We all went to school together. We’ll let you take all the credit, but you just let us solve this problem.” They say: “That’ll work out just fine.” You have to have actors that understand the comedy of that situation to make it work. You could play it straight, but it wouldn’t be as good. Speaking with filmmaker Babak Anvari about Under the Shadow for FrightFest, he said: “Just a minor adjustment can really transform a scene and so those minor adjustments are how an actor can surprise the filmmaker. And that only comes if they truly understand the characters they are playing, but it needs to happen naturally.” In the filmmaking process is it sometimes the small things that offer the most significant transformation? Absolutely! Look I started as an actor, and so one of my favourite parts of the process is casting and finding the right actors to play these great characters. At Footprint we only make movies that are character driven, that by definition have great roles for actors. So it’s one of my favourite parts of the process, not only casting, but watching these great actors work, whether it’s Ben Walker and his stoicism, who talks about how Zeke is a man who doesn’t smile easily, or Mark Rendall who plays Chris, one of my favourite performances in the movie. You see Ben bring that seriousness with which Zeke takes his work as sheriff of the town to the table, and Mark just becomes this guy in what is a very difficult role to play. All these guys bring tiny little idiosyncrasies when they embody the characters—the way they walk; the way they talk; the way they look around. It’s a critical specificity and we don’t know who these people are until the actors embody them. Watching these guys work is a joy for me in putting these movies together. There’s a perspective amongst filmmakers that there are three versions of the script—the script that is written, the script that is shot and the script that is edited. Do you agree and is the process one of discovery leading up to the final cut? You don’t know. As I was once said, the best plans don’t survive the first day of battle, but you still have to have that plan. If you don’t, then you run out of time, you don’t know what you’re shooting and it’s chaos. You have to have all the shots shot-listed, everything thought through, and to have developed your script to the point that it’s on the page. They say: “If it’s not on the page, it will not be on the stage.” But still, the final version is going to be far different than the script, which is far different from the shoot, and then ultimately different to where it lands. Shimmer Lake is a great example of that. We had one of the best screenplays that I’ve ever read, and the director who wrote the screenplay was very respectful of his script, that is to say. that we shot most of the things he wrote. He was also willing and able to let things go that he didn’t think were working on the day, and then in the edit, we had a totally different ending to the one you’ve seen. When we tested it, the audience just didn’t like it and so we went back to the edit and made this new one, which is quite different from the screenplay. This is now what Shimmer Lake is and when we release it to the world that will make it their own, this different ending is the one they will know. So I think there are three versions and you can almost make a claim that now there is a fourth version because the audience is going to say what they want to say—we are going to see what happens once it is released into the wild. Speaking with Carol Morley about her film The Falling for Starburst Magazine, she explained: “You take it 90 percent of the way, and it is the audience that finishes it. So the audience by bringing themselves: their experiences, opinions and everything else to a film is what completes it.” If the audience are the ones that complete it, does it follow that there is a transfer in ownership? Yeah, I think that’s right. Once you release it into the world, it does belong to the audience—it belongs to the world. People ask me what that means, but ultimately once a film is released, it’s what your experience was. I was asked the question: “Why did these things happen?” In the end, my answer is: “Why do you think this happened? You watched the movie and anything we didn’t explicitly say is up for your interpretation.” It’s up to the audience in that moment and we have to be okay with that, and I know I am. Interviewing filmmaker Christoph Behl for FrightFest he remarked to me: “You are evolving, and after the film, you are not the same person as you were before.” Do you perceive there to be a transformative aspect to the creative process? Certainly, as an artist or as a person doing a specific job, you have learned a lot of things, and you’ve become a different version. That’s true as both an actor and as a producer. When you get to the other end you’ve learned so many things. I’m a different producer after producing Shimmer Lake than I was starting. But your bigger question is: As a human, am I a different person having gone through this process? I think the answer is yes because it’s such an intense time period. You are using every ounce of energy to birth this story you believe deserves to be told, and so I think that process is life altering.
4384	dbpedia	3	2	https://en.wikipedia.org/wiki/Primer_(film)	en	Primer (film)	https://upload.wikimedia…lm_poster%29.jpg	https://upload.wikimedia…lm_poster%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/f/f7/Primer_%282004_film_poste...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-11-05T07:47:52+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Primer_(film)	2004 American science fiction drama film directed by Shane Carruth PrimerDirected byShane CarruthWritten byShane CarruthProduced byShane CarruthStarring Shane Carruth David Sullivan Edited byShane CarruthMusic byShane CarruthDistributed byTHINKFilm Release date Running time 77 minutes[1]CountryUnited StatesLanguageEnglishBudget$7,000[2]Box office$841,926[3] Primer is a 2004 American independent psychological science fiction film about the accidental discovery of time travel. The film was written, directed, produced, edited and scored by Shane Carruth in his debut feature, who also stars with David Sullivan. Primer is noted for its extremely low budget, experimental plot structure, philosophical implications, and complex technical dialogue, which Carruth, a college graduate with a degree in mathematics and a former engineer, chose not to simplify for the sake of the audience.[4] The film collected the Grand Jury Prize at the 2004 Sundance Film Festival, before securing a limited release in the United States, and has since gained a cult following.[5] Plot [edit] Two engineers, Aaron and Abe, supplement their day jobs with entrepreneurial tech projects, working out of Aaron's garage. During one such research effort, involving electromagnetic reduction of objects' weight, the two men accidentally discover an 'A-to-B' causal loop side-effect: objects left in the weight-reducing field exhibit temporal anomalies, proceeding normally (from time 'A,' when the field was activated, to time 'B,' when the field is powered off), then backward (from 'B' back to 'A') in a continuously repeating sequence, such that objects can leave the field in the present, or at some previous point. Abe refines this proof-of-concept and builds a stable time-apparatus ("the box"), sized to accommodate a human subject. Abe uses this box to travel six hours into his own past—as part of this process, Abe stays in a hotel room, isolating himself from any communication with the outside world, so as not to interact or interfere with the outside world, after which he enters the box then waits inside the box for six hours (thus going back in time six hours). Once he exits the box, Abe travels across town, explains the proceedings to Aaron, and brings Aaron back to the self-storage facility housing the box. At the facility, they watch the earlier version of Abe enter the box. Abe and Aaron repeat Abe's six-hour experiment multiple times over multiple days, making profitable same-day stock trades armed with foreknowledge of the market's performance. The duo's divergent personalities – Abe cautious and controlling, Aaron impulsive and meddlesome – put subtle strain on their collaboration and friendship. Additionally, the time travel is taxing on Abe and Aaron's bodies: effectively their days become 36 hours long when including the extra time afforded by the box. As the film progresses, the two men begin to notice alarming side effects of time travel which take the form of earbleeds. Later, they notice their handwriting progressively worsening. The tension between Abe and Aaron comes to a head after a late-night encounter with Thomas Granger (father to Abe's girlfriend, Rachel), who appears inexplicably unshaven and exists in overlap with his original suburban self. Granger falls into a comatose state after being pursued by Aaron; Aaron theorizes that, at some unknown point in the future, Granger entered the "box", with timeline-altering consequences. Abe concludes that time travel is simply too dangerous and enters a secret second box (the "failsafe box," built before the experiment began and kept continuously running), traveling back four days to prevent the experiment's launch. Cumulative competing interference wreaks havoc upon the timeline. Future-Abe sedates Original-Abe (so he will never conduct the initial time travel experiment) and meets Original-Aaron at a park bench (so as to dissuade him), but finds that Future-Aaron has gotten there first (armed with pre-recordings of the past conversations, and an unobtrusive earpiece), having brought a disassembled "third failsafe box" four days back with his own body. Future-Abe faints at this revelation, overcome by shock and fatigue. The two men briefly and tentatively reconcile. They jointly travel back in time, experiencing and reshaping an event where Abe's girlfriend Rachel was nearly killed by a gun-wielding party crasher. After many repetitions, Aaron, forearmed with knowledge of the party's events, stops the gunman, becoming a local hero. Abe and Aaron ultimately part ways; Aaron considers a new life in foreign countries where he can tamper more broadly for personal gain, while Abe states his intent to remain in town and dissuade/sabotage the original "box" experiment. Abe warns Aaron to leave and never return. Multiple "box-aware" versions of Aaron circulate—at least one Future-Aaron has shared his knowledge with Original-Aaron, via discussions, voice-recordings, and an unsuccessful physical altercation. Future-Abe watches over Original-Abe, going to painstaking extremes to keep him unaware of the future. An Aaron directs French-speaking workers in the construction of a warehouse-sized box. Cast [edit] Shane Carruth as Aaron David Sullivan as Abe Casey Gooden as Robert Anand Upadhyaya as Phillip Carrie Crawford as Kara Samantha Thomson as Rachel Granger Brandon Blagg as Will Carruth cast himself as Aaron after having trouble finding actors who could "break ... the habit of filling each line with so much drama".[4] Most of the other actors are either friends or family members.[6][7] Themes [edit] Although one of the more fantastical elements of science fiction is central to the film, Carruth's goal was to portray scientific discovery in a down-to-earth and realistic manner. He notes that many of the greatest breakthrough scientific discoveries in history have occurred by accident, in locations no more glamorous than Aaron's garage.[8] Whether it involved the history of the number zero or the invention of the transistor, two things stood out to me. First is that the discovery that turns out to be the most valuable is usually dismissed as a side-effect. Second is that prototypes almost never include neon lights and chrome. I wanted to see a story play out that was more in line with the way real innovation takes place than I had seen on film before.[8] Carruth has said he intended the central theme of the film to be the breakdown of Abe and Aaron's relationship,[9] as a result of their inability to cope with the power afforded them by this technological advancement: First thing, I saw these guys as scientifically accomplished but ethically, morons. They never had any reasons before to have ethical questions. So when they're hit with this device they're blindsided by it. The first thing they do is make money with it. They're not talking about the ethics of altering your former self.[2] Production [edit] While writing the script, Carruth studied physics to help him make Abe and Aaron's technical dialogue sound authentic. He took the unusual step of eschewing contrived exposition and tried instead to portray the shorthand phrases and jargon used by working scientists. This philosophy carried over into production design. The time machine itself is a plain gray box, with a distinctive electronic "hum" created by overlaying the sounds of a mechanical grinder and a car engine, rather than by using a processed digital effect. Carruth also set the story in unglamorous industrial parks and suburban tract homes.[4] The principles of time travel in the film are inspired by Feynman diagrams. Carruth explained: "Richard Feynman has some interesting ideas about time. When you look at Feynman diagrams [which map the interaction of elementary particles], there's really no difference between watching an interaction happen forward and backward in time."[10] Carruth chose to deliberately obfuscate the film's plot to mirror the complexity and confusion created by time travel. As he said in a 2004 interview: "This machine and Abe and Aaron's experience are inherently complicated so it needed to be that way in order for the audience to be where Abe and Aaron are, which was always my hope."[9] Filming [edit] Principal photography took place over five weeks, on the outskirts of Dallas, Texas.[4] The film was produced on a budget of only US$7,000,[2] and a skeleton crew of five. Carruth acted as writer, director, producer, cinematographer, editor, and music composer.[11] He also stars in the film as Aaron, and many of the other characters are played by his friends and family. The small budget required conservative use of the Super 16mm filmstock:[4] the carefully limited number of takes resulted in an extremely low shooting ratio of 2:1. Every shot in the film was meticulously storyboarded on 35 mm stills.[9] Carruth created a distinctive flat, overexposed look for the film by using fluorescent lighting, non-neutral color temperatures, high-speed film stock, and filters.[4] After shooting, Carruth took two years to fully post-produce Primer. He has since said that this experience was so arduous that he almost abandoned the film on several occasions.[9] Music [edit] The entire film score was created by Carruth. On October 8, 2004, the Primer score was released on Amazon[12] and iTunes. Release [edit] Distribution [edit] Carruth secured a North American distribution deal with THINKFilm after the company's head of theatrical distribution, Mark Urman, saw the film at the 2004 Sundance Film Festival. Although he and Carruth made a "handshake agreement" during the festival, Urman reported that the actual negotiation of the deal was the longest he had ever been involved with, in part due to Carruth's specific demands over how much control over the film he would retain. The film went on to take $545,436 at the box office.[14] Critical reception and legacy [edit] Primer received positive reception from critics. Rotten Tomatoes gave the film a 72% approval rating based on 129 reviews, with an average rating of 6.6/10. The consensus reads, "Dense, obtuse, but stimulating, Primer is a film for viewers ready for a cerebral challenge."[15] The site also listed Primer as one of the best science fiction films "for the thinking man".[16] On Metacritic, the film holds a score of 68 out of 100 based on reviews from 25 critics, indicating "generally favorable reviews".[17] Many reviewers were impressed by the film's originality. Dennis Lim of The Village Voice said that it was "the freshest thing the genre has seen since 2001",[18] while in The New York Times, A. O. Scott wrote that Carruth had "the skill, the guile and the seriousness to turn a creaky philosophical gimmick into a dense and troubling moral puzzle".[19] Scott also enjoyed the film's realistic depiction of scientists at work, saying that Carruth had an "impressive feel for the odd, quiet rhythms of small-scale research and development".[19] There was also praise for Carruth's ability to maintain high production values on a minuscule budget, with Roger Ebert declaring: "The movie never looks cheap, because every shot looks as it must look."[20] Ty Burr of The Boston Globe commented that "aspects of Primer are so low-rent as to evoke guffaws", but added that "the homemade feel is part of the point".[21] Similarly, Wired wrote, "Primer was noted for its originality – the film takes on complex topics like quantum physics and doesn't dumb them down for the viewer, instead using real jargon and terms that real-life researchers would – and for its commitment to a lo-fi aesthetic. Much of the film is set in garages and car parks, and then with the exception of the two lead roles, every other character is played by a friend or family member of the cast."[22] The film's experimental plot and dense dialogue were controversially received. Esquire's Mike D'Angelo claimed that "anybody who claims he fully understands what's going on in Primer after seeing it just once is either a savant or a liar".[23] Scott Tobias writes for The A.V. Club: "The banter is heavy on technical jargon and almost perversely short on exposition; were it not for the presence of voiceover narration, the film would be close to incomprehensible."[5] For the Los Angeles Times, Carina Chocano writes: "sticklers for linear storytelling are bound to be frustrated by narrative threads that start promisingly, then just sort of fall off the spool".[24] Some reviewers were entirely put off by the film's obfuscated narrative. Kirk Honeycutt of The Hollywood Reporter complained that Primer "nearly gets lost in a miasma of technical jargon and scientific conjecture".[17] "Primer is hopelessly confusing and grows more and more byzantine as it unravels," Chuck Klosterman writes in an essay on time travel films five years later. "I've watched it seven or eight times and I still don't know what happened." He nonetheless says it is "the finest movie about time travel I've ever seen" because of its realism: It's not that the time machine ... seems more realistic; it's that the time travelers themselves seem more believable. They talk and act (and think) like the kind of people who might accidentally figure out how to move through time, which is why it's the best depiction we have of the ethical quandaries that might result from such a discovery. Ultimately, Klosterman says, the lesson of Primer regarding time travel is that "it's too important to use only for money, but too dangerous to use for anything else".[25] The American director Steven Soderbergh is regarded as a fan of the film.[26][27] The film has been selected to be part of The A.V. Club's New Cult Canon.[5] Donald Clarke, film critic with The Irish Times, included Primer at No. 20 on his list of the top twenty films of the decade (2000–2010).[28][29] It was ranked number two in Popular Mechanics' list of The 30 Best Time Travel Movies.[30] MovieWeb ranked Primer at No. 17 on their list of the 30 Best Sci-fi Thrillers Of All Time.[31] Science fiction author Greg Egan describes Primer as "an ingenious, tautly constructed time-travel story".[32] Awards [edit] Grand Jury Prize, Sundance Film Festival in 2004.[33] Alfred P. Sloan Prize for films dealing with science and technology, the 2004 Sundance Film Festival.[33] Best Writer/Director (Shane Carruth) at the Nantucket Film Festival in 2004.[34] Best Feature at the London International Festival of Science Fiction in 2005.[35] References [edit] Primer at IMDb Primer at Box Office Mojo Primer at Rotten Tomatoes Primer at Metacritic
4384	dbpedia	1	78	https://kids.kiddle.co/Gregory_Nava	en	Gregory Nava facts for kids	https://kids.kiddle.co/i…ry_Nava_2000.jpg	https://kids.kiddle.co/i…ry_Nava_2000.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/e/ec/Gregory_Nava_2000.jpg/300px-Gregory_Nava_2000.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle....	[]	[]	[ "" ]	null	[]	null	Learn Gregory Nava facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Gregory_Nava	Gregory James Nava (born April 10, 1949) is an American film director, producer and screenwriter. Personal life Nava was born in San Diego, of Mexican and Basque heritage. Nava graduated from St. Augustine High School in San Diego and attended film school at UCLA where he earned a Master of Fine Arts in 1976. At UCLA he directed the short film The Journal of Diego Rodriguez Silva (based on the life of García Lorca), and for this work, won the Best Dramatic Film Award at the National Student Film Festival. Nava married Anna Thomas in 1975. They collaborated on many projects and had sons Christopher (born 1984) and Teddy (born 1985). They divorced in 2006. Nava married Barbara Martinez in 2013. Career The Confessions of Amans, Nava's first feature film, won the Best First Feature Award at the Chicago International Film Festival in 1976. Later, he came to the attention of Hollywood producers due to the success of El Norte, which garnered Nava and his wife Anna Thomas an Academy Award nomination for the screenplay. In 1995, the film was registered by the Library of Congress, National Film Registry. According to Roger Ebert, "El Norte tells the story with astonishing visual beauty, with unashamed melodrama, with anger leavened by hope. It is a Grapes of Wrath for our time." Collaborations with his wife Thomas include The Confessions of Amans, A Time of Destiny, My Family, and Frida (screenplay). Nava had directing success in 1997 with the film Selena, starring Jennifer Lopez. From 2003 to 2004, Nava executive produced the television series American Family: Journey of Dreams for PBS. He also directed a few episodes. In 2006, Nava produced, wrote, and directed the film Bordertown, which made its debut at the Berlin Film Festival on February 15, 2007. The film, based on true events, is a political thriller about a series of unsolved murders in Ciudad Juárez, Mexico. It stars Jennifer Lopez as a Chicago-based reporter who follows the story. The film was shot in New Mexico and Mexico. Filmography The Confessions of Amans (1976) The Haunting of M (1979) The End of August (1982), screenplay only El Norte (1983) A Time of Destiny (1988) My Family (1995) Selena (1997) Why Do Fools Fall in Love (1998) Frida (2002), screenplay only Bordertown (2006) Television The 20th Century: American Tapestry (1999, Documentary) American Family (2002–2004) Accolades Wins Chicago International Film Festival: Gold Hugo Award, Best First Feature Award for The Confessions of Amans, 1976 Montréal World Film Festival: Grand Prix des Amériques for El Norte, 1983 Donostia-San Sebastián International Film Festival: OCIC Award for My Family, 1995 Bravo Awards: Outstanding Feature Film for My Family, 1995 Taos Talking Picture Festival: Cineaste Award, 1995 ALMA Award: Outstanding Latino Director of a Feature Film, for Selena, 1997 ALMA Award: Outstanding Latino Director of a Feature Film for Why Do Fools Fall in Love, 1998 National Hispanic Media Coalition: Impact Award for Director of the Year, 2000 Santa Fe Film Festival: Luminaria Award, 2006 Nominations Academy Awards: Best Writing, Screenplay Written Directly for the Screen for El Norte, 1984 Writers Guild of America Award: Best Screenplay Written Directly for the Screen for El Norte, 1984 Donostia-San Sebastián International Film Festival: Golden Seashell Award for My Family, 1995 Emmy Awards: Outstanding Miniseries, for American Family: Journey of Dreams for the episode "Journey of Dreams", 2002 Berlin International Film Festival: Golden Berlin Bear for Bordertown, 2007 See also
4384	dbpedia	3	36	https://www.dw.com/en/hollywood-movies-stereotypes-prejudice-data-analysis/a-47561660	en	What Hollywood movies do to perpetuate racial stereotypes – DW – 02	https://static.dw.com/im…e/47614104_6.jpg	https://static.dw.com/im…e/47614104_6.jpg	[ "https://static.dw.com/image/47614104_600.jpg 78w, https://static.dw.com/image/47614104_601.jpg 201w, https://static.dw.com/image/47614104_602.jpg 379w, https://static.dw.com/image/47614104_603.jpg 545w, https://static.dw.com/image/47614104_604.jpg 767w, https://static.dw.com/image/47614104_605.jpg 1199w" ]	[]	[]	[ "" ]	null	[ "Kira Schacht" ]	2019-02-21T12:19:27.512000+00:00	Cinematic stereotypes reflect and shape common prejudices. Perceptions can be influenced by portrayals of Asians as nerdy, black men as dangerous and Latinas as fiery. So, how does Hollywood portray various groups?	en	/images/icons/favicon-16x16.png	dw.com	https://www.dw.com/en/hollywood-movies-stereotypes-prejudice-data-analysis/a-47561660	Read this article in Chinese, German or Turkish. In recent years, there has been increased attention on racism and sexism in Hollywood films, which can be reflected in who acts in front of the camera, who directs behind it and how people are represented on-screen — and often all three. To illustrate how stereotypes have developed in Hollywood, DW analyzed tropes used in more than 6,000 Oscar-eligible movies since 1928. Hollywood history provides many examples of racist caricatures. Black and Asian people have been repeated targets. Take the 1961 Audrey Hepburn movie Breakfast at Tiffany's and the bucktoothed Mr. Yunioshi, whose stereotypical "Engrish" accent was intended to mock Japanese people. He is notorious, and there are so many more examples. From racist caricatures to lingering stereotypes "Racism, in the form of job exclusion and racially stereotyped roles, has defined the Hollywood film industry since its birth in the early 1900s," the sociologist Nancy Wang Yuen writes in her book, Reel Inequality: Hollywood Actors and Racism. Indeed, Asian characters in the early days of Hollywood mostly appeared in the form of racist cliches — either as mysterious, menacing villains or as laughable caricatures such as Mr. Yunioshi. In addition to everything else, that character is played by the entirely white American actor Mickey Rooney, thus making it an example of yellowface: a non-Asian person impersonating an Asian person. This practice used to be quite common in Hollywood. Production teams were reluctant to hire minority actors of any kind, instead often opting to use white actors in their place. This practice became self-reproducing: Sociologists have found that prejudices break down when people of various ethnic groups have increased contact with each other. But Asian communities have historically been frequently marginalized in the United States. "Even today, most images of Asians and Asian Americans on screen weren't created by Asians or Asian Americans, but by people who don't know much about them," says Kent Ono, who studies media representations of race at the University of Utah. "This creates a very strange idea of who Asians and Asian Americans are for those who don't know any Asian people. And it also creates a very confused and estranged relationship by Asians and Asian Americans to Hollywood, because they can't fully identify with this bizarre representation of themselves." The information on these stereotypical cinematic devices has been compiled in the community-generated wiki TVTropes.org, from which the names of the various tropes detailed in this article are drawn. Users there can document any recurring motif they observe in a piece of media: Which TV shows claim Elvis is still alive? Which video games feature a creepy child character? Does a movie feature a white actor dressed up to look Asian? In 2012, for example, the movie Cloud Atlas drew criticism for making many of the non-Asian actors up as Asian characters for part of the film. Many critics argued that, as there are already so few roles for Asian actors, let alone roles that are not caricatures, white actors should not be cast to play Asian characters. That came up again when Scarlett Johansson starred in the live-action film of the classic Japanese manga series Ghost in the Shell and then Tilda Swinton played an originally Asian character in Doctor Strange. And the list goes on. A trope that began to appear more frequently in the 1960s and '70s is what TVTropes calls the "Mighty Whitey, Mellow Yellow" dynamic: a powerful white main character with a submissive Asian love interest. Before the 1950s, strict self-censorship in US cinema forbade romantic pairings between people of different ethnicities, or "miscegenation," which meant that there were even fewer roles available to Asian actors. When self-censorship gave way to the current system for rating motion pictures, instances of the trope increased, which indicated that this stereotype of Asian women had already existed before it was depicted on the screen. Other tropes also became more prominent in the second half of the century. In the 1970s and '80s, the popularity of Bruce Lee and martial arts movies in general led to the entrenchment of the "All Asians Know Martial Arts" trope. But the most common way of representing Asians and Asian-Americans in US media today is as the "model minority," Ono said: "They might be scientists, doctors or in some technical field. By and large, they're good students, come from good families and don't have any economic problems." This stereotype is not specifically recorded in the TVTropes wiki, but it overlaps with the "Asian and Nerdy" trope, which has occurred more frequently in recent decades. Minority groups underrepresented What this analysis cannot show is the share of movies that have nonstereotypical nonwhite characters. These don't typically get documented in the TVTropes wiki. In general, it's difficult to make any large-scale assessments of whether there are fewer stereotypical depictions now than there used to be. What researchers do track, though, is the number of nonwhite actors cast and how many directors and writers of color see their films produced. "The greater the range of different roles, the less likely people are to think that a group is just one of these representations," Ono said. Conversely, there is all the more weight on individual characters for groups who are rarely represented on-screen. Hollywood still has a long way to go, according to the Hollywood Diversity Report from the University of California, Los Angeles (UCLA): The share of female and nonwhite characters on-screen has risen quite steadily over the past few years, but also quite slowly. Even though Asians, for example, make up more than half of the world's population, and just under 6 percent of the US population, only 3 percent of all roles in 2017 and 2018 were played by Asians. Black characters made up 12.5 percent of all roles, which approaches proportionate representation for the US population. But in many cases, the portrayals are quite problematic. Black characters die first As with Asians, black characters often weren't played by black people in the early days of Hollywood. In fact, they barely appeared at all, except as caricatures played by white actors in blackface. This practice originated in the American theater tradition of minstrelsy, in which racist stereotypes about black people were a staple. Blackface occurs much less frequently now, after a long period of criticism of the practice: In Dear White People, for example, college fraternity members throw a blackface-themed party, which the film, as well as the Netflix series of the same name, use as the basis for a discussion of racism at colleges across the United States. But, as Hollywood has featured more black characters and cast more black actors, it has also emphasized other stereotypes. To this day, black men are often portrayed as scary or angry and black women as loudmouthed and sassy. If a movie features one token black character, it's likely to be the black best friend. And, if people die in a movie, the black character is still likely to go first. Even with awareness of racial stereotypes rising, Hollywood persists with these tropes. If Africa is featured, it's dangerous and untouched by civilization Hollywood's stereotypical depictions of black people mostly refer to black Americans. Tropes that are about Africans are rarer, partly because few Hollywood movies have African characters. The most common trope about Africa, though, is what TVTropes users have dubbed "Darkest Africa": Movies portraying the continent as a mysterious and dangerous isolated land with only limited ties to "modern" civilization. That depiction has become less common, however. Latino characters are defined by their sex appeal Latinos are the largest ethnic minority in the US, making up around 18 percent of the population. A look at 2,682 movies since the year 2000 finds that tropes about Latino characters focus most often on their sex appeal. For women, this translates as the "Spicy Latina" trope: a temperamental temptress who can hold her own and always looks sexy. Men get the role of the seductive "Latin Lover," often a fling for a white woman. Additionally, films tend to ignore the diversity of Latino cultures throughout the Americas: A particular brown-skinned, black-haired look is presented as defining the appearance of all Latinos. TVTropes users call this trope the "Latino is brown" stereotype. The stereotypes perpetuated in movies are particularly hurtful to historically oppressed and marginalized groups. But there are enough tropes in Hollywood to go around. And for groups who don't feel the detrimental effects of being stereotyped in their everyday lives, seeing themselves poorly represented causes much less pain. Germans in movies are still often Nazis The most common stereotype about Germans in movies since 2000 is that they are all Nazis. That is closely followed by the character of the German scientist, filed under "Herr Doctor" on TVTropes. The latter was probably influenced by the real-life scientists who fled to the US during the Nazi regime, most notably Albert Einstein, who was born in Germany. A curious trope has to do with Germans' supposed love for Baywatch and Knight Rider star David Hasselhoff. In 1988, Hasselhoff released his version of the song "Looking for Freedom," which was originally recorded by the German Marc Seaberg in the 1970s. Hasselhoff performed the song at the Berlin Wall just weeks after it fell at the end of 1989. The song fit the zeitgeist and was indeed popular in Germany for a time. Now, the "Germans Love David Hasselhoff" trope is used by the TVTropes community as a shorthand for any person or character who receives unexpected popularity outside of their home country. A British accent is an indicator of evil Surprisingly, the most dominant trope about the British is not the classic posh accent or the stereotype of uptightness, though both are on the list. No, British characters overwhelmingly seem to be a popular choice for villains. This is so pervasive that the British actors Ben Kingsley, Mark Strong and Tom Hiddleston even starred in a 2014 Super Bowl commercial poking fun at the trope. A British accent even seems to signal villainous intent in animated characters: The Egyptians in The Prince of Egypt, the Dreamworks rendering of the biblical story of Moses, have British accents; an animated car with a British accent is the bad guy in the Pixar movie Cars 2; and The Lion King, Kung Fu Panda and Rise of the Guardians all feature British-sounding villains, just to name a few films. Russians: Tough, rough and played by non-Russians Finally, Russians in movies are still very much defined by Cold War-era images in Hollywood. The most common stereotype is the "hard-fightin', heavy-drinkin', manly, boorish" character, as the corresponding TVTropes entry describes it. These characters often bear the brunt of the suffering during the movie, getting injured or generally leading hard lives. Curiously, movie Russians are quite often played by non-Russians. In Rocky IV, the Swedish Dolph Lundgren started his action career as Russian boxer Ivan Drago; Arnold Schwarzenegger in Red Heat and Viggo Mortensen in Eastern Promises are other examples. During the Cold War, there was a predictable shortage of actual Russian actors in Hollywood. But, even in newer movies, non-Russians are often cast to play Russian characters. Diversity pays Changing gears would be in Hollywood’s best interest: According to the report, movies and TV shows with fairly diverse casts bring in more at the box office and get higher ratings from audiences. However, Hollywood is still a long way from representing the diversity of the world — or even that of the United States. White people are still considerably overrepresented in front of the camera, as well as behind it. That fact, too, has an influence on how stereotypes are perpetuated. A few events in recent years have given rise to optimism that this might change. When she won the Oscar for her performance in Fences in 2017, Viola Davis became the first black woman to win the triple crown of acting over the course of career, including her two Tony Awards for stage work and the 2015 Emmy for her role in How to Get Away With Murder. In 2018, the romantic comedy Crazy Rich Asians became a box office hit with an all-Asian cast. And the Vietnamese-American actor Lana Condor has the lead role in the successful teen romance To All the Boys I've Loved Before on Netflix. As the figures from UCLA's Diversity Report indicate, proportionate and accurate representation is not yet the norm. "We're still facing huge challenges," says Kent Ono, "and there are always going to be people that go back to the historical trove of representation. But I'm more hopeful now than even two years ago. There are great independent people doing the work to push out those representations. And sometimes, Hollywood listens."
4384	dbpedia	2	94	https://www.webfilmschool.com/film-markets-like-cannes-are-all-business-afm-cost-me-17620-i-profited-120380-learn-how/	en	FILM MARKETS, LIKE CANNES, ARE ALL BUSINESS (AFM Cost Me $17,620 & I Profited $120,380… Learn How.)	https://www.webfilmschoo…-AFM-300x200.jpg		[ "https://www.webfilmschool.com/wp-content/themes/webfilmschool-theme/images/Movie.png", "https://www.webfilmschool.com/wp-content/uploads/2015/10/FESTIVAL-Sundance-300x170.jpg", "https://www.webfilmschool.com/wp-content/uploads/2015/10/FESTIVAL-TIFF-300x150.jpg", "https://www.webfilmschool.com/wp-content/uplo...	[]	[]	[ "" ]	null	[ "Dov Simens" ]	2016-05-23T17:05:34+00:00	FILM MARKETS ARE NOT FILM FESTIVALS There are Film Festivals and there are Film Markets. Festivals and Markets have absolutely nothing in common and you must know the difference. First, Film Festivals are about “Fluff & Awards”, with an underlining fairy tail hope that you will either be Discovered or secure a Distributor. Film Festivals are social functions, parties, community happenings with	en		2-Day Film School™ \| DVD & Streaming Film School™	https://www.webfilmschool.com/film-markets-like-cannes-are-all-business-afm-cost-me-17620-i-profited-120380-learn-how/	There are Film Festivals and there are Film Markets. Festivals and Markets have absolutely nothing in common and you must know the difference. First, Film Festivals are about “Fluff & Awards”, with an underlining fairy tail hope that you will either be Discovered or secure a Distributor. Film Festivals are social functions, parties, community happenings with screenings, cocktails, rah-rah speeches and awards… They’re part of the art world. Whereas, Film Markets are blatantly all about Business-Business-Business…. Money, Pre-Selling, Financing, Profiting & More Money. Back to Film Festivals: 30-35 years ago (1980-1985) I don’t think you could name more than 10 Film Festivals in the entire world…. Go ahead try. Cannes? That’s one. Sundance? Yep, that’s two. Toronto? Okay, that’s three. (Sundance is a Film Festival that became a Film Market) I’m sure there was something in New York, London & Los Angeles… Tokyo, “maybe”. Pusan, “don’t think so”. Oslo, “Nah”. How about Jerusalem, Singapore, Capetown, Salt Lake City, Memphis, Charleston, Hyderabad, Shanghai, Brisbane, Calgary, Halifax, Santiago, Caracas, ???? Today there are 2,000-3,000 Film Festivals, and some reports have the numbers at 3,000-5,000….they’re everywhere. However, there are only 15-20 (A-List Festivals) that have true merit. Film Markets, however, which are not Film Festivals, have only 3-5 in the world, and in a moment I will explain the difference. Again… FILM FESTIVALS: There are 2,000-3,000 FILM FESTIVALS (A-List): There are only 15-20 FILM MARKETS: There are only 3-5 Permit me to explain the difference. A-LIST FESTIVALS and ACQUISITION EXECUTIVES FIRST: The 2,000-3,000 Film Festivals are about “Fluff & Awards”, they’re social events (everyone likes culture) and for the filmmaker they’re much more about hoping-to-be-discovered. QUESTION: But discovered-by-who? ANSWER: By Acquisition Executives. QUESTION: What’s an Acquisition Executive? ANSWER: Every Distribution Company in America, if not the world, is busy making, marketing & distributing their own films that they finance. And, they also know that there are filmmakers, independent filmmakers, who actually spend their own money (friends, relatives, crowds, etc.) to make movies… They are, as the phrase states, Independent-of-the-Film-Industry. But they now want to lose-their-independence & secure a distributor. Distributors love independent filmmakers for they make movies with their own money, they make them usually with no guilds or unions attached cost-effectively and far cheaper than if the distributor made it themselves. And most of all distributors know that when an independent filmmaker has made their they have spent their money 100% and are… now broke and begging. Thus, every distributor has an employee titled “Acquisition Executive” whose job it is to go from film festival to film festival looking for independent films that for-whatever-reason the audience loves, from filmmakers that are now broke and begging…and basically “BUY IT”. Obviously this is going to become and excellent deal for the distributors. Now, you know why distributors are always saying “We love independents”. (Toronto, once one of the top 3 global Film Festivals, is now also a Film Market) IMPORTANT POINT: Acquisition Executives are merely people who know that there are 2,000-3,000 Film Festivals every year with only 52 weeks in the year. Thus, as a human being with limited time, how many Film Festivals do you think he/she attends? The answer is maybe, at the most, 15-20. And, it is these 15-20 Film Festivals (Sundance, Toronto, Berlin, Tribeca, Venice, AFI, etc.) that are called the A-List Festivals… Again, they are the A-List Festivals because Acquisition Executives from Miramax, Summit, Sony Classics, Lionsgate, Bleecker, Roadside, A24, etc. are there. And, if the Acquisition Executives are there, and your film screens there, you have a chance of achieving what you desire and being either (A) discovered or (B) securing distribution. AFM, EFM & MARCHE Now, how about Film Markets, which this blog post is about. Let’s assume (A) you got into an A-List Film Festival, (B) your screening Sold Out, (C) you had 12-15 Acquisition Executives at the screening, (D) who noticed it Sold Out and the demographics and (E) upon the film finishing with the Rear Title Crawl Credit the audience stands up screaming “Bravo. Bravo. Bravo”, not politely applauding… Then, within the next 15 minutes, in the lobby of the theater where your film has just screened, you have 5-7 of the 12-15 Acquisition Executives wanting to buy your film or at least make a deal to distribute your film… you will obtain a distributor and the deal will be made for North American Rights, with possibly all revenue streams, for a set period of time. What is left, for additional profit, is all Foreign Rights. Your Independent Film, now with North American Distribution, has just become an American Movie and you own 100% of all Foreign Rights. And, to cash in on Foreign Rights you will attend, not a Film Festival, a Film Market. Film Markets (American Film Market, Cannes de Marche, European Film Market, Hong Kong FilMART, etc) are blatantly about Business….The Business of Buying Films after they’ve been made & the Business of Financing Films before they’ve been made. FILM MARKETS HAVE BUYERS & SELLERS At the major film markets over $300,000,000 in annual funding or pre-selling changes hands… But, first, what is a Film Market and are you a “Buyer” or a “Seller”? Film Markets, as the word says is a “market” with, as stated, “buyers” and “sellers” and each of the “Big 3” (Cannes, AFM & EFM) have at least 200-300 SELLERS and 2,000-3,000 BUYERS. Now, what are you, when you’ve made a feature film and are trying to sell it? Duh! You are a SELLER. And, what are you when you have a script and are trying to secure financing? Duh! You are a PRE-SELLER. (EFM (“European Film Market”): Rooms & Booths. Buyers & Sellers. “What you got and Who’s in it?”) And at each market there are at least 50-70 sellers, companies larger than you but not as larger as a Hollywood Studio, which are (1) independent North American distributors (Samuel Goldwyn, ThinkFilm, Strand Releasing, Roadside Attractions, Summit, Participant, etc.) who have maintained foreign rights to a film, plus (2) another 25-30 the cable networks (HBO, Showtime, A&E, SciFi Channel, etc) with movies for sale to foreign nations and (3) a plethora of 100-150 non-American foreign distributors, from Germany, Japan, Korea, England, etc., trying to sell their movies to each other or to America (4) along with 15-20 small, first-timers, like you, who have a feature film and want to sell it to Germany, Japan, Korea, Australia, India, Israel, etc. or merely just have an idea, with a script & a poster and are trying to Pre-Sell it. First, the 3 major Film Markets are: CANNES de MARCHE (this is not the Cannes Film Festival)….. www.Festival-Cannes.com AFM: “American Film Market” (Santa Monica, California)….. www.AmericanFilmMarket.com EFM: “European Film Market” (Berlin, Germany)….. www.EFM-Berlinale-de To join any of the 3 Film Markets you just (A) Phone or E-mail, (B) write a check $7K-$25K, (C) get a Booth (Film Markets are just Trade Shows with floor space to rent) or at AFM or EFM, which takes place at hotels, you rent a Hotel Room, (D) get a badge that states you’re a SELLER and (E) stand in front of your hotel room with TV set and DVD and Posters of your film and peruse everyone walking by your booth or room whilst looking for a badge, with a different color, that states (1) They’re a BUYER, (2) their name and (3) what Nation they represent. Voilla! Then one-by-one (Russia, China, Japan, Korea, etc.) you bring the Foreign Buyer into your Room or Booth, show them a 1-2 minute demo/trailer of your movie along with the Poster which states “who’s in it” and then haggle-haggle-haggle and negotiate a SALE to that DISTRIBUTOR from that NATION. There are basically 35 Nations or Territories that you can make sales to After Your Film has been made…. That’s FOREIGN SALES Now, let’s think PRE-SELLING: If a company from Peru or Brazil or Israel or Germany would buy (aka: license) your film for $50K-$80K after it was made…there might be a chance of PRE-SELLING (assuming they trust you) at a discounted price of 40%-50% of the guesstimated price they’d buy it after it was made. Now just using your Poster, Script and possibly a trailer/teaser, you do 20-25 of these 35 possible nation and territory Pre-Sells, at 40%-50% discount, at prices of $10K-$40K, and then bring these Pre-sell contracts back to America and a bank like Bank of America, or Wells Fargo or Comerica and use them as collateral to get a loan for 9-12 months to make your movie. You make you movie, deliver it to these 20-25 Pre-Sell nations and are left with profit from the remaining 10-15 nations oyu haven’t Pre-Sold to and back in North America you can get additional profits/revenues from DVD, Cable, TV, Merchandising, etc. The point of this post is to let you know that FILM FESTIVALS and FILM MARKETS have nothing in common. And, if you desire to PRE-SELL, raise money to fund your film from foreign sales at discounted prices, then you go to a FILM MARKET (Cannes, AFM or EFM) and if you have actually financed and made your film and want to make additional money from Foreign Sales you also attend a FILM MARKET, secure a booth, and become a Seller. Attending means (A) Joining, (B) Renting a Room, (C) Creating Marketing with Posters & Press Kits and Sell-Sell-Sell. AFM COST ME $17,620 & I MADE $117,000 PROFIT (AFM, which cost me $17,620 took place in a hotel (“Sheraton Loews”) with Booths, Bedless Rooms and 2,000-3,000 Buyers & Sellers all talking… “What you got? Who’s in it?”) REAL NUMBERS: For 5-6 years I, with my “DVD FILM SCHOOL” package, attended “AFM” (American Film Market) where I sell (aka: License the rights) to the “2-DAY FILM SCHOOL” and the “DVD FILM SCHOOL” each year to nations (Japan, Israel, Germany, Australia, etc.) or entrepreneurs who represent territories (South East Asia, West Africa, Middle East, etc.) Enough on theory… I know you want to know “OK. What does this cost” or “Please. Give me the numbers”. My pleasure: 3 year ago the cost & revenues for me securing booth at AFM and being “A Seller” for 8 days was: COSTS: ROOM: $6,000 PHONE/INTERNET: $700 BILLBOARDS: $5,500 POSTERS: $1,200 EMPLOYEE PASSES: $1,200 PRESS KITS: $400 PARKING PASSES: $400 FOOD: $720 MISCELLANEOUS: $1,500 TOTAL COST…………………………………… $17,620 REVENUES 120 DVD Sets at $495 = $60,000 4 Bookings (Turkey @ $15K, Israel @25K, Singapore @ $18K, Chile @ $20K) = $78,000 PROFITS…. DVD SALES: $60,000 SEMINAR BOOKINGS: $78,000 TOTAL REVENUES: $138,000 LESS: $17,620 Cost PROFIT: $120,380 Prettty good. Plus, I had fun. (For 12 years at AFM I was an Observer, for 4 years a Seller and next year, to work with China, I’m booked at Hong Kong FilMART as a Buyer & Seller) PS: 5 NEW FILM MARKETS As every nation in the world builds more-and-more movie theaters… This results in foreign sales and pre-sells are growing and growing. This equates to an expansion in Film Markets (remember Film Markets are not Film Festivals) to now include 5 more which are…. (A) HONG KONG FILMART (Where you go to target China)….. www.HKFilMart.com (B) TORONTO FILM MARKET (Same time as Toronto Film Festival)….. www.TIFF.net (C) SCREEN SINGAPORE (Market in Singapore for Asia)….. www.ScreenSingapore.com.sg (D) PUSAN FILM MARKET (Korea, the best storytelling nation in Asia doesn’t want to be left behind)….. www.AsianFilMarket.org (E) VENTANA SUR MARKET (Argentina created one for the Hispanic world)….. www.VentanaSur.com.ar Happy Filmmaking, Dov Simens LEARN FILMMAKING (The Nuts-and-Bolts)… Why Wait? Want to Produce, Write or Direct… even Act? Want a program that gives only facts… not theory. Then my Film School (Live, DVD or Online) is perfect for you… Happy Filmmaking, Real Knowledge. No-Bull. www.WebFilmSchool.com Keep Up to date… Join our e-mail list. http://webfilmschool.us10.list-manage.com/subscribe/post?u=313d0b336735c6d5fbf1a8e9d&id=2c55446523
4384	dbpedia	3	60	https://www.rogerebert.com/reviews/wish-movie-review-2023	en	Wish movie review & film summary (2023)	https://s3.amazonaws.com…_023.00_0040.jpg	https://s3.amazonaws.com…_023.00_0040.jpg	[ "http://b.scorecardresearch.com/p?c1=2&c2=6324575&cv=2.0&cj=1", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "h...	[]	[]	[ "" ]	null	[ "Brian Tallerico" ]	null	The most aggressive piece of Disney propaganda in years.	en	/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png	https://www.rogerebert.com/	https://www.rogerebert.com/reviews/wish-movie-review-2023	Disney’s “Wish” is the most aggressive piece of Disney propaganda in years. Sure, they all are to a certain extent, but films like “The Lion King” or even “Encanto” stand on their own as stories, whereas “Wish” feels more closely tied to the history of the Mouse House and the power of imagination that fans have found in it than anything the company has ever produced. It’s not just the abundant references to everything from “Peter Pan” to “Mary Poppins” to “Bambi” and beyond, but the sense that the entire production is about how we really need to keep wishing on not just stars, but Disney-branded ones, to make ourselves happy. There’s also a reading of a film about a political leader that crushes the dreams of Disney adults that made me think of Ron DeSantis (and even a little Joseph McCarthy), but that’s a different piece. So where does all this very intentional Disney magic get us? Not as far as when the creators behind Disney films allow the magic to come organically from its characters. I feel like anyone with an annual pass to one of the parks will flip for a movie that my 12-year-old correctly noted was basically a commercial for the Disney 100 anniversary event still unfolding, but there’s still a sense that this is all not just manufactured magic but hollow magic, too. A couple of very strong musical numbers ultimately get “Wish” off the ground after a rocky opening act, but the biggest problem here is that the film ends up being something true magic can never be: forgettable. Set in an undefined era—although the creators have argued this is the origin for the “wishing star” of Disney fame so a long time ago—“Wish” unfolds in a place called Rosas, a setting that is woefully undefined despite the attractive animation that blends CGI dimension with techniques that look more hand-drawn. Asha (Oscar winner Ariana DeBose of “West Side Story”) is a 17-year-old about to interview for an apprenticeship with the beloved King Magnifico (Chris Pine). The King is the keeper of magic in Rosas, a man who can extract the wishes of his flock, keeping them in a chamber high above the city, and choosing one wish in a ceremony to allow to come true. Asha hopes that her 100-year-old grandfather Sabino (Victor Garber) will finally have his wish granted, but she discovers that Magnifico isn’t, well, magnificent. He’s more of a hoarder of wishes than a granter, and the most interesting thematic aspect of “Wish” is about how people who promise the world can be manipulative in the fulfillment of those promises. Of course, Asha isn’t just an ordinary girl who learns about the absolute corruption of absolute power—she becomes a magical figure herself when a wishing star grants her abilities that turn her into a leader for her people. Asha literally wishes on a Star, and said Star comes down to cause chaos and help Asha start a revolution. The first major sequence with the silent Star—a clever choice that feels like something out of Studio Ghibli instead of the typically anthropomorphic exaggerated style of Disney—is a standout as woodland creatures come to life not to assist Asha but to empower her. The idea is that wishes shouldn’t be co-opted by others—they should be what drive us to love, laugh, and live. And when Asha realizes the star is within her, she can overcome evil. A goat voiced by Alan Tudyk helps. The songs by Dave Metzger, Julia Michaels, and Benjamin Rice likely won’t produce a hit on the level of “We Don’t Talk About Bruno,” but there are a couple of numbers that work thanks to clever musical composition and thematic thrust. The empowerment song in the woods after finding the wishing star is a bit muddled in storytelling—is she the magical star, or has she been gifted something?—but it’s playful and engaging in a way the movie is too rarely allowed to be. The film also gets a needed boost near the end from another group number in which Asha’s allies sing about what they know now. I could see both of these being a part of a Magic Kingdom stage show before Christmas. And that probably-planned stage show is at the root of the overall problem with “Wish”—it's all so heavily processed, almost like an A.I. version of a Disney animated movie designed to make not more wishes but more sellable items and experiences. Yes, the machine that is Disney has felt increasingly manufactured in the 2020s—and the truth is that when they go off-book with projects like “Strange World,” the families don’t show up—but this one has an almost cynical cash grab air to it. Magnifico’s evil color palette is green, as if the creators are portraying not just politicians but money-focused leaders as the enemy, which is rich coming from a company that is more of an industry than an artistic venture lately. And that’s what’s disheartening about “Wish.” I’m old enough to have seen several cycles of Disney success and failure—old enough to remember when “The Little Mermaid” was a comeback for the company—and so I’ve seen how the animated canon for this industry giant has shifted and changed. The good stuff comes from within artistic ventures, not from focus-grouped nostalgia. I also love the joy in my kids when they see a Disney movie that really moves them—for the record, my youngest (10) dug this one, my middle (12) was mixed, and my eldest (14) said he almost forgot it before he got home—but the best animated films will always come from a less hollow place than “Wish.” This wish feels like it didn’t fall from the sky but was crafted by a producers' room with an eye for the highest profit margin. It leaves one wishing for something that feels human and true. In theaters on Wednesday, November 22nd.
4384	dbpedia	1	79	https://www.wypr.org/2024-07-08/border-town-firefighters-scramble-to-save-migrants-from-extreme-summer-heat	en	Border town firefighters scramble to save migrants from extreme summer heat	https://npr.brightspotcdn.com/dims4/default/703557e/2147483647/strip/true/crop/3556x1867+0+400/resize/1200x630!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims3%2Fdefault%2Fstrip%2Ffalse%2Fcrop%2F3556x2667%20444%200%2Fresize%2F3556x2667%21%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff0%2F89%2F16dc559445ee8b4c2f7b15efb172%2Fpratje-nprborder-024.JPG	https://npr.brightspotcdn.com/dims4/default/703557e/2147483647/strip/true/crop/3556x1867+0+400/resize/1200x630!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims3%2Fdefault%2Fstrip%2Ffalse%2Fcrop%2F3556x2667%20444%200%2Fresize%2F3556x2667%21%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff0%2F89%2F16dc559445ee8b4c2f7b15efb172%2Fpratje-nprborder-024.JPG	[ "https://npr.brightspotcdn.com/dims4/default/07357cd/2147483647/strip/true/crop/137x60+0+0/resize/274x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2Fb09deae%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F9c%2Ffa%2F61deb88249199561f1...	[]	[]	[ "" ]	null	[ "Sergio Martínez-Beltrán" ]	2024-07-08T00:00:00	Over two hot days, the Sunland Park Fire Department responded to 10 calls to help migrants overcome by heat illness. Firefighters say heat emergencies are increasingly common along the border.	en	/apple-touch-icon.png	WYPR	https://www.wypr.org/2024-07-08/border-town-firefighters-scramble-to-save-migrants-from-extreme-summer-heat	SUNLAND PARK, N.M. — It’s a relatively quiet — and hot — afternoon at Sunland Park’s Fire Department Station 1. Some firefighters working the shift are prepping for dinner. Others are doing office work. Suddenly, a loud radio call blasts through the station’s speakers. “I think it’s going to be a female subject, possibly undocumented,” a female dispatcher says. Four firefighters rush to get ready, which includes loading ice into a cooler. The ice is essential — it's used to lower the body temperature of someone in distress from extreme heat. The men jump on two different trucks, and about 10 minutes later arrive at the scene where a woman sits, propped up against a stop sign and surrounded by neighbors and local police. "Señora! Señora!" Fire Captain Abraham Garcia shouts, kneeling in front of the 28-year-old woman and asking her in Spanish, “Where are you? What happened?” Another firefighter picks up her passport. It says her name is Julissa, and she’s from Ecuador. She isn’t responding to Garcia’s questions. Her eyes are open, but they are glazed. She’s lethargic, and her blood glucose level is high — a sign of dehydration. García suspects she’s pregnant. Firefighters wrap her in a white sheet that had been soaked in ice water and continuously pour cold water over her head. Eventually, she’s put in an ambulance and transported to the hospital. This town borders Texas to the east and Mexico to the south. Although heavily guarded by the U.S. Border Patrol, it’s also a place where migrants try to enter the U.S. and blend into the neighborhoods. Major freeways and a railroad line are nearby. There’s a wall and heavy surveillance by the Border Patrol on vehicles, horses and helicopters. It is also part of the El Paso Border Patrol sector — which includes parts of Texas and all of New Mexico. The terrain is rough, with no natural shade. It goes from hard soil, to rocks, to sand. Temperatures can reach up to 120 degrees Fahrenheit. That’s why rescuing and aiding migrants in distress is something Garcia sees too often, especially during the summer. His department has been overwhelmed by the rising number of emergency calls to help migrants. Many of them were injured on their journey, and some were left behind by smugglers. “It’s been tasking our resources, on our personnel,” Garcia admits. “But, you know, that’s just the game that we are in today.” Garcia has been a firefighter for over 20 years, and says his job has shifted. Putting out structure or brush fires? Providing first aid to someone having an allergic reaction? No problem. He was trained to do all of that. But since 2019, he says most of the calls to his department have to do with aiding unauthorized migrants who get lost and get dehydrated or injured while trying to evade Border Patrol agents. “I imagine them going through what they’ve gone through already — they are malnourished, they haven’t been drinking water, some of them they are sick and need medication,” Garcia said. “So by the time they get to the U.S. side, they are super-exhausted.” In this sector, there were 71 migrant deaths in 2022. In 2023, that number more than doubled, according to U.S. Customs and Border Protection. Immigration authorities fear extreme heat could lead to even more deaths, and the CBP’s website even includes a section about “heat awareness.” “What we’ve seen here in the sector relating to heat-related illnesses and rescues is a rise in migrants that are being left behind by human smugglers,” Orlando Marrero Rubio, a Border Patrol spokesperson in this area, told reporters last month. He said migrants need to understand the dangers of crossing the border without authorization. Many Border Patrol agents are certified emergency medical technicians. The agency has also put in place what they call “Emergency Safety Beacons.” These are sensors that migrants can activate to get rescued by Border Patrol. But because of the high numbers of migrants crossing, the Sunland Park Fire Department had to shift gears, García says. “As the years have gone by and we started seeing this uptick in migrants' calls, we had to change our tactics a little bit — learn new stuff, new tactics so that we can better help these people,” Garcia says. NPR spent two days with the Sunland Park Fire Department and nearly 10 migrants got emergency care. One of the days, firefighters assisted Border Patrol in helping a group of six migrants. While first responders were busy putting each person in an ice bath, one man in the group ate the contents of an ice pack out of desperation. Later that evening, another man was rescued near an industrial park. Paramedics said the person was a 21 year old from Mexico, with a body temperature of 107 degrees Fahrenheit. In the ambulance he was gasping for air, and was intubated at the hospital. It’s unclear whether he or any of the other migrants rescued those two days recovered, and since they were in custody of the Border Patrol, NPR couldn’t verify their identities. It’s possible that a family member of one of the migrants called the Fire Department asking for information on their loved ones. That happens often, Garcia said. But there’s only so much he can do. “We are lucky if we get a name, date of birth — that’s all we get,” Garcia said. “Sometimes we don’t get anything because there’s such an emergency going on that I don’t have time for that. It’s very unfortunate.” Copyright 2024 NPR
4384	dbpedia	3	3	https://www.gettyimages.com/photos/think-film-distribution	en	Getty Images			[ "https://www.gettyimages.com/sign-in/assets/static/white-f114c2d21e50f9b239ac.svg", "https://www.gettyimages.com/sign-in/assets/static/black-dd9588e3db810afab0eb.svg" ]	[]	[]	[ "" ]	null	[]	null	Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.	de			null
4384	dbpedia	3	76	https://www.a-rabbitsfoot.com/editorial/film/juliette-binoche-a-portrait-of-a-lady-on-film/	en	Interview: Juliette Binoche, A Portrait of a Lady on Film	https://www.a-rabbitsfoo…ette-binoche.jpg	https://www.a-rabbitsfoo…ette-binoche.jpg	[ "https://www.a-rabbitsfoot.com/wp-content/uploads/2023/02/search-icon-white.png", "https://www.a-rabbitsfoot.com/wp-content/uploads/2023/02/search-icon-white.png", "https://www.a-rabbitsfoot.com/wp-content/uploads/2022/12/ARF_Logotype_Stacked-white.png", "https://www.a-rabbitsfoot.com/wp-content/uploads/2022/...	[]	[]	[ "" ]	null	[ "dmhadmin" ]	2022-05-12T15:45:15+00:00	A rare interview with one of the Queens of French cinema.	en	https://www.a-rabbitsfoo…/ARF_Favicon.svg	A Rabbit's Foot	https://www.a-rabbitsfoot.com/editorial/film/juliette-binoche-a-portrait-of-a-lady-on-film/	For all her glamour and all her glory, Juliette Binoche knows acting is bloody hard work. “Don’t tell me about tough working conditions,” she chides. “Acting is never easy. It’s not a safe place to be – it’s an act of bravery. If you don’t have courage as an actor, you can’t go through with it.” An Oscar winner for The English Patient in 1997, Binoche has also completed that rare treble of actress wins at Berlin, Cannes and Venice. She is one of the biggest names in France and among the most respected of international actresses. But at the moment, from a plush hotel room in Paris, we’re talking about Between Two Worlds, a film based on the findings of undercover journalist Florence Aubenas who took a series of cleaning jobs, in offices and on a ferry in a Normandy port town, to find out how precarious life was becoming for Europe’s low-paid, gig economy workers. Binoche spends much of the film in the strip-lit twilight of the night shift, donning apron and plastic gloves, wiping down surfaces, emptying bins, changing bedclothes and sweeping up rubbish. I know it’s a performance but, still, it’s not quite how you tend to picture one of the most luminous screen actresses of the last 30 years, one who’s now looking fresh and at ease in five star comfort. Has she ever really got her hands dirty? “I don’t need to take a menial job to understand tough working conditions,” she says. “Being an actor is hard enough.” For a moment, I think she might be joking. Surely, it’s a bit of a risk comparing herself and her acting experiences to night-shift workers on a freezing cold boat, but she’s as serious about it as can be. “If you’re dealing with a director or another actor who’s being difficult or perverse, I tell you it’s the worst. You’re opening your soul, laying bare your whole being and someone is giving you shit for it? I’m sorry, that’s very hard.” She continues: “As actors we work in all conditions, in the hottest weather or the coldest, we go where the camera is, out in the street, wherever, and we have to learn line after line, and go through every emotion, from high to low, and give everything we have, every time and be at our best. I tell you, it’s difficult.” Of course, she makes a persuasive case, just as she’s been doing on screen since her breakthrough year in 1985, when she starred for Jean-Luc Godard in Je Vous Salue Marie (he cast her from a polaroid photo he’d spotted), for Jacques Doillon in La Vie de famille and, most sensationally, for Andre Techine in Rendez-vous opposite Lambert Wilson and Jean-Louis Trintignant. Although she continued that success with Leos Carax’s Mauvais Sang in 1986 (earning a Cesar nomination), her international reputation was secured just a year later, when she starred with Daniel Day Lewis in The Unbearable Lightness of Being. Perhaps the most public on-set travails of her career came with Les Amants du Pont-Neuf, a dizzyingly romantic and expensive undertaking that eventually came out in 1991 and for which Binoche herself had to appeal to Government for extra funding as the original budget practically quadrupled to over 70 million francs, including recreating the titular Parisian bridge and stretches of the Seine in a town called Lansargues, near Montpellier, in the south of France. “Sometimes, actors can put feelings to the side, but sometimes there is anger from the situation of the filming,” says Binoche. But the days of long and troubled productions such as Les Amants du Pont-Neuf, are possibly over in the movies, perhaps never to be repeated. “We are so pressed for time in film now, you don’t even get to do a second take!” she remarks. “Although I love doing it quickly because it can feel more intuitive as a performer, but I was just shooting in Mississippi, playing a truck driver [in the forthcoming Paradise Highway, with Morgan Freeman] and it was hot and we had to shoot every day and every night, and there were mosquitos – it was exhausting and it puts you on edge. That can give the film a certain rawness or power but it’s a lot of pressure.” On Between Two Worlds, she worked with a mainly non-professional cast, with actors taken from the real lives that director Emmanuel Carere was attempting to depict with authenticity. “He sort of left me in charge of the actors,” recalled Binoche. “I love actors but it was also a big responsibility for me to look after them. There was one scene when my co-star Helene was so cold and so spent emotionally that I had to stop the shoot for the night, so we all went and got warm and regrouped and made sure Helen had the strength and emotional capacity to go again. I tell you, it can be very tough work.” Binoche’s insistence on highlighting the hard graft of an actor’s work could be viewed as ridiculous but the results of her commitment to her art are always on the screen, as well as her thoughtfulness around each character she picks, “I like to think you don’t pick them,” she says somewhat grandly. “They chose you.” But doesn’t she sometimes feel ill-equipped to play certain characters, ones so far removed from her own rarified life of stardom? “Look, acting can be an ethical question, of course,” she says. “Do I have the right to pretend to be somebody else from another layer of society? I do think about that every time, yes. But the purpose of a film is often very necessary. For example, to foster an understanding of our social crisis, about what it’s like to be poor, to have a life in the balance, to show how the gap between rich and poor is so wide. I am very well-known but I know I have the right to play a role that shows what it’s like to be invisible, overlooked, underpaid, barely surviving. My job is to get close to that life and recreate the truth of it.” She says has been approaching roles with an immersive sense of realism throughout her career. For Rendez-vous, she wasn’t so well-known but says she often went into the streets to observe people. But even for her admired portrayal of Camille Claudel for director Bruno Dumont in 2013, the star spent time in asylums with handicapped and mentally impaired patients. “I was observing, not cheating,” she continues. “I don’t live that life and it’s not my reality but the truth of the feeling I have when I’m there, that is real. And so I go as close as I can to the people I’m playing in order for an audience to connect to that character. When I’m in front of the camera, I have to recreate a life into a form that reveals the truth of what I felt. That’s what actors are there for, to be a link in consciousness, to bring out from inside of us what we feel in our thoughts and in our bodies.” Like every other actor and filmmaker, Binoche is being lured from the big screen to the world of TV. You feel she’s doing so reluctantly but that the reality of the situation is swiftly overtaking. She’ll be seen in HBO mini-series The Staircase with Colin Firth and Toni Colette, and she’s playing Coco Chanel in series The New Look, opposite Ben Mendelsohn’s Christian Dior. “On these TV shows, the quality is pretty close to film now, and actually, it’s like a luxury,” she reveals. “You get time to act and work but you also get time off, you can do several takes, so yes, things have changed very quickly, that’s for sure.” She believes, however, that film is still where the risks lie and where the real power to affect audiences lies. “I will do experimental films and first films because when a film catches something important, with a truth, I still get inspired by it and that’s what I need and want.” Her commitment and belief in the power of her work is admirable, as is the way she defends it so fiercely, and it’s clear she still has great dreams for her career. I wouldn’t say she’s carried away by her own rhetoric and passionate defence of her job but she does take a breath before admitting clinging to the grandest of ideals. “My big ambition is for film to re-humanise our society,” she says, almost quietly, but with full conviction. “I’m very serious about that – it doesn’t take a lot and for an audience to slow down for a few moments, to watch and notice and think about other lives, to be aware of their own daily selfishness, I think film has that power. Acting has that power. I think it can change people and it can still make a big difference to us all.” And that, ladies and gentlemen, is why we still believe in stories, still watch movies and still can’t take our eyes off the screen whenever and wherever Juliette Binoche appears.
4384	dbpedia	3	21	https://www.marchedufilm.com/schedule/	en	Marché du Film - Festival de Cannes	https://www.marchedufilm…color-f0f2f7.png	https://www.marchedufilm…color-f0f2f7.png	[]	[]	[]	[ "" ]	null	[]	2019-10-03T16:42:44+00:00	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉 HOT TIP! Use the filtering option to	en	https://www.marchedufilm…e-touch-icon.png	Marché du Film	https://www.marchedufilm.com/schedule/	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉HOT TIP! Use the filtering option to see events according to your interests. 🕑 Please note that the dates and times displayed are based on the time zone of your device.
4384	dbpedia	1	14	https://www.wikiwand.com/en/Bordertown_(1935_film)	en	Bordertown (1935 film)	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/thumb/a/ab/Bordertownmp.jpg/220px-Bordertownmp.jpg" ]	[]	[]	[ "" ]	null	[]	null	Bordertown is a 1935 American drama film directed by Archie Mayo and starring Paul Muni and Bette Davis. The screenplay by Laird Doyle and Wallace Smith is based on Robert Lord's adaptation of the 1934 novel Border Town by Carroll Graham. The supporting cast features Margaret Lindsay, Eugene Pallette and Robert Barrat. Although the films They Drive by Night (1940) and Blowing Wild (1953) are not specifically remakes of Bordertown, they include many of its plot elements and similar scenes.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Bordertown_(1935_film)	1935 American drama film directed by Archie Mayo / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Bordertown (1935 film)? Summarize this article for a 10 year old SHOW ALL QUESTIONS
4384	dbpedia	2	41	https://www.quiverdistribution.com/about/team/	en	Team – Quiver Distribution	https://www.quiverdistri…avicon-32x32.jpg	https://www.quiverdistri…avicon-32x32.jpg	[ "https://www.quiverdistribution.com/wp-content/uploads/2021/09/QUIVER-LOGO-BLACK-1.png", "https://www.quiverdistribution.com/wp-content/uploads/2021/08/About-Banner-2-1024x430.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.quiverdistri…avicon-32x32.jpg		https://www.quiverdistribution.com/about/team/	Berry Meyerowitz is the co-founder of Quiver Distribution, a film distribution company operating in the U.S., Canada and international markets which develops and distributes high-quality, talent-driven films with a focus on curating a highly selective film slate from both established and emerging talent. Meyerowitz has Executive Produced over 30 feature films including: Jungle with Daniel Radcliffe; Chick Fight with Alec Baldwin; and Becky starring Kevin James. Before launching Quiver with partner Jeff Sackman, Meyerowitz founded Phase 4 Films, where he served as President & CEO and transformed the company into one of the leading independent distributors in the U.S. Following the sale of Phase 4 Films to eOne, Meyerowitz stayed on as President of eOne’s U.S. Film Business and launched its global digital initiative, continuing to double the company’s revenues. Meyerowitz also served as President of Peace Arch Home Entertainment after selling them his previous company, kaBOOM! Entertainment. He formerly worked at 20th Century Fox as the Director of Marketing where he led successful campaigns for films such as There’s Something About Mary, The Full Monty and The Star Wars trilogy. Jeff Sackman is the co-founder of Quiver Distribution, a film distribution company operating in the U.S., Canada and international markets which develops and distributes high-quality, talent-driven films with a focus on curating a highly selective film slate from both established and emerging talent. An entertainment industry veteran, Sackman has produced and executive produced over 75 films including: Lionsgate’s American Psycho with Christian Bale and Buffalo 66 starring Vincent Gallo, Christina Ricci and Mickey Rourke; The Grand Seduction starring Brendan Gleeson and Taylor Kitsch; IFC Films’ Wrecked starring Adrien Brody; MTV Films’ Academy AwardⓇ nominated Murderball; Becky starring Kevin James; and Chick Fight with Alec Baldwin. Prior to launching Quiver with partner Berry Meyerowitz, Sackman was a founder and currently serves as Chairman of Hollywood Suite, a television business comprising four exclusive HDTV channels featuring iconic movies that defined the 70’s, 80’s, 90’s and 2000’s. He founded and acted as President & CEO of the indie distributor ThinkFilm, which after only five years grew into a powerhouse, clocking numerous Academy AwardⓇ nominations for the company’s impressive slate. Sackman previously served as the first president of Lionsgate Films, where he successfully led the distributor into the highly competitive U.S. market, a first for a Canadian based entity. Sean Monson is a co-founder of Quiver Distribution, a film distribution company operating in the U.S., Canada and international markets which develops and distributes high-quality, talent-driven films with a focus on curating a highly selective film slate from both established and emerging talent. Prior to Quiver, Sean was the Executive Vice President, Finance and Operations of eOne’s U.S. film business which focused on distributing films and television series in the U.S. and around the world. Working alongside Berry Meyerowitz, Sean oversaw all aspects of finance and business operations. Prior to eOne, Sean was a co-founder of Phase 4 Films where he was Executive Vice President, Finance and Operations. Before Phase 4, Sean was Senior Vice President, Finance and Operations at Peace Arch Home Entertainment. With over 20 years of experience in the film industry, Sean has played a lead role in managing the banking, cash flow, and M&A activity through numerous years of significant growth at Phase 4 Films, eOne and now Quiver.
4384	dbpedia	1	22	https://www.banderasnews.com/0702/ent-berlinfilmfest.htm	en	'Bordertown' Shown at Berlin Film Fest			[ "https://www.banderasnews.com/images/logo-bn.gif", "https://www.banderasnews.com/images/barwea.gif", "https://www.banderasnews.com/images/spacer.gif", "https://www.banderasnews.com/images/spacer.gif", "https://www.banderasnews.com/images/spacer.gif", "https://www.banderasnews.com/images/barcon.gif", "ht...	[]	[]	[ "" ]	null	[]	null	Jennifer Lopez brought 'Bordertown,' in which she plays a reporter trying to solve multiple killings of women in a Mexican border city, to the Berlin film festival and said the role had been a life-changing experience.		http://www.banderasnews.com/favicon.ico		null	Geir Moulson - Associated Press U.S. actress Jennifer Lopez arrives for the screening of her movie 'Bordertown' at the 57th International Film Festival Berlin 'Berlinale' in Berlin Thursday, Feb. 15, 2007. (AP/Markus Schreiber Jennifer Lopez brought "Bordertown," in which she plays a reporter trying to solve multiple killings of women in a Mexican border city, to the Berlin film festival Thursday and said the role had been a life-changing experience. The movie, directed by Gregory Nava, aims to focus attention on killings around Ciudad Juarez over the past 14 years. "I really couldn't believe this was going on, and the more I found out about it and the more real it became to me, I really felt like it came to me for a reason," Lopez, 38, said at a news conference, adding that she felt a "responsibility to do something." "It changed my life a lot it changed the way I think," she said. Lopez stars as a fictional American reporter who becomes increasingly caught up in searching for the attackers of a young Indian woman who is raped, strangled and left for dead. Antonio Banderas stars as Lopez's ex-lover, who is now a local newspaper editor. Amnesty International, which honored Lopez for her role ahead of Thursday's premiere, puts the number of women and girls killed around Ciudad Juarez and Chihuahua since 1993 many after being kidnapped and raped at more than 400. Mexican authorities say more than 350 women have been killed since 1993 in Juarez, a city of about 1.3 million people across the border from El Paso, Texas. But they say only about 100 of those slayings appear to fit a pattern in which young women were sexually assaulted, strangled and dumped in the surrounding desert. They say the rest of the women were killed in crimes of passion, accidents or robberies and other crimes. Much of the movie one of 22 competing for the Berlin festival's top Golden Bear award was shot in and around Albuquerque, N.M., as well as in the Mexican border town of Nogales. Nava, a native of San Diego, said it was "too dangerous" to take Lopez, Banderas and the main crew to Ciudad Juarez. On the Net: Jennifer Lopez: http://www.jenniferlopez.com/ Berlin International Film Festival: http://www.berlinale.de/en/HomePage.htmlLopez Swaps Stardom for Activism in Film Mike Collett-White - Reuters Pop star and actress Jennifer Lopez swaps her "A"-list celebrity for social activism in a new film about the plight of Mexican women working in factories near the U.S. border who are raped and murdered. "Bordertown," which reunites the singer with director Gregory Nava, is based on real events and was made to draw attention to what the film's makers say are deliberate attempts by authorities and companies to cover up the crimes. In the film, which had its world premiere at the Berlin film festival on Thursday, Lopez plays an ambitious reporter from Chicago who travels to Mexico on an assignment she hopes will get her a cherished overseas posting at her newspaper. At first cynical and self-serving, her character becomes increasingly concerned by the disappearance of hundreds of women whose graves are unearthed with alarming regularity, while the task of uncovering the truth becomes more and more dangerous. Antonio Banderas plays a campaigning journalist in the city of Juarez, where the action is set, while Mexico's Maya Zapata is Eva, the girl who is hunted after she survives a brutal attack and can identify her assailants. "When they came to me with the project, I immediately became very passionate about it and said that I would do it and I would help them get it made," Lopez told reporters after a press screening. The film is in the main competition in Berlin. "What I thought (when I read the script) was, I couldn't believe it. I really couldn't believe this was going on. And then the more I found out about it the more real it became to me," the 37-year-old said. Lopez, who worked with Nava 10 years ago on "Selena," said the film and what was happening along the U.S.-Mexican border, had changed her perspective on life. "It changed my life a lot. It changed the way I think. You do it and it does change your life." LOPEZ CRUCIAL Nava said he could not have raised the money to make the film without Lopez's involvement. She is also a producer. While critical reaction to the thriller may be cool, judging by the boos after its press screening in Berlin, Nava will be hoping Lopez's name will bolster the box office. "It was a very, very tough journey to get this movie made, and I have to thank ... Jennifer, because if Jennifer had not gotten involved ... it would never have been made," Nava said. He told reporters he received death threats during the making of "Bordertown," which he first conceived in 1997, and Lopez and Banderas could not shoot scenes in Juarez because it was deemed too dangerous. "In making the film we found that there were people who didn't want the movie to be made, but there were also many more people who supported what we were saying," he added. "Bordertown" argues that huge economic interests in the factories where the young women work, called "maquiladoras," mean that corporations and governments do not want to ruin business by exposing the issue. Nava, who worked with Amnesty International on the project, said more than 400 women had been murdered. "These are human beings, with dignity, with lives, with hopes and with dreams but in this great global economy, a few hundred, a few thousand young women get killed - well, it doesn't matter, let's just cover it up and get some more."
4384	dbpedia	2	20	https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/	en	ThinkFilm Launches Kids Division	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Weaver.jpg?resize=225,169", "https://www.vibe.com/wp-content/uploads/2024/08/hughley.png?resize=225,169", "https://wwd.com/wp-content/uploads/2024/08/street-style-trend-brooches-...	[]	[]	[ "" ]	null	[ "Billboard Staff" ]	2005-02-28T05:00:00+00:00	First titles include 'My First Day.'	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/	Independent film distributor ThinkFilm is launching the specialty division ThinkFilm Kids. The unit will focus on the home video market with educational product aimed at children up to 9 years old. The first ThinkFilm Kids titles will come from the series “My First Day” and “Braincandy.” “My First Day” focuses on new experiences. “My First Day at Preschool” will be released this summer; other titles to follow will include “My First Day at the Doctor,” “My First Day at the Zoo” and “My First Sibling.” The “Braincandy” series, for children up to 5, helps with independent thinking and creativity. The first release will be “Braincandy: My 5 Senses.” An exact time frame for the release is not yet known. Future titles include “Fingercandy” and “Eyecandy.” ThinkFilm has offices in Toronto, New York and Los Angeles. Its theatrical projects include best documentary Academy Award winner “Born Into Brothels” and Sundance Grand Prize winner “Primer.”
4384	dbpedia	2	36	https://www.photrio.com/forum/threads/why-i-think-they-think-film-is-dead.127823/	en	Why I think they think "film is dead".	https://www.photrio.com/…mages/ograph.png	https://www.photrio.com/…mages/ograph.png	[ "https://www.photrio.com/styles/logo.svg", "https://www.photrio.com/styles/logo.svg", "https://www.photrio.com/forum/data/xfmg/thumbnail/71/71328-df1096aef86b0d70801444c03ed53288.jpg?1724834980", "https://www.photrio.com/forum/data/xfmg/thumbnail/71/71327-5052f0bd50e5a61623b8d2a523289473.jpg?1724798905", "h...	[]	[]	[ "" ]	null	[ "Ko.Fe" ]	2015-09-03T19:30:13+00:00	FSU to me isn't about education place in Florida, it is the territory and soviet time I'm from. Only in FSU nineties it was blooming in colors. As I would...	en	https://photrio.com/foru…rome-192x192.png	Photrio.com Photography Forums	https://www.photrio.com/forum/threads/why-i-think-they-think-film-is-dead.127823/	Ko.Fe. Joined Apr 29, 2014 Messages 3,208 Location MiltON.ONtario Format Digital Sep 3, 2015 #1 FSU to me isn't about education place in Florida, it is the territory and soviet time I'm from. Only in FSU nineties it was blooming in colors. As I would recall. Imported color film everywhere, developing, printing at every corner at least in Moscow (10M people population). Before, I have to go to the special store and special lab for East German Agfa slides. BW wasn't sold just everywhere either. I think "my" folks have short memories, they only remember nineties with affordable and working imported PS cameras and somewhat affordable and quality consistent imported color film. I wonder if it was significantly different in the free world of spending-consuming (USA) and not even developed yet countries like India and China where majority of the planet Earth population is for sometime. Fifties-seventies-eighties? Recently, I discovered photo of me taken at Excalibur hotel (LV) escalator in nineties . One person in the background is hiding his face from the camera by holding plastic shopping bag with film developing advertising and it is isn't cheap service. We came to Canada as family in 2003 and color film wasn't cheap at all for family pictures. I complained to one Canadian how expensive color film is, he asked about current price is and told me it is as expensive as it was well before we came to Canada. Now after learning how to bw it same way as millions did for decades I feel astonished every time I'm asked "do they still sell film?" Yes, they still sell film, paper, chemicals and else, but it is just as it was initially. In special stores, not at your groceries place. It is as normal to me as art supplies store which sell things for painting. Is art of painting dead in consumers heads because canvas and oil based paint isn't available at every corner? Sirius Glass Joined Jan 18, 2007 Messages 48,845 Location Southern California Format Multi Format Sep 3, 2015 #2 So much disinterest in film that they are not interested to find out on their own plus since they shoot digital the world must all shoot digital. DannL. Joined Oct 13, 2013 Messages 617 Format Large Format Sep 3, 2015 #3 As far as painting . . . there are probably 20 stores withing 10 miles of my home, where I can buy those supplies. For the past 20 years I have only known of one store that carried photographic/darkroom supplies. Then about 10 years ago I found I could order over the internet and get a decent price and selection. Having local access to photographic supplies is not of great importance to me. It's not as if I need to squeeze the bag of Dektol to determine if it will work. People think things are dead because they haven't heard about them for a while. So, with that . . . . I'll go back to listening to my Edison Diamond Discs. OptiKen Joined Oct 31, 2013 Messages 1,055 Location Orange County Format Medium Format Sep 3, 2015 #4 To some extent, art painting is dead....as dead as photography. In the 70's and 80's I sold fine art supplies for one of the oldest and largest fine art distributing companies in the USA - Duncan-Vail. Every where you would look, there would be some sort of selection of fine art supplies and the chain stores (IE: Aaron Bros, etc) were huge. Now days if a store carries art supplies they are incredibly limited and allocated to a very small portion of the store. Film is the same today. Large colorful displays of film and processing services have either completely disappeared or they are found on a small end-cap or on 3 pegs in front of the cash register. Neither photography nor painting fits in with today's fast paced society of 'I want it all and I want it now'. OptiKen Joined Oct 31, 2013 Messages 1,055 Location Orange County Format Medium Format Sep 3, 2015 #5 So, with that . . . . I'll go back to listening to my Edison Diamond Discs. Edison Diamond discs? Any idea where I can pick up a new Pathe' needle? You know, the round wheel one?? DannL. Joined Oct 13, 2013 Messages 617 Format Large Format Sep 3, 2015 #6 Edison Diamond discs? Any idea where I can pick up a new Pathe' needle? You know, the round wheel one?? All I can say is Google "Pathe Needle". Several sites turned up. OP OP Ko.Fe. Joined Apr 29, 2014 Messages 3,208 Location MiltON.ONtario Format Digital Sep 3, 2015 #7 I have no idea what you are talking about. My 78' one side shellac from 1915 just playing fine on regular turntable with 78' needle widely available at on-online stores, located in the States and nearby. But I forgot if it is diamond or else needle. DannL. Joined Oct 13, 2013 Messages 617 Format Large Format Sep 3, 2015 #8 I hate to say this, but the digital camera market appears to be dead. Our local electronics and department stores have plenty of selection, but I haven't seen anyone frequent those counters in at least 5 years. It won't be long now, all you'll have to do is "Google Yourself", to get a picture. So, it's not just film. I think the term "camera" will eventually be outdated . . . like the term "horseless carriage". BradS Joined Sep 28, 2004 Messages 7,939 Location Sonora, California Format 35mm Sep 3, 2015 #9 Out of sight, out of mind. People think "film is dead" because it is nearly invisible today and it has been for all or most of some peoples' lifetimes. Thirty-five years ago, we had Kodak color print, color slide and B&W films available in every drugstore and most super markets. One could drop off color print films for High quality Kodak processing at a multitude of convenient locations and expect prints in a few days. We had Fotomat booths in parking lots for pete's sake! Camera stores all had large darkroom sections...heck, even places like Target, K-Mart and walmart had darkroom gear and supplies (ok, maybe this was more like 40 years ago)?. In the late 1970's and early 1980's one could buy a Pentax K-1000 with a 50mm f/1.7 Pentax-m lens at K-mart for around $200. We had pro-labs, portrait studios and wedding photogs...Kodak was one of the 30 companies that made up the DOW Jones industrial average! What visible evidence of the existence of film does the general population have today? Almost none. It is all gone. Many (most?) people under the age of about 25 years have never even seen a roll of film or a non-digital camera. Of course they think it is extinct...because for them, it is. Last edited by a moderator: Sep 3, 2015 Sirius Glass Joined Jan 18, 2007 Messages 48,845 Location Southern California Format Multi Format Sep 3, 2015 #10 I hate to say this, but the digital camera market appears to be dead. Our local electronics and department stores have plenty of selection, but I haven't seen anyone frequent those counters in at least 5 years. It won't be long now, all you'll have to do is "Google Yourself", to get a picture. So, it's not just film. I think the term "camera" will eventually be outdated . . . like the term "horseless carriage". I am waiting to hear "Do they still make digital cameras? Everyone uses cell phones now." rbultman Joined Sep 1, 2012 Messages 411 Location Louisville, Format Multi Format Sep 3, 2015 #11 Film is dead for most of the population. It is equally as dead as oil painting, or nearly so. I can still get some color films at my local drug store which still does film processing. You can see the machines in the photo area of the store. I can't get Windsor Newton paints or canvases at the store though. The last time I stepped foot into the local camera store, they were in the process of ending their processing of film. I can no longer get film there. I previously had color film developed there and bought B&W processing supplies. That is all gone. They may still sell entry level film cameras (Nikon?) and some used stuff, but they mostly push digital. Every time I have been in that store I feel like I am bothering the staff. The local art store that my wife takes oil painting classes in has a rich selection of art supplies covering many different mediums. They hold lots of weekend demonstrations there for drawing, cartooning, etc, and offer lots of classes for kids. It is a very vibrant store with knowledgeable staff, many of whom are professional artists. They are a local store and can't compete with the prices from Dick Blick on-line, but my wife can't take classes from Dick Blick. However, they have no film stuff. Not really surprising. The camera store I mentioned used to cater to the professional photographers in town including professional lab services. Their attitude is not friendly to the amateur while the art store is. Just think if the art store started carrying film supplies and giving awesome darkroom classes. Just think if the camera store did the same. It's all about promotion at some level. If the film isn't promoted, it doesn't exist. Regards, Rob gzinsel Joined Mar 20, 2011 Messages 402 Format Med. Format RF Sep 3, 2015 #12 I think there are plenty of fine artists who use paints and canvases, and artists who use film. By and large most artists get their "supplies" from web site, not brick and mortar stores. Fine artists of the high brow type, are in their own sub-culture if you will. Out of sight out mind!!!! they are there, you just have to and look. I do not think that the touch sensitive arts are dead. its just not part of popular culture. But, popular culture is not ALL of culture. there are plenty of sub's out there. rbultman Joined Sep 1, 2012 Messages 411 Location Louisville, Format Multi Format Sep 3, 2015 #13 But, popular culture is not ALL of culture. there are plenty of sub's out there. +1 Joined Jul 28, 2010 Messages 2,905 Location Ogden, Utah Format Multi Format Sep 3, 2015 #14 I have no idea what you are talking about. My 78' one side shellac from 1915 just playing fine on regular turntable with 78' needle widely available at on-online stores, located in the States and nearby. But I forgot if it is diamond or else needle. edison discs are not 78 rpm, edison discs are about half an inch thick and play at a higher speed than 78 -- Edison marketed his own record players, one of which resides in my living room and sees duty during power outages. I imagine needles for them are available, but the one I have has worked fine for 30 years. Last edited by a moderator: Sep 3, 2015 Joined Jul 28, 2010 Messages 2,905 Location Ogden, Utah Format Multi Format Sep 3, 2015 #15 I hate to say this, but the digital camera market appears to be dead. Our local electronics and department stores have plenty of selection, but I haven't seen anyone frequent those counters in at least 5 years. It won't be long now, all you'll have to do is "Google Yourself", to get a picture. So, it's not just film. I think the term "camera" will eventually be outdated . . . like the term "horseless carriage". The nice folks at Ilford say their sales are up lately, and Kodak is still making its small selection of b/w films, also Fuji so far as I can tell. So, it's a niche market, but what isn't any more? I was talking to a local dealer a year or so ago who said the point-and-shoot digital market seemed to be on its way to dropping off a cliff faster and farther than film cameras did. Interesting times we live in. Xmas Joined Sep 4, 2006 Messages 6,398 Location UK Format 35mm RF Sep 4, 2015 #16 I was talking to a local dealer a year or so ago who said the point-and-shoot digital market seemed to be on its way to dropping off a cliff faster and farther than film cameras did. Interesting times we live in. Our charity shops, pawn brokers and cash converters, used to have eg Konica TCs, now they only have dP&S and low to middle end dSLRs. iPhones have 8 million hard working pixies and better signal processing software than any low to mid range dcamera. Modern brides say send all files on wedding day to their best gmates. Most people have a news app with two buttons - send pic or video to picture editor - send accompanying text Our wedding and hot news photographers with high end dSLRs are not able to compete easily. It is being there with a 3G service. Girlies do makeup on train with iPhone rather than compact mirror. Even primates can use iPhones. I've even seen a parrot. Helios 1984 Joined Aug 4, 2015 Messages 1,822 Location Saint-Constant, Québec Format 35mm Sep 10, 2015 #17 The reason for the camera's demise is because we live in a era of Casuals, everything that is conceived is meant for the casual users. I'm talking about the same folks who cook Craft Diner and call it fine cuisine, listen Nicky Minaj songs and watch the Kardishians. Those people do not want to use the grey matter between their ears, they want their smartphones to think for them! Alas my friends, dark times are ahead of us. Last edited by a moderator: Sep 10, 2015 Theo Sulphate Joined Jul 3, 2014 Messages 6,492 Location Gig Harbor Format Multi Format Sep 10, 2015 #18 ... Those people do not want to use the grey matter between their ears, they want their smartphones to think for them! Alas my friends, dark times are ahead of us. ... and they want their Google cars to drive for them. I see the bad moon arising. I see trouble on the way. Helios 1984 Joined Aug 4, 2015 Messages 1,822 Location Saint-Constant, Québec Format 35mm Sep 10, 2015 #19 ... and they want their Google cars to drive for them. I see the bad moon arising. I see trouble on the way. Sirius Glass Joined Jan 18, 2007 Messages 48,845 Location Southern California Format Multi Format Sep 10, 2015 #20 The reason for the camera's demise is because we live in a era of Casuals, everything that is conceived is meant for the casual users. I'm talking about the same folks who cook Craft Diner and call it fine cuisine, listen Nicky Minaj songs and watch the Kardishians. Those people do not want to use the grey matter between their ears, they want their smartphones to think for them! Alas my friends, dark times are ahead of us. +1 thecatt Joined Sep 10, 2015 Messages 6 Format 4x5 Format Sep 14, 2015 #21 They think film is dead because people want things now. The digital camera is a great example of the now culture. Last year I was using the color darkroom at the local community college. Apparently students won't even touch it because it requires work/ time and is not instant. Students there could't grasp why I would want to make c-prints when I could just pull them off a memory card and push paper through an epson. A 4x5 c-print is nearly impossible to beat. So much sharper and richer than anything an epson can produce. Plus a good color lab is hard to find, at least in St. Louis. And the schools even some good art schools are pushing digital imagery over analogue. WTF do I know, I am a bit crazy wanting to stand in the dark breathing the fumes of chemicals. Sirius Glass Joined Jan 18, 2007 Messages 48,845 Location Southern California Format Multi Format Sep 14, 2015 #22 They think film is dead because people want things now. The digital camera is a great example of the now culture. Last year I was using the color darkroom at the local community college. Apparently students won't even touch it because it requires work/ time and is not instant. Students there could't grasp why I would want to make c-prints when I could just pull them off a memory card and push paper through an epson. A 4x5 c-print is nearly impossible to beat. So much sharper and richer than anything an epson can produce. Plus a good color lab is hard to find, at least in St. Louis. And the schools even some good art schools are pushing digital imagery over analogue. WTF do I know, I am a bit crazy wanting to stand in the dark breathing the fumes of chemicals. Welcome to APUG Well said. You captured it. They think that a stink-jet is a color print until they are handed a real color print on single or double weight paper. A silver monochrome print blows them away. OP OP Ko.Fe. Joined Apr 29, 2014 Messages 3,208 Location MiltON.ONtario Format Digital Sep 15, 2015 #23 This might explain why instax is popular among kids. It is "now&easy" at its best. I like analog color prints, but I'm into darkroom printing by myself in terms of color. Modern BW printing is next to odorless, harmless and fine for home usage. So, welcome to thecatt the diehard! gzinsel Joined Mar 20, 2011 Messages 402 Format Med. Format RF Sep 16, 2015 #24 It's all about promotion at some level. If the film isn't promoted, it doesn't exist. Regards, Rob If local stores who sell film- had classes on how to use film, process, and print and IN ADDITION promoted film, . . . . . More people ( hobbyist) would get involved, . . . But . . . . . THAT would be costly.
4384	dbpedia	1	63	https://news.chapman.edu/2015/09/23/bordertown-new-animated-fox-show-from-seth-macfarlane-gets-pre-screening-at-chapman-with-writeralumnus-gustavo-arellano/	en	"Bordertown," new animated Fox show from Seth MacFarlane, gets pre-screening at Chapman with consulting producer/alumnus Gustavo Arellano	https://news.chapman.edu…9/bordertown.jpg	https://news.chapman.edu…9/bordertown.jpg	[ "https://news.chapman.edu/wp-content/uploads/2015/09/bordertown.jpg", "https://secure.gravatar.com/avatar/4f27b6e2b0998405e17f49036b4331e2?s=24&d=mm&r=g", "https://news.chapman.edu/wp-content/uploads/2015/09/BT000_BG_ExtBordrStation_Est_A_BG_PAINT_SAMPLE_families2_1_hires1.jpg", "https://secure.gravatar.com/a...	[]	[]	[ "" ]	null	[]	2015-09-23T00:00:00	"Bordertown," a new animated series from the comedic mind of Seth MacFarlane, debuts on the Fox network in 2016. But you can get a special sneak peek at the show -- a look at immigration	en	https://news.chapman.edu/wp-content/plugins/chapman-favicon/favicon.ico	Chapman Newsroom	https://news.chapman.edu/2015/09/23/bordertown-new-animated-fox-show-from-seth-macfarlane-gets-pre-screening-at-chapman-with-writeralumnus-gustavo-arellano/	“Bordertown,” a new animated series from the comedic mind of Seth MacFarlane, debuts on the Fox network in 2016. But you can get a special sneak peek at the show — a look at immigration through the eyes of two families who live in a small town on the U.S.-Mexico border — when consulting producer and Chapman alumnus Gustavo Arellano brings a screening to Chapman University on Thursday, September 24 at 6:45 p.m. in Kennedy Hall 237B, hosted by the Minority Student Law Association (MSLA) and Chapman’s chapter of MeChA (Movimiento Estudiantil Chicana/o de Aztlan). “Bordertown”takes a satirical look at the cultural shifts occurring in America, where the U.S. Census forecasts that by 2017, ethnic minorities will become the majority. Set against this increasingly diverse backdrop, the series explores family, politics and everything in between with a cross-cultural wink. The series centers on two clans: the Buckwalds and the Gonzalezes. Bud Buckwald (Hank Azaria) is a married father of three and a Border Patrol agent who is just a tad behind the times and feels slightly threatened by the cultural changes transforming his neighborhood. He lives next door to Ernesto Gonzalez (Nicholas Gonzalez), an ambitious immigrant and family man, who has been in the country less than 10 years, but is already doing better than Bud – which, it turns out, is a bit of an issue for the less-industrious native. Arellano was originally asked by series co-creator Mark Hentemann (Family Guy) to be a writer on the show, but he turned it down because his writing time is devoted to OC Weekly, where he is the editor, and to his popular nationally distributed column, “Ask a Mexican!” (Arellano is also the author of several books, including Ask a Mexican!, Orange County: A Personal History, and Taco USA: How Mexican Food Conquered America.) “Not only was Mark the real deal—nice, funny, and trusting in the opinions of others—he was refreshingly honest,” Arellano blogged on Pocho.com. “He told me that, while he knew comedy from his years with David Letterman and Family Guy, he wasn’t going to pretend that a gabacho from Cleveland like himself knew much about the Mexican experience in the U.S.; he wanted the best and brightest Latino writers to give his show the right perspective, to tell stories that not only have never been told before on network TV but have them told by the right folks.” Arellano suggested that the producers call Lalo Alcaraz, creator of the popular comic strip La Cucaracha, and ask him to join the writing team, but they were already on it. Alcaraz is one of five Latino writers on the show. “I’m only a part-timer, as a consultant who’s mostly going to be offering notes,” Arellano blogged. “But I’ve already seen scripts—amazing, hilarious, and spot-on about what it means to be Mexican in America right now…Is the show going to offend people? Of course—that’s what comedy does. But with Lalo and I on board, we’re going to do our damndest to make sure that when Bordertown offends, it’s for a reason—just like we’ve done during our respective careers. Already, our suggestions are being appreciated and being worked into the show.” So — if you can’t wait for 2016, come on out and enjoy this preview screening opportunity, with consulting producer Gustavo Arellano on hand to introduce the show and chat with the audience.
4384	dbpedia	2	61	https://ca.news.yahoo.com/mark-urman-veteran-film-distributor-231646665.html	en	Mark Urman, Veteran Film Distributor, Dies at 66	https://s.yimg.com/ny/api/res/1.2/o31infL_dQUsjBceUOycbQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD04NzY-/https://media.zenfs.com/en-US/indiewire_268/95a7a4c7735aa887bb7b3a7f9ba3e87e	https://s.yimg.com/ny/api/res/1.2/o31infL_dQUsjBceUOycbQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD04NzY-/https://media.zenfs.com/en-US/indiewire_268/95a7a4c7735aa887bb7b3a7f9ba3e87e	[ "https://ca.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-CA-en-CA-def%2Cseamless&code=pageRender&device=desktop&lang=en-CA&pageName=deeplink&region=CA&rid=27gi7n9jcu82o&site=news&t=1724850264429", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/st...	[]	[]	[ "" ]	null	[ "Anne Thompson" ]	2019-01-13T23:16:46+00:00	The distributor shepherded multiple Oscar campaigns, including several documentary winners.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.yahoo.com/entertainment/mark-urman-veteran-film-distributor-231646665.html	Veteran independent film executive Mark Urman died Saturday after a short bout with cancer, IndieWire has confirmed. He was 66. His family requests privacy, and advised a statement will be coming in the next few days. The Union College graduate started out in the international publicity department at United Artists in New York, followed by publicity posts at Columbia Pictures and the studio’s Triumph Films, and PR firm Dennis Davidson and Associates. In 1997, he left DDA to join Cinepix Film Properties, then just acquired by Lions Gate Entertainment Corp., as the head of U.S. distribution. That was the start of a passionate career in specialized film, including multiple Oscar contenders like “Monsters Ball,” “Affliction,” and “Before the Devil Knows You’re Dead.” As distribution president at New York indie distributor ThinkFilm, Urman delivered seven Academy Award nominations in six years. Alex Gibney’s “Taxi to the Dark Side” and “Born Into Brothels” won Best Documentary Feature; other documentary nominations included “Spellbound,” “The Story of the Weeping Camel,” “Murderball,” and “War/Dance.” And against all odds, Urman successfully pursued a 2007 Best Actor Oscar nomination for breakout “Half Nelson” star Ryan Gosling after acquiring the film from writer-director Ryan Fleck and co-writer and producer Anna Boden at Sundance. Having also played a role in winning campaigns as Lionsgate Releasing president for “Gods and Monsters” and “Affliction,” Urman knew that acting nominations for breakthrough newcomer performances can be done. Most recently, Urman was the owner, president, and CEO of New York-based independent distributor Paladin Films, which he founded in 2009. Among Paladin’s titles were Taika Watiti’s “What We Do In the Shadows” and “Boy,” Drake Doremus’ “Douchebag,” and Rob Reiner’s “Being Charlie.” This weekend, Paladin released “Rockaway.” Dana Harris contributed to this report. Related stories 'Obit' Exclusive Trailer: Writing About Death Becomes a Celebration of Life in New Documentary -- Watch RIP Entertainment Writer Amy Dawes, Who Spent 30 Years Writing About the Movies
4384	dbpedia	1	34	https://nordiskfilmogtvfond.com/news/stories/bordertowns-distributor-federation-ups-credit-line-and-ambitions	en	Bordertown’s distributor Federation ups credit line and ambitions	https://nordiskfilmogtvf…-Fisher-King.jpg	https://nordiskfilmogtvf…-Fisher-King.jpg	[ "https://nordiskfilmogtvfond.com/assets/news/_headerImageLandscape/Bordertown%C2%A9-Fisher-King.jpg" ]	[]	[]	[ "" ]	null	[ "Annika Pham" ]	2018-10-09T08:53:00+02:00	The latest film & TV news of the Nordic audiovisual industry.	en	/apple-touch-icon.png	Nordisk Film & TV Fond	https://nordiskfilmogtvfond.com/news/stories/bordertowns-distributor-federation-ups-credit-line-and-ambitions	Federation Entertainment’s fresh cash injection comes from a round of financiers including Bpifrance, BNP Paribas Développement, Amundi Private Equity Funds, Alliance Entreprendre and Entrepreneur Venture. Breton who founded the company in 2013 to develop, produce and distribute premium dramas worldwide, said the extra funds will help Federation strengthen its capacity for long-term development. “The objective is to support the organic growth of our investments in production and distribution while expanding our international presence, notably through acquisitions, in order to become one of the leading European studios, with a very active branch in the US.” Federation just expanded into non-scripted content by taking a majority stake in French production company WeMake, headed by Bouchra Réjani, former C.O.O of Shine France. Federation’s scripted portfolio comprises French TV hits The Bureau and Marseille, (Netflix’s first French Original), the Israeli thriller Hostages and the German financial thriller Bad Banks. The Company has successfully licenced Fisher King’s Finnish crime series Bordertown (Sorjonen) to key territories including Germany (Sky Deutschland), France (Canalplay) and Belgium ( VRT), with Netflix handling the US, Canada, the UK, Republic of Ireland, Norway, Sweden, Denmark, Iceland, Eastern Europe, Russia and the Netherlands. Season 2 produced again by Fisher King for Yle, in co-produced with Federation, premiered on the Finnish pubcaster October 7. At MIPCOM, Federation will start discussions on season 3 of Miikko Oikkonen’s crime show starring Ville Virtanen as detective Kari Sorjonen. The distributor will launch another Finnish political thriller, Secret Enemies (8x52’) produced by Moskito Television for C More/MTV3 and will continue sales on the Norwegian dramedy One Night, produced by Viafilm for NRK.
4384	dbpedia	1	18	https://nordiskfilmogtvfond.com/news/stories/fisher-king-readies-feature-spin-off-of-bordertown	en	Fisher King readies feature spin-off of series Bordertown	https://nordiskfilmogtvf…Fischer-King.jpg	https://nordiskfilmogtvf…Fischer-King.jpg	[ "https://nordiskfilmogtvfond.com/assets/news/_contentImage/Bordertown-credit-Fischer-King.jpg" ]	[]	[]	[ "" ]	null	[ "Annika Pham" ]	2020-09-25T09:17:00+02:00	The latest film & TV news of the Nordic audiovisual industry.	en	/apple-touch-icon.png	Nordisk Film & TV Fond	https://nordiskfilmogtvfond.com/news/stories/fisher-king-readies-feature-spin-off-of-bordertown	Netflix will handle global distribution on the film outside Finland, where new local distributor Aurora Studios will handle the cinema release and Yle, the TV premiere. Building on the global branding of the hit crime series Bordertown, Fisher King CEO Matti Halonen has gathered the same creative team consisting of writers Mikko Oikkonen and Antti Pesonen, as well as director Juuso Syrjä. Ville Virtanen reprises his role as investigator Kari Sorjonen, Anu Sinisalo as Lena Jaakkola and Sampo Sarkola as Sorjonen’s arche enemy Lasse Maasalo. The story unfolds as a mural of Lasse Maasalo is found, painted in blood, at a train station. Beneath the mural is written: ”Making the World a Better Place”. The same message is found on a social media voting contest. When three of the most-voted people disappear, acclaimed investigator Kari Sorjonen is asked to come back to work. He is the only one who can solve the society-shaking hate crime, but only if he manages to get his own mind together.
4384	dbpedia	3	17	https://www.bbc.com/culture/article/20240320-timothe-chalamet-bob-dylan-complete-unknown-film-costume-photos	en	What we know about 'A Complete Unknown' - and why it's so hard to get Bob Dylan right	https://ychef.files.bbci…351/p0hknm0r.jpg	https://ychef.files.bbci…351/p0hknm0r.jpg	[ "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/images/ic/160xn/p0hknm0r.jpg.webp 160w,https://ichef.bbci.co.uk/images/ic/240xn/p0hknm0r.jpg.webp 240w,https://ichef.bbci.co.uk/images/ic/320xn/p0hknm0r.jpg.webp 320w,https://ichef.bbci.co.uk/images/ic/480xn/p0hknm0r.jpg.webp 480w,https://...	[]	[]	[ "" ]	null	[ "Sarah Bregel" ]	2024-03-20T16:59:00.468000+00:00	The film will be set in the early 1960s – the moment in time when Bob Dylan went from 'complete unknown' to rock star.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/culture/article/20240320-timothe-chalamet-bob-dylan-complete-unknown-film-costume-photos	The film will be set in the early 1960s – the moment in time when Bob Dylan went from 'complete unknown' to rock star. A new film about the early life of music icon Bob Dylan is currently filming, and the first photos from the set were just released. A Complete Unknown will star actor Timothée Chalamet as a young, broke Dylan, arriving in New York City to embark on his music career in the early 1960s. The film, according to director James Mangold, is not a biopic – it only aims to capture a portion of Dylan's life, zooming in on the very start of what became a long, lucrative career that forever changed music as we know it. "The best true-life movies are never cradle to grave…they’re about a very specific moment," Mangold said while on the Happy Sad Confused podcast. He says the film is "a kind of ensemble piece about this moment in time, the early '60s in New York, and this 17-year-old kid with $16 in his pockets [who] hitchhikes his way to New York". Dylan meets other like-minded musicians, including Joan Baez, and when he starts playing gigs, the whole Greenwich Village world begins to embrace him. The songwriter hitchhiked to NYC from Minnesota to meet Woody Guthrie, the singer who had inspired him to play folk music. Guthrie was dying of Huntington's Disease when Dylan first played him a song – and became a frequent visitor at his deathbed. Sean Latham, founding director of the Institute for Bob Dylan Studies at the University of Tulsa and the editor of The World Of Bob Dylan biography, tells BBC Culture that 1960s New York was "a magnet for creative, even revolutionary artists around the country and around the world", making it a perfect period for the film to be set in. "Before the internet, it was the place to make connections, see what others were doing, experiment collaboratively, and live a life free of imaginative restraint," Latham says. "Dylan came to New York to find Woody Guthrie, but also to find the sounds, ideas, and people that would help him revolutionise American popular music." The cast Chalamet, who has graced the big screen in recent films including Wonka and Dune: Part Two, will be playing the iconic Bob Dylan. But he's not the only well-known actor who has been cast. Joan Baez, with whom Dylan had a romantic relationship – and who inspired him musically – will be portrayed by Monica Barbaro, who starred in films such as Top Gun: Maverick and The Cathedral. Alan Lomax, a folk musician of the era, will be played by Nick Offerman, who starred in Parks and Rec, Pam and Tommy, The Last of Us and BBC Two's Good Omens. Boyd Holbrook, from Netflix's Narcos and the 2014 film Gone Girl, will recreate the presence of the immortal Johnny Cash, and Edward Norton will portray folk singer and activist Pete Seeger. Elle Fanning is cast as young Dylan's love interest, Sylvie Russo. The look – and the criticisms After photos of Chalamet as the 19-year-old Dylan were published online, the internet began its critique. In the images, Chalamet is seen carrying a guitar in its case, and wearing a worn-down scarf, jacket and a Russian kasket hat. While he's certainly dressed like a 1960s Bob Dylan, reactions to the images were mixed. Some on X (formerly Twitter) commented that he resembled Fievel Mousekewitz from the classic 1990s film, An American Tail. Others felt there was something inauthentic about seeing Chalamet in character as Dylan: "Timothee is not rough looking enough to play Dylan," wrote a user on X. "Dylan had so much turmoil going on inside that it showed through his persona. Timothee may be a good actor, but he needs to look the part. Where is the makeup department?" Playing a living musician – particularly one whose aesthetic evolution has been as well-documented as Dylan's – is a particular challenge, Maggie Flanigan, a theatre costume designer who frequently works on period pieces, tells BBC Culture. That's because "there is a photographic record to pull from", she explains. And, often, those iconic images continue to "live in the public psyche". Past portrayals of Dylan have seen their share of criticism, too. Memorably, the icon was played by six different actors – Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw – in the nonlinear narrative, I'm Not There. Some of those actors, most notably, Cate Blanchett, received rave reviews for the portrayal. Others weren't so positively received. One Guardian review asserted that at least four of the portrayals "teetered unwittingly on the brink of parody". Nailing the lead's look is always immensely important, Flanigan says. And not just because of how the audience will interpret them, but also because of how the actor feels wearing the clothes. "I have always found that when actors finally get into costumes, it’s when the 'world building' finally feels particularly personal," Flanigan explains. "The texture of historical pieces, the shape of the clothes of an era, how they sit on your body, it helps the actor feel the time." Suddenly, folk music was no longer for tweedy purists – while rock music found its social conscience. - Sean Latham The music Perhaps there's an even more important aspect of the film than appearances, however. For a film about the life of a young musician, audiences will expect a strong soundtrack. And according to Eric Vetro, Chalamet's vocal coach, they won't be let down. "When that movie finally comes out, people are going to be shocked because you're going to think you're hearing Bob Dylan sing," Vetro told PEOPLE. "[Timothee] just has this uncanny ability to not impersonate, but really breathe life into it. He's embodying Bob Dylan and what he was like at that age." As for songs, the tracks in the film would most likely be the ones from early on in Dylan's career. Perhaps we'll hear Song to Woody, the song Dylan played to his hero before his death, or You're No Good, or other tracks from the singer's first album, released in 1962. Some of Dylan's biggest biggest hits, including those that appeared on his first electric album in 1965 such as Mr. Tambourine Man and Maggie's Farm, marked an absolute turning point in Dylan's career, and therefore will almost certainly be included. That turning point came when the singer started playing electric, spurring an immense backlash. In his memoir, Chronicles, Dylan put the anger at his musical pivot poetically, writing, “What I did to break away, was to take simple folk changes and put new imagery and attitude to them, use catchphrases and metaphor combined with a new set of ordinances that evolved into something different that had not been heard before.” The moment when Dylan breaks with tradition will likely be central to the film, as it was originally set to be called Going Electric. Latham says highlighting that part of Dylan's evolution in the film makes sense: "When Dylan picked up an electric guitar, he was initially met by a cascade of boos, whistles, and catcalls," he explains. "In that moment, however, he managed to bind together the history and activism of folk music with the urgent energy of the sixties. Suddenly, folk music was no longer for tweedy purists – while rock music found its social conscience." The release date for A Complete Unknown has not yet been announced, so for now, fans will have to get by on first looks and old songs. At least there are 40 albums to choose from, starting from when Dylan really was a complete unknown. If you liked this story, sign up for The Essential List newsletter – a handpicked selection of features, videos and can't-miss news delivered to your inbox every Friday.
4384	dbpedia	2	6	https://variety.com/2008/film/news/thinkfilms-finds-distribution-in-canada-1117982948/	en	ThinkFilms finds distribution in Canada	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2...	[]	[]	[ "" ]	null	[ "Brendan Kelly" ]	2008-03-27T07:00:01+00:00	Canuck distrib Entertainment One will handle ThinkFilm pics in Canada via its Seville Pictures through 2010.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2008/film/news/thinkfilms-finds-distribution-in-canada-1117982948/	Canuck distrib Entertainment One will handle ThinkFilm pics in Canada via its Seville Pictures through 2010. The formerly Canadian-owned ThinkFilm had to find a local distributor after it was purchased by Los Angeles entrepreneur David Bergstein’s CapCo Group in October 2006. Under Canadian law, a foreign-owned company can’t distribute pics in the country. The only exceptions are the Hollywood majors, who operate under a grandfather clause. “This (deal) has taken longer than we thought it would,” said ThinkFilm CEO Jeff Sackman. “Timing in life is everything, and had we done this a year ago, there wouldn’t have been an Entertainment One to make a deal with.” Entertainment One morphed from a DVD distributor into a theatrical distrib last summer. Sackman said the deal will change little for his company because 90% of its business is in the U.S. Entertainment One has also acquired ThinkFilm’s library of 235 films, upping its own library to more than 700 titles. The move turns Entertainment One into a major force in Canada, following its acquisition last summer of Montreal-based Seville. It also has an output deal with Summit Entertainment and the Yari Film Group. Seville recently announced that it was pooling its resources with Robert Lantos’ Maximum Films to jointly distribute their pics in Canada. Seville co-president David Reckziegel said the ThinkFilm pics will increase its Canadian theatrical slate to more than 50 films per year. Slate includes Paul Schrader’s “The Walker”; “The Air That I Breathe,” with Sarah Michelle Gellar and Kevin Bacon; “Nanking”; and the documentary “Taxi to the Dark Side.”
4384	dbpedia	1	6	https://bombreport.com/yearly-breakdowns/2008-2/bordertown/	en	BORDERTOWN – Bomb Report	https://bombreport.com/w…report-32x32.png	https://bombreport.com/w…report-32x32.png	[ "https://bombreport.com/wp-content/uploads/2020/03/brlogo-copy.png", "https://bombreport.com/wp-content/uploads/2020/03/brlogo-copy.png", "https://bombreport.com/wp-content/uploads/2015/03/bordertown_ver2.jpg", "https://bombreport.com/wp-content/uploads/2018/03/2000px-RATED_R.svg_-e1520094966823.png", "http...	[]	[]	[ "" ]	null	[ "Azrael says:" ]	2018-11-29T16:25:18-04:00		en	https://bombreport.com/w…report-32x32.png		https://bombreport.com/yearly-breakdowns/2008-2/bordertown/	Bordertown Rate Movie [Total: 39 Average: 4.2] Directed By: Gregory Nava Written By: Gregory Nava Release Date: January 29, 2008 Domestic Distributor: ThinkFilm Cast: Jennifer Lopez, Martin Sheen, Antonio Banderas Box Office Info: Budget: $20 million Financed by: Möbius Entertainment; New Mexico State Investment Council Domestic Gross: $0 Overseas Gross: $8,329,799 It was announced in March 2000 that Bordertown was in development at New Line, but the project eventually was put into turnaround. MGM then picked up Bordertown, which had a starring role commitment from Jennifer Lopez, but again the project fell apart. Eventually Bordertown landed at David Bergstein and Ron Tutor’s Möbius Entertainment — which financed the $20 million production with a $15 million loan from New Mexico State Investment Council, who would take 10-11% of the film’s profits — only if there were any. Bordertown was filmed in 2005 and premiered at the Berlin Intl Film Festival in February 2007 and was booed. It never attracted a US distributor, so it was released by David Bergstein and Ron Tutor’s distribution company ThinkFilm. A limited theatrical release was planned, but ThinkFilm dumped Bordertown straight to video. The film saw a release overseas to a poor $8.3 million across numerous distributors, with $2.8 million from Spain as the strongest showing and it went straight to video in Russia and most smaller markets. David Bergstein had made a habit of not paying cast and crew for their work or paying residuals to union members and in 2007 the DGA brought Bergstein to arbitration and won. Gregory Nava was never paid his $450,000 salary for writing and directing Bordertown and as of 2010, he still was never paid despite the court order. In June 2018, David Bergstein was sentenced to 8 years in prison for defrauding investors out of $26M. Good riddance.
4384	dbpedia	2	50	https://www.thefilmcollaborative.org/blog/tag/quad-cinema/	en	TFC Blog	https://www.thefilmcolla…rence-primer.jpg	https://www.thefilmcolla…rence-primer.jpg	[ "https://www.facebook.com/tr?id=137956768443251&ev=PageView&noscript=1", "https://www.thefilmcollaborative.org/img/tfc.svg", "https://www.thefilmcollaborative.org/eblasts/givingtuesday/tfc_blog.png" ]	[]	[]	[ "" ]	null	[ "Orly Ravid" ]	null	TFC Distribution Days Primer	en	/img/tfc.ico		null	Theatrical: To Do…or NOT To Do. (or perhaps more, HOW and WHEN To Do) We all struggle with this, filmmakers, distributors alike. I remember giving a presentation to distributors about digital distribution and theatrical came up. I talked about the weirdness of showing a film 5 or 6 times a day to an almost always-empty house save a couple showings. This makes no sense for most films. When I released Baise Moi in 2000, we broke the boxoffice records at the time, and the “raincoat crowd” did show up at the oddest morning hours, but that is the exception, not the rule. Not every film has an 8-minute rape scene that just must be seen by post-punk-feminists and pornography-lovers alike. It’s an odd set-up for smaller films and it’s not the only means to the end we are looking for. Recently, The Film Collaborative released Eyes Wide Open in NYC, LA, Palm Beach and Palm Springs. We have a little over $10,000 (all in it will be about $12,000 tops). We have made our money back and the great reviews and extra marketing / visibility will drive ancillary sales but we also did not invest or risk too much as you can see. That is a great formula (one that small, disciplined and seasoned distributors such as First Run Features, Strand, Zeitgeist, employ) but it is not viable for all films. First of all we have an “A” list festival film (Cannes & TIFF & LAFF) and second it caters to two or three niches (gay and Jewish/Israeli) though one can argue that the niches also slightly cancel each other out to some extent, the film did well so obviously the campaign worked. But there are many films for which that strategy would not work. Either theaters could not be booked, or reviews would not always be great, and / or the film would simply not galvanize a theatrical audience. Plus, once you start adding up 4-Wall fees, the bottom line leans more likely to be shades of red. The Quad Cinema sent an E-blast promoting its 4-Wall program. It was a good sales pitch and I am not going into it all here, but the take home is that you’re more likely to get a broader theatrical, and/or a distribution deal, and/or picked up by Netflix and other digital platforms if you open theatrically in New York. I would argue that is true to some extent but also VERY MUCH dependent on the FILM itself and there should still be a cost-analysis and overall strategy consideration before one pays the Quad for their services and hopes for the best. Here is a link to the info and we are happy to email the blast to any who request it www.quadcinema4wall.com . It should also be noted that generally speaking, The New York Times does not consider your film among “All the News That is Fit to Print” unless it’s opening wider than just New York. So how to decide? Companies such as Oscilloscope are all about theatrical, but they pick their films carefully and my guess is Adam Yauch can afford to lose money too if it comes to that. Home Video companies such as New Video, and Phase4 are doing some theatrical, but on an as-needed basis and yes, to service the ancillary rights, but that’s a very experienced analysis on their part. When we posted on Twitter about the Cable Operators warning they will start requiring a ten (10) city theatrical, all at once, believe me, if everyone blindly follows suit, the bar will get raised even higher right until we all go broke. The point is to mitigate the glut and distinguish films in the marketplace not get us all to be lemmings and empty our bank accounts. There is math to be done and I know it’s hard without all the back-end numbers at your disposal, but they are coming. We will publish case studies of all our films and we encourage you to get down to the detailed back-end numbers analysis before spending more on the front end and often gratuitously. We have experienced and heard about the impact a filmmaker can have in his or her city when working the film and then really impacting the gross and that is inspiring, but usually not long-lasting because it takes a lot to get people to pay to see your film in a theater when there are so many other films and so many more marketing dollars behind them. And what’s in it for you? The only reviews that matter are the big ones and we all know what they are… and remember what we said above about The New York Times. The general perception of indie film releases is interesting. Most don’t take into account the money that is spent to get the “gross”. More of the time the distributor (or whomever booked the film) gets less than half of the box office revenues. Sometimes as little as 25% – 30% though of course sometimes more. And there are the expenses. The Kids Are Alright may not even be in the black right now, but you’d never know that reading certain coverage. I love Exit Through A Gift Shop and actually flagged that release as a stellar release and then I learned that the marketing spend was actually a lot more than I realized such that the spend may be up to a million dollars. I don’t actually know, and not sure anyone will tell me. I do know that the bottom line for many of The Weinstein releases was reported to be in the red because of spending. If you have a film that can sell a lot of units and especially in an evergreen manner, and if you can trigger a great TV sale and if you have foreign sales legs, then there’s a real upside. If you don’t, then be clear what you’re goals are. Sometimes it’s just a career move and that makes sense. Canadian filmmakers need a theatrical release to get their next projects funded (say that like this: ‘pro-jects’). Sometimes people just want the awards qualification and that’s another ballgame. We have written some of our TFC Distribution Tid Bits about Hybrid Theatrical and Marketing options, but here is a bit more on the topic: If creating buzz is what you want, you don’t need a traditional theatrical and you definitely don’t need to overpay for the privilege. Some OPTIONS – try HYBRID THEATRICAL – do FILM FESTIVAL, CREATE EVENTS, HOLD A SCREENING WITH ORGANIZATIONS, show in MUSEUMS (in some cases), other ALTERNATIVE VENUES depending on the film, and also there are all sorts of ways to book a few days here and a few days there at theaters (we cover that below). Theaters are and will continue to do this more and more. AMCi announced their intentions and they are still in the marinating phase, but we know you’ll all be ready when they are. We’re interested in these companies and services: Cinedigm: They have a program in the works that is meant to be similar to ScreenVision and Fathom (which is no longer handling indie films generally speaking, as far as we know) but aimed at independent cinema, and working with all the big theatre chains (Regal, AMC, Cinemark). I asked them to write a few words for me about themselves and their plans: Cinedigm Entertainment, a theatrical distributor, has built several “channels” of content for movie theatres. This is niche content that plays at what is traditionally slower times for the theatres. Examples are; Kidtoons a monthly matinee program; Live 3D sports, like the World Cup and NCAA Final Four basketball; and 3D and 2D concert films with artists from Dave Mathews to Beyonce. For each “channel,” the most appropriate theatres are chosen and theatres sign on to play the content as a series, thereby creating the expectation in the marketplace for the next installment. In the company’s newest “channel,” it looks to apply the concept to indie-films which will provide filmmakers with the theatrical element for distribution. Emerging Pictures: Owned by Ira Deutchman (now also a Film Prof. at Columbia University). I spoke with Joshua Green, whom I have known for a while and booked with, though no real revenues were made in the past, their latest network of theatres sounds potent. They connect up to 75 theatres and they do very well with Opera, Ballet and Shakespeare, but also indie films. They work with all the usual indie film distributors either taking on 2nd run of films in major markets or handing the first run in secondary markets. On screen now for example is Mother & Child, My Name is Love, and Girl with a Dragon Tattoo. 30% of the Gross is paid to the distributor or filmmaker. They charge usually a 1-time encoding fee to get the files needed for the theatres. The fee is $1,000. If that’s an issue that can sometimes in advance to make sure the bookings will happen to make the fee worthwhile. They create a Hi Rez file 720p VC1 file which is a professional HD version of MS Windows. They work with the Laemmle theatres in LA and Sympany Space in NY and lots of others across the country. What does well on the Art House circuit will do well with them I was told. Makes sense. Variance Films: Dylan Marchetti (former exec at Imaginasian and Think Film) is a firm believer in Theatrical and it’s his business. He may promote its necessities a bit more than I will and its not his money to spend and he was honest about the range of success (meaning not all films work theatrically and sometimes money is lost, and we know of at least one example, but it happens). We spoke for the first time and I was comforted by his grassroots approach (they do that work themselves) and his commitment to alternative low cost venues: event screenings, niche-specific / lifestyle specific venues, as well as traditional theatres (all the usual chains and small theatres etc). He noted that generally speaking, they do not charge more than $50,000 and that they get paid via back-end fees only. He said a release in NY and LA for $20,000 can be done. Variance is not a believer in print advertising; they have to believe in the film to take it on; and Dylan said that there is no correlation between P&A spending and a film’s success. Amen. They don’t do PR but rather refer out to outside agencies, as does The Film Collaborative. NB: Dylan Marchetti of Variance makes a correction to this. “Fees vary wildly depending on the film and release”. So sometimes they can do backend tied fees only, but not always. The Film Collaborative is theatrically releasing UNDERTOW (which won the World Cinema Audience Award at Sundance). Stay tuned. Orly Ravid July 28th, 2010 Posted In: Film Festivals, Marketing, Theatrical, Uncategorized
4384	dbpedia	2	46	https://www.marchedufilm.com/schedule/	en	Marché du Film - Festival de Cannes	https://www.marchedufilm…color-f0f2f7.png	https://www.marchedufilm…color-f0f2f7.png	[]	[]	[]	[ "" ]	null	[]	2019-10-03T16:42:44+00:00	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉 HOT TIP! Use the filtering option to	en	https://www.marchedufilm…e-touch-icon.png	Marché du Film	https://www.marchedufilm.com/schedule/	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉HOT TIP! Use the filtering option to see events according to your interests. 🕑 Please note that the dates and times displayed are based on the time zone of your device.
4384	dbpedia	1	13	https://www.wikidata.org/wiki/Q98273324	en	Bordertown: The Mural Murders	https://www.wikidata.org/static/favicon/wikidata.ico	https://www.wikidata.org/static/favicon/wikidata.ico	[ "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	2021 film directed by Juuso Syrjä	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q98273324	2021 film directed by Juuso Syrjä Sorjonen: Muraalimurhat edit
4384	dbpedia	2	11	https://worldpopulationreview.com/country-rankings/film-distributors-by-country	en	Film Distributors by Country 2024	https://worldpopulationreview.com/favicon.ico	https://worldpopulationreview.com/favicon.ico	[ "https://worldpopulationreview.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo2x.b874b885.png&w=32&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Flogo2x.b874b885.png&w=64&q=75 2x", "https://worldpopulationreview.com/_next/image?url=%2Fsvg_placeholder.png&w=1080&q=75 1x, /_next/image?url=%2Fsvg_placeho...	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null
4384	dbpedia	3	26	https://medium.com/%40janetbraun7/all-jane-fonda-movies-in-order-1151820418bf	en	All 141 Jane Fonda Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*XQzoB8P9Jnu2rBDW	https://miro.medium.com/v2/da:true/resize:fit:1200/0*XQzoB8P9Jnu2rBDW	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/0zZhTQPY4xBPoY4sT", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*zZhTQPY4xBPoY4sT" ]	[]	[]	[ "" ]	null	[ "Janet Braun", "medium.com" ]	2024-03-17T02:48:13.906000+00:00	Get ready to step into the world of Jane Fonda as we take a nostalgic trip through time. From her iconic roles in the 70s and 80s to her more recent work, we’re diving deep into the world of Jane…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@janetbraun7/all-jane-fonda-movies-in-order-1151820418bf	Janet Braun · Follow 52 min read · Mar 17, 2024 -- Get ready to step into the world of Jane Fonda as we take a nostalgic trip through time. From her iconic roles in the 70s and 80s to her more recent work, we’re diving deep into the world of Jane Fonda Movies. Discover her best performances, learn about her acting journey, and find out why this Hollywood legend continues to captivate audiences. So sit back, relax, and let’s embark on this cinematic adventure together. 1. Tall Story (1960) Tall Story” is a captivating 1960s comedy-drama that features a young, insecure college sportsman torn between his love for his straightforward girlfriend and his financial struggles. Anthony Perkins delivers a heartfelt performance as the protagonist, while Jane Fonda adds a touch of charm to their relationship. The film’s plot thickens as the sportsman is offered a bribe to fix a game, further complicating his dilemma. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. The Chapman Report (1962) The Chapman Report” explores the complex world of four women’s sexual lives, based on the bestselling novel by Irving Wallace. From frigidity to nymphomania, these women each face their own personal hangups and are joined by researcher Efrem Zimbalist Jr. in a dramatic exploration of the Kinsey Report on suburban women’s sexual mores. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. Period of Adjustment (1962) Period of Adjustment” is a captivating 1962 comedy-drama film directed by George Roy Hill and written by Isobel Lennart and Tennessee Williams. The heartfelt story revolves around a newlywed couple, Jerry (Anthony Franciosa) and Dottie (Jane Fonda), whose honeymoon is disrupted by their friends’ marital problems. The film is based on a stage play and is set in the United States during the Korean War era. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Walk on the Wild Side (1962) In a time marked by the Great Depression, “Walk on the Wild Side” is a compelling tale of passion and desperation set in the sultry backdrop of 1930s New Orleans. The captivating narrative unfurls when a man, desperate to rekindle the flame of his former relationship, finds himself walking through the seedy underbelly of the city, where his beloved ex-girlfriend, a talented artist, is now working in a notorious bordello. As the story beautifully blends the themes of love, loss, and survival, a timeless question lingers in the air — how far would a man go to reclaim the heart that got away, and at what cost? 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. In the Cool of the Day (1963) In the Cool of the Day” is a poignant drama-romance film released in 1963, starring Peter Finch, Jane Fonda, and Angela Lansbury. The narrative revolves around a vacationing young married couple whose rocky relationship is mended by a stranger. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. Sunday in New York (1963) In the charming 1963 comedy-romance “Sunday in New York, “ Eileen Tyler, still a virgin, embarks on a journey from Albany to visit her airline pilot brother in the bustling city. However, her plans are put on hold when she unknowingly boards the wrong flight, leading to a chance encounter with a man named Bob on a city bus. Bob is a co-pilot and shares an immediate connection with Eileen, which threatens to derail her upcoming marriage to her boyfriend Russ. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. Circle of Love (1964) Experience the captivating world of pre-World War I Europe in the riveting drama, Circle of Love (1964). This visually striking film, originally titled La ronde, explores the complex lives of an ensemble cast of soldiers, prostitutes, maids, actors, and aristocrats, all engaging in an intimate dance of passion, betrayal, and love. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. Joy House (1964) Joy House, “ originally titled “Les Félins, “ is a gripping 1964 French crime drama directed by René Clément. The captivating film tells the story of a petty criminal who finds refuge in a house owned by two wealthy and enigmatic American women. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Cat Ballou (1965) In the wild, wild west of 1865, the story unfolds around a young schoolmarm named Jane Ballou, who is forced to turn outlaw following the murder of her father. With the help of a charming and notorious gunfighter named Jim Dearden, Jane embarks on a thrilling and dangerous journey to avenge her father’s death. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. Any Wednesday (1966) Any Wednesday” (1966) is a classic comedy that takes audiences on a whirlwind journey through a tangled web of love, lust, and misunderstandings. The film follows the story of Ellen Gordon, a mistress of a high-powered New York executive, who finds herself in a complex romantic triangle when the executive’s young business associate accidentally stumbles upon the couple’s secret love nest. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. The Chase (1966) The Chase is a gripping 1966 crime drama with a masterful blend of thriller and social commentary. Set in a small Texan town, the film focuses on the local law enforcement and citizens when a notorious criminal escapes from prison, heading towards his hometown. The movie stars an all-star cast, including Marlon Brando, Jane Fonda, and Robert Redford, who delivers riveting performances that add to the suspense and intensity of the chase. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. The Game Is Over (1966) The Game Is Over” (1966), directed by Roger Vadim and starring Jane Fonda, Michel Piccoli, and Peter McEnery, is a gripping drama that unfolds in Paris. Maxime, played by Michel Piccoli, visits his wealthy industrialist father, Alexandre, and his beautiful young Canadian wife, Renée. Alexandre had fathered Maxime in a prior marriage, and he comes to stay with them after studying in England. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Hurry Sundown (1967) Set in the racially divides South, “Hurry Sundown” (1967) is a dramatic tale of power, betrayal and tragedy. The story revolves around the ruthless, Southern opportunist Luke Marsden, played by Michael Caine, who tries to acquire the land of his cousin, Johnny Wade. When his plan is foiled, he inadvertently drags several members of his family into his web of deceit and ruin. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Barefoot in the Park (1967) Barefoot in the Park” takes us on a whirlwind journey into a newlywed couple’s life, played out in the heart of New York City. Robert Redford stars as Paul, a conservative young lawyer, who marries the vivacious and lively Corie, portrayed by Jane Fonda. The couple’s whirlwind romance leads them to a five-flight walk-up apartment in Manhattan, New York City, setting the stage for a series of hilarious comedic discords that accompany their passionate, high-spirited relationship. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. Spirits of the Dead (1968) Spirits of the Dead, “ also known as “Histoires extraordinaires, “ is a chilling horror anthology film released in 1968. This captivating film weaves together three spine-tingling tales, each based on the works of Edgar Allan Poe, the master of the macabre. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. Barbarella (1968) Barbarella, “ an enchanting 41st-century tale of space adventure, comedy, and fantastical eroticism, grabs viewers by the cosmic collar and takes them on a rollercoaster ride through deep space. The story unfolds as an intrepid astronaut, Barbarella, played by the alluring Jane Fonda, sets out on a breathtaking quest to stop an evil scientist named Durand-Durand, portrayed by the captivating Milo O’Shea. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. They Shoot Horses, Don’t They? (1969) They Shoot Horses, Don’t They? “ is a gripping drama set in the 1930s, during the Great Depression, focusing on an incomprehensibly exhausting dance marathon. The lives of an unlikely collection of contestants intertwine as the marathon takes a toll on their physical and emotional well-being. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. Klute (1971) In 1971, “Klute” captivates viewers with its intricate plot and evocative performances from its star-studded cast. Directed by Alan J. Pakula and written by Andy Lewis and David E. Lewis, this Crime, Mystery, and Thriller film follows a small-town detective’s quest for the truth about a missing man. With only one lead, a connection to a New York City call girl and prostitute, the tension brews, unraveling a complex web of secrets and lies. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. Angela Davis: Portrait of a Revolutionary (1971) Angela Davis: Portrait of a Revolutionary” is an intriguing documentary released in 1972, that delves into the life of Angela Davis, a former member of the Black Panther organization. The film was directed by Yolande DuLuart and explores Davis’s journey as a revolutionary, leaving a significant impact on civil rights activism and political movements. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. FTA (1972) FTA is a groundbreaking comedic documentary from 1972, recently emerged from obscurity after mysteriously vanishing just a week into its theatrical release. Set during the tumultuous era of the Vietnam War, the film offers a unique and irreverent look into the anti-war movement. Directed by Francine Parker and written by Michael Alaimo, Len Chandler, and Pamela Donegan, this powerful production brings together the talents of Jane Fonda, Donald Sutherland, and Pamela Donegan. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. All’s Well (1972) All’s Well” (1972), also known as “Tout va bien, “ is a thought-provoking drama directed by renowned filmmakers Jean-Luc Godard and Jean-Pierre Gorin. Set in Paris, this film explores the life of a couple as they navigate through various stages of their relationship while witnessing the tumultuous political climate of the time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 22. A Doll’s House (1973) A Doll’s House, released in 1973, is a gripping drama that follows the life of Nora Helmer, a woman who made a desperate choice to save her husband’s life years ago. Now, she’s being blackmailed and living in fear of her husband discovering the truth, causing her to question where she truly stands in his world. As secrets and lies unravel, the stakes become dangerously high for Nora. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 23. Steelyard Blues (1973) Steelyard Blues” is a 1973 comedy-crime film that delivers an unexpected mix of laughter and adventure. Set in the 1970s, the story revolves around a group of misfit characters who plan to restore an old PBY flying boat and use it to escape their mundane lives and embark on a quest for freedom. However, their journey is far from smooth, as they face numerous obstacles and challenges along the way. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 24. Anna (1975) Anna, a gripping 1975 Italian documentary directed by Alberto Grifi and Massimo Sarchielli, tells the harrowing story of a 16-year-old girl plunged into a world of drugs and prostitution, all unfolding against the backdrop of Rome. With Anna Azzori starring as the titular character, the film brings to light the heartrending account of her life before meeting an actor, Raoul Calabrò, who takes her in and offers her hope. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 25. The Blue Bird (1976) The Blue Bird” is an enchanting adventure drama film released in 1976, directed by George Cukor. Following the lives of a pair of peasant children, Mytyl (Patsy Kensit) and her brother Tyltyl (Todd Lookinland), the siblings embark on a magical quest for the fabulous Blue Bird of Happiness (Nedezhda Pavlova) led by the Fairy Berylune. They are accompanied by the humanized presences of a Dog, a Cat, Light, Fire (Yevgeni Shcherbakov), Bread (Richard Pearson), and other entities throughout their incredible journey. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 26. Julia (1977) In the drama “Julia” (1977), playwright Lillian Hellman embarks on a dangerous mission to smuggle funds into Nazi Germany at the behest of an old friend. Set against the backdrop of World War II, Lillian must navigate a treacherous web of secrecy and risk in her quest to save innocent lives. Directed by Fred Zinnemann and written by Lillian Hellman and Alvin Sargent, the film features an all-star cast including Jane Fonda, Vanessa Redgrave, and Jason Robards. With its gripping plot, stunning performances, and powerful themes, “Julia” won three Oscars and received widespread critical acclaim. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 27. Fun with Dick and Jane (1977) In the classic 1977 comedy, Fun with Dick and Jane (1977), an up-and-coming couple, Dick and Jane, find their lives turned upside down when they lose their jobs and fall into a deep financial hole. Desperate for a solution, they reluctantly turn to armed robbery as their last resort. This satirical crime-comedy, directed by Ted Kotcheff and written by David Giler, Jerry Belson, and Mordecai Richler, explores the lengths people will go to secure their financial future in a world where the unexpected can strike at any moment. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 28. The 35th Annual Golden Globe Awards (1978) Join the stars of Hollywood at the prestigious 35th Annual Golden Globe Awards, held in 1978. Watch as the foreign press from the Hollywood association present their awards for achievements in movies and television. Experience the glitz and glamour, as the stars come together to celebrate another year in film. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 29. Coming Home (1978) Set in the tumultuous 1968 in California, “Coming Home” is a poignant and evocative tale of love, loss, and the profound impact of war on an individual’s life. The film follows a woman who falls in love with a former high school classmate, who has suffered a paralyzing injury sustained during the Vietnam War. As the couple navigates the trials and tribulations of their relationship, the looming specter of their husband’s imminent return from the war hangs heavy over their lives. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 30. Comes a Horseman (1978) In the gripping 1978 Western drama, “Comes a Horseman, “ Jane Fonda plays a strong, determined woman struggling to protect her land from greedy landowners. Fonda’s character discovers an unforeseen ally in her quest for justice in the form of a cowboy played by James Caan. The movie features stunning visuals of the Old West, heart-pounding action sequences, and a captivating romance between the two leads. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 31. California Suite (1978) Join four unique groups of guests in the heart of Hollywood at the iconic Beverly Hills Hotel, where dreams become reality in the 1978 film “California Suite. “ Renowned director Herbert Ross brings comedian Neil Simon’s witty script to life with an all-star cast, including Jane Fonda, Alan Alda, and Maggie Smith. Set in the glamorous environment of the hotel, the film intertwines the misadventures and heartwarming experiences of each group, as they navigate love, fame, and personal growth. With stunning visuals, engaging characters, and a hint of intrigue, “California Suite” takes viewers on a whirlwind journey through the world of celebrity, while exploring the universal themes of love and human connection. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 32. The China Syndrome (1979) The China Syndrome” (1979) is a gripping drama and thriller film that takes viewers on a chilling journey into the world of nuclear power. Award-winning director James Bridges and a talented cast, including Jane Fonda, Jack Lemmon, and Michael Douglas, bring to life the tense relationship between a courageous reporter and the corporation behind a seemingly innocent nuclear power plant. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 33. The Electric Horseman (1979) The Electric Horseman, “ a captivating romantic-comedy-drama from 1979, stars the dynamic duo of Robert Redford and Jane Fonda, as well as an impressive ensemble cast. The film’s story revolves around a former championship horseback rider, played by Redford, who, faced with corporate greed, steals one of the company’s prized horses and embarks on a daring journey into the wilderness, accompanied by a tenacious young reporter, portrayed by Fonda. As they navigate the vast landscapes of Las Vegas, Nevada, and Zion National Park, they experience unforeseen challenges and emotional connections that will leave audiences cheering and teary-eyed. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 34. 9 to 5 (1980) 9 to 5 is a classic 1980s comedy that still holds its relevance today. Directed by Colin Higgins, the film follows three female employees of a sexist and egotistical boss, as they come together to seek revenge and reclaim their dignity. Starring Jane Fonda, Lily Tomlin, and Dolly Parton, this heartwarming comedy celebrates the power of friendship and the importance of standing up against injustice. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 35. No Nukes (1980) No Nukes (1980) is a documentary and music film that serves as a vibrant testament to a landmark moment in the anti-nuclear movement. Set against the backdrop of the 1970s, this film chronicles the historic “No Nukes” concert held at Madison Square Garden in September 1979. Featuring an impressive lineup of artists including Jackson Browne, Graham Nash, Bonnie Raitt, The Doobie Brothers, and Bruce Springsteen, No Nukes offers a unique fusion of political activism and musical talent. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 36. Sois belle et tais-toi! (1981) Sois belle et tais-toi! “ (1981), an engaging documentary by Delphine Seyrig, explores the experiences and perspectives of renowned actresses within the film industry. Focusing on the constant pressure to be beautiful and maintain silence as a female artist, this ground-breaking documentary breaks the barriers of misrepresentation and stereotypes of women in film. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 37. Rollover (1981) In “Rollover” (1981), Jane Fonda stars as a banker who crosses paths with the widow of a murdered petrochemical company chairman, played by Kris Kristofferson. Together, they uncover an intricate international financial scheme that poses a significant threat to the global economy. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 38. On Golden Pond (1981) On Golden Pond” is a poignant drama film released in 1981, showcasing the heartwarming journey of an estranged father-daughter relationship. The film revolves around the characters Norman, a grumpy yet charming old man, and his daughter Chelsea, a young woman who recently got engaged. Norman and his wife welcome Billy, the son of Chelsea’s new boyfriend, into their lives, leading to an unexpected friendship that blossoms between them. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 39. Acting: Lee Strasberg and the Actors Studio (1981) Dive into the world of one of the most influential acting schools in America, as we unravel the secrets behind the Actors Studio in New York City. ‘Acting: Lee Strasberg and the Actors Studio’ delves into the life and work of the enigmatic Lee Strasberg, who has been at the forefront of the prestigious institution since its inception in the postwar era of the 1940s. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 40. Night of 100 Stars (1982) Night of 100 Stars” is a star-studded comical variety special celebrating the centennial of the Actors’ Fund of America in 1982. The event is packed with famous faces and talented performers, making it a delightful family-friendly experience. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 41. Workout (1982) Workout” is a timeless and groundbreaking movie that revolutionized the fitness industry in 1982. The film, inspired by Jane Fonda’s best-selling book, presents a unique blend of aerobics and strength training. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 42. I Love Liberty (1982) I Love Liberty” is a delightful 1982 television special that boasts an all-star cast in a variety show saluting the United States of America. Featuring The Muppets, the renowned comedy duo Desi Arnaz Jr. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 43. Montgomery Clift (1983) Montgomery Clift (1983) delves into the complex and tragic life of the eminent actor, known for his method acting skills that made him one of Hollywood’s brightest stars. Heading towards self-destructiveness and addicted to alcohol and drugs, the film recounts the life of Clift through the perspectives of his friends and co-workers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 44. Pregnancy, Birth and Recovery Workout (1983) Pregnancy, Birth, and Recovery Workout is a groundbreaking fitness film from 1983, designed specifically for expectant and new mothers. This 1-hour and 30-minute workout combines stretching and toning exercises to help women maintain their health throughout pregnancy and after giving birth. Ideal for those seeking a less strenuous workout routine, this program also includes segments on breathing techniques and baby massage. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 45. Testament (1983) Testament” is a gripping sci-fi drama that delves into the struggles and survival of ordinary suburban life following a devastating nuclear attack. Set during a time of heightened Cold War tension, the film presents a realistic portrayal of a world on the brink of World War Three. With Academy Award nominations for its powerful performances and gripping storyline, the film is a poignant examination of the human experience in the face of an international crisis. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 46. Workout Challenge (1983) Experience the ultimate workout challenge with the groundbreaking fitness program “Workout Challenge” (1983). Perfected by legendary fitness icon, Jane Fonda, this advanced workout is designed for those who have already mastered her original and New Workout classes. Get ready to transform your body with a 20-minute aerobic section that will leave you breathless. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 47. The Dollmaker (1984) The Dollmaker is a captivating 1984 drama film set during World War II. When a hard-luck farmer is forced to leave his rural home for a high-paying factory job in the city, his wife Gertie reluctantly joins. The couple soon finds themselves struggling with city life and reckless spending, which leads Gertie to take up her woodcarving skills and create handmade dolls to support the family. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 48. New Workout (1985) New Workout” is the latest installment in the much-loved series by Jane Fonda, the queen of fitness. This 1985 film is a testament to her ongoing dedication to help people get fit and healthy. The video offers two classes — one for beginners and another for advanced fitness enthusiasts, making it suitable for a wide range of audiences. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 49. Agnes of God (1985) Agnes of God, released in 1985, is a thought-provoking drama directed by Norman Jewison, starring Academy Award-winning actresses Jane Fonda and Anne Bancroft, alongside Meg Tilly. When a young nun, played by Tilly, is discovered harboring a deceased newborn in her convent, a prominent psychiatrist, portrayed by Fonda, is appointed to probe the circumstances surrounding this unsettling event. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 50. The Morning After (1986) The Morning After, a gritty 1986 neo-noir film starring Jane Fonda, Jeff Bridges, and Raul Julia, follows the narrative of a washed-up, alcoholic actress who finds herself stumbling into a deadly mix of violence and mystery. Facing the aftermath of a blackout, she wakes up next to a brutalized and seemingly murdered man. With no memory of what transpired the night before, the question arises — did she kill him or is she now in grave danger? 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 51. Leonard Part 6 (1987) Dive into the wacky, action-packed world of Leonard Part 6, a 1987 sci-fi comedy that will leave you in stitches and on the edge of your seat. Secret Agent Leonard Parker, played by the legendary Bill Cosby, comes out of retirement to save the world from the clutches of the evil genius Medusa Johnson, portrayed by the stunning Gloria Foster. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 52. Sports Aid (1987) Sports Aid” is a comprehensive guide for fitness enthusiasts, athletes, and dancers, offering insight into the prevention, recognition, and treatment of athletic injuries. This independent film, released in 1987, features Jane Fonda and James Garrick as its leads and is directed by Sidney Galanty. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 53. The 59th Annual Academy Awards (1987) Step into the glamorous world of Hollywood as The 59th Annual Academy Awards unfolds on stage! This spectacular event, hosted by the enigmatic Ralph Bellamy, is where the brightest stars of the silver screen gather to celebrate their achievements. With memorable moments and heartfelt speeches, the Academy Awards has been the epitome of film excellence for decades. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 54. Complete Workout (1988) Get ready to join Jane Fonda in a groundbreaking full-body workout as she introduces her all-new exercise program, “Complete Workout. “ This 1988 release is designed to transform your fitness routine, offering an innovative blend of aerobics, toning, and interval training. With three parts — an intense half-hour of aerobic exercises, followed by upper and lower body toning segments — this program is primed to help you maximize your workout and achieve the ultimate fitness experience. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 55. Old Gringo (1989) In “Old Gringo, “ a gripping adventure set in 1910s Mexico, Harriet Winslow, an American school teacher, travels south to teach, only to be kidnapped by General Tomas Arroyo and his rebellious troops. Unbeknownst to Harriet, a dying, enigmatic American writer named Ambrose Bierce, who wishes to keep his true identity concealed, crosses paths with General Arroyo and eventually meets the captured Harriet. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 56. Night of 100 Stars III (1990) Dive into the world of glitz, glamour, and music with the third installation of ‘Night of 100 Stars’. This TV special brings together an all-star cast in a variety show that supports a noble cause — the Actors Fund. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 57. Lean Routine Workout (1990) Lean Routine Workout, released in 1990, is a captivating fitness video featuring dance aerobics in a new setting. The twelfth video in Jane’s series offers users an hour of energizing workouts, with the flexibility to be broken down into 20, 40, or 60-minute segments. The video is designed to cater to all levels of fitness and accommodate busy routines. Following the aerobics portion, viewers can indulge in a 15-minute segment dedicated to nutrition, offering valuable insights on food choices, portion sizes, and meal planning. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 58. Stanley & Iris (1990) Stanley & Iris” is a touching and heartfelt drama about a struggling widow named Iris and a seemingly ordinary short-order cook named Stanley. Directed by Martin Ritt, this romantic tale explores the unlikely bond that forms between the two individuals, despite the stark differences in their social and educational backgrounds. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 59. Oscar’s Greatest Moments (1992) Get ready to relive the magic and drama of the Academy Awards with “Oscar’s Greatest Moments” (1992). This captivating documentary offers an in-depth look at some of the most unforgettable moments at the Oscars ceremony from 1971 to 1991. From heartfelt acceptance speeches to shocking twists and turns, this film captures the essence of Hollywood’s most prestigious event. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 60. Favorite Fat Burners (1993) Get ready to burn some serious fat with Jane Fonda in the 1993 film, Favorite Fat Burners. This high-energy independent film takes viewers on a journey to explore the world of fitness and aerobics, pushing the boundaries of what they thought they could achieve. With an impressive 6.7 IMDb rating and a runtime of just 1 hour and 10 minutes, Favorite Fat Burners is a must-watch for anyone looking to revamp their fitness routine. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 61. The 65th Annual Academy Awards (1993) Celebrate the magic of cinema in The 65th Annual Academy Awards, an unforgettable awards ceremony held in 1993. This prestigious event, traditionally known as the “Oscars”, honors the greatest achievements in filmmaking throughout the prior year, bringing Hollywood’s elite together to celebrate their success. Led by the charming emcee, Billy Crystal, this televised spectacle showcases glamour, talent, and heartwarming moments that continue to captivate audiences today. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 62. Step and Stretch Workout (1994) Get ready to get your heart pounding and muscles moving with “Step and Stretch Workout” (1994). This 1h 10min fitness video features a 45-minute step aerobic workout led by four of Jane Fonda’s top instructors. After burning off those calories, Jane joins in for the 15-minute full body stretch to ensure your body is both strong and flexible. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 63. A Century of Cinema (1994) A Century of Cinema” (1994) is an enlightening documentary that celebrates the art of filmmaking while coinciding with cinema’s 100th anniversary. This intriguing journey explores the impact of cinema on society and culture, as well as showcasing numerous interviews with some of the most influential film personalities of the 20th century. With a runtime of just 1 hour and 12 minutes, viewers are treated to a captivating exploration of the evolution of cinema, as well as its lasting effects. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 64. The 67th Annual Academy Awards (1995) Bring the glamour and excitement of Hollywood to your living room with “The 67th Annual Academy Awards”! . This three-hour-long event showcases the brightest and best moments from the world of cinema. Join hosts David Letterman, Ken Adam, and others as they present awards, introduce spectacular performances, and let you in on some exclusive behind-the-scenes footage. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 65. The First 100 Years: A Celebration of American Movies (1995) The First 100 Years: A Celebration of American Movies” (1995) is a documentary that delves into the fascinating world of Hollywood, the largest exporter of films in the world. Narrated by renowned actor Peter Coyote, the film takes viewers on a journey through the rich history of American cinema, featuring interviews with iconic actors, directors, and writers who have made significant contributions to the industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 66. 4th Annual Screen Actors Guild Awards (1998) 4th Annual Screen Actors Guild Awards, “ a captivating special that took place on March 8, 1998, celebrates the crème de la crème of the American movie and television industry. The Screen Actors Guild Award, an esteemed accolade presented annually since 1995, recognizes exceptional performances in both movies and television serials. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 67. A Celebration: 100 Years of Great Women (1999) Celebrate the achievements of great women throughout history with the captivating documentary “A Celebration: 100 Years of Great Women”, released in 1999. This inspiring film traces the impact and progress made by influential women for the past century, providing a rich narrative of feminism and its evolution over time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 68. Come On, Get Happy: The Partridge Family Story (1999) Come On, Get Happy: The Partridge Family Story” is a captivating 1999 film that delves into the untold story of American television’s beloved family dynamic, “The Partridge Family”. Narrated from the perspective of the young Danny Bonaduce, the movie highlights the behind-the-scenes trials and tribulations of the show’s production. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 69. Cinéma Vérité: Defining the Moment (1999) Experience the evolution of direct cinema through the lens of Cinéma Vérité: Defining the Moment. This captivating 3-hour documentary delves into the world of ‘cinema verité’ or ‘true cinema, ‘ exploring its origins from the groundbreaking 1922 film Nanook of the North to modern-day masterpieces such as The Blair Witch Project. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 70. AFI’s 100 Years… 100 Thrills: America’s Most Heart-Pounding Movies (2001) AFI’s 100 Years. . 100 Thrills invites you on a pulse-pounding journey through the history of American cinema. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 71. Bandits (2001) In the riveting film “Bandits” (2001), directed by Barry Levinson, two skilled bank robbers find themselves entangled in a complicated romance with the girl they’ve kidnapped. Bruce Willis and Billy Bob Thornton star as the bank robbers, while Cate Blanchett brings a unique charm to the captivating character of their hostage. “Bandits” masterfully blends comedy and crime, creating an unpredictable journey filled with thrilling twists and turns. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 72. The Weather Underground (2002) The Weather Underground” explores the extraordinary story of a radical activist group from the 1970s who aimed to challenge the status quo and bring about significant change. This compelling documentary dives deep into the intricacies of domestic terrorism, providing a unique perspective on the United States’ history with activists who pushed boundaries in the pursuit of political ideals. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 73. Searching for Debra Winger (2002) In 2002, director and actress Rosanna Arquette created a compelling documentary film entitled “Searching for Debra Winger. “ The film explores the complexities and pressures faced by women in the entertainment industry, specifically focusing on the stereotypes and expectations placed upon them. In the film, Rosanna Arquette interviews a range of actresses, discussing the challenges they face as they navigate a realm often marred by scrutiny and subjectivity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 74. A Decade Under the Influence (2003) A Decade Under the Influence takes viewers on a journey through the transformative 1970s in American cinema, a decade that forever changed the trajectory of filmmaking. This thought-provoking documentary features interviews with some of the most well-regarded filmmakers of our time, as they reflect on the influential directors who shaped the movies of that era. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 75. Tell Them Who You Are (2004) Tell Them Who You Are” is a documentary film that delves into the complex relationship between a legendary cinematographer and his troubled son. Witness as Haskell Wexler, the renowned American cinematographer, confronts his difficult genius in this captivating, semi-autobiographical depiction of a father and son’s journey, as the son turns the camera on his famous father. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 76. The Scent of Blood (2004) The Scent of Blood” is a thought-provoking drama and thriller that delves into the intricacies of jealousy, obsession, and betrayal. Released in 2004, the film centers around Carlo and Silvia, a couple married for twenty years who find their relationship tested when Silvia starts dating a young, violent neo-fascist. Directed by Mario Martone and written by Martone and Goffredo Parise, the movie explores the destructive power of jealousy and how it can lead to a blind pursuit of knowledge. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 77. Sir! No Sir! (2005) Sir! . No Sir! “ is a riveting documentary that delves into an almost forgotten story. The film chronicles the courageous military personnel who dared to challenge the U. S. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 78. Monster-in-Law (2005) Monster-in-Law is a heartwarming and hilarious comedy-romance film released in 2005, starring Jennifer Lopez, Michael Vartan, and the legendary Jane Fonda. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 79. … A Father… A Son… Once Upon a Time in Hollywood (2005) A Father. . A Son. . 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 80. 80s, El Soundtrack de una Generación (2006) 80s, El Soundtrack de una Generación” is a Chilean documentary film released in 2006. The movie’s main subject revolves around the influence of Chilean music on the 1980s culture. With a runtime of 1 hour and 11 minutes, the film is directed by Eduardo Bertran and written by Bertran himself. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 81. The Ex (2006) The Ex” is a light-hearted comedy-drama that follows the story of a laid-back slacker named Matt (played by Zach Braff) who is unexpectedly forced to work for his disapproving father-in-law (Charles Grodin) as his pregnant wife steps away from her high-paying job. The characters’ struggles and triumphs are further complicated by wheelchair-bound love interest (Amanda Peet), adding a unique layer of drama to the film. With its witty screenplay and charming performances, “The Ex” is a delightful ride that blends humor with heartfelt emotion, exploring themes of love, responsibility, and the challenges of adulthood. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 82. Stardust: The Bette Davis Story (2006) Stardust: The Bette Davis Story is an enlightening and intimate documentary that delves into the complex and multi-faceted life of one of Hollywood’s most iconic and enigmatic stars. The film, combining exclusive access to Bette Davis’ extensive personal archives and original interviews, offers a fresh perspective on the legendary actress’ life and career. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 83. Georgia Rule (2007) Georgia Rule is a comedic drama that follows the unexpected summer stay of a troubled teenager with her seemingly strict grandmother. As the young woman learns to cope with life’s challenges, she discovers a family secret with the potential to tear them apart. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 84. Brando (2007) Brando” is a riveting, heartfelt documentary that delves into the life and legacy of the iconic Marlon Brando, renowned for revolutionizing the art of acting. As the first biography made during his lifetime, the film masterfully captures Brando’s essence off-screen, revealing the man behind the enigmatic persona. The movie explores Brando’s professional journey, his complex relationship with the entertainment industry, and his indelible impact on film history. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 85. In the Company of Actors (2007) In the Company of Actors” is an intimate and revealing documentary that takes viewers behind the scenes into the world of Australian theatre. The film showcases the process of rehearsing a stage play, capturing the boundaries pushed, risks taken, and mistakes made by some of Australia’s finest actors. The audience is granted unparalleled access to this exclusive world, where vulnerabilities are exposed, and, at its best, magic is created. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 86. AFI’s 100 Years… 100 Movies: 10th Anniversary Edition (2007) Celebrating a decade of screen classics, AFI’s 100 Years. . 100 Movies: 10th Anniversary Edition unravels the top 100 movies of all time, delving into the cinematic masterpieces that have shaped the landscape of American film. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 87. Gonzo (2008) Gonzo” is a compelling biographical documentary that delves into the life and work of the iconic American gonzo journalist, Dr. Hunter S. Thompson. Directed by Alex Gibney, this insightful film takes viewers on a wild journey through the highs and lows of Thompson’s unconventional career. Known for his distinctive style, Thompson pushed the boundaries of journalism, incorporating elements of fiction and unapologetic reportage. From his love for drugs and his unique approach to understanding the world to his infamous lifestyle, the film dives into Thompson’s complex persona. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 88. Celebrity: Dominick Dunne (2008) Celebrity: Dominick Dunne is a riveting documentary that delves into the life of Dominick Dunne, an acclaimed journalist and author, who was known for his compelling stories on the rich and famous. This film takes viewers on a journey through Dunne’s life, from his humble beginnings as a Hollywood outcast to his rise as one of the world’s leading journalists. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 89. The 80th Annual Academy Awards (2008) Dive into the glitz and glamour of the red carpet as the 80th Annual Academy Awards take center stage. Hosted by the hilariously brilliant Jon Stewart, this grand ceremony celebrates the year’s most remarkable films, including Atonement, Juno, Michael Clayton, No Country for Old Men, and There Will Be Blood. Prepare to witness the excitement as Hollywood’s most esteemed names come together to honor the finest in cinema. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 90. The Feminist Initiative (2009) The Feminist Initiative (2009) chronicles the journey of a Swedish political party as they navigate through internal conflicts, public criticism, and financial constraints on their quest to enter parliament. This documentary brings to light critical issues regarding women’s rights and leadership, while exploring gender differences within the political realm. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 91. Beautiful Darling (2010) Beautiful Darling is a captivating documentary that explores the life and times of Candy Darling, an influential Andy Warhol Superstar. With a focus on the transgender experience, this film delves into the world of a trans woman who faced a diverse range of challenges and triumphs on her journey to stardom. Blending archival footage and interviews, Beautiful Darling offers a unique perspective on the intersection of art, culture, and identity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 92. Making the Boys (2011) Making the Boys is a riveting documentary that explores the history and impact of the first-ever gay play and Hollywood movie to reach a mainstream audience. Set amidst the 40th anniversary of the Gay Rights Movement, this film dives into the drama and controversy surrounding The Boys in the Band. Loved by some for breaking new ground, and criticized by others for perpetuating gay stereotypes, this groundbreaking work sparked heated debates and left an enduring legacy. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 93. Peace, Love & Misunderstanding (2011) Peace, Love & Misunderstanding” is a heartwarming comedy-drama set in a quaint upstate farmhouse. An uptight New York City lawyer, played by Jane Fonda, brings her two teenagers to the idyllic farm for a family vacation. Their lives are turned upside down as they are introduced to their unconventional hippie mother, played by Catherine Keener. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 94. Miss Representation (2011) In “Miss Representation, “ documentary filmmaker Jennifer Siebel Newsom delves into the reality of women’s under-representation in positions of power and influence in America. This compelling film challenges the narrow media portrayal of a powerful woman, examining the impact of these limitations on society and the next generation of leaders. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 95. All Together (2011) All Together, “ also known as “Et si on vivait tous ensemble? “ in its original title, is an intriguing 2011 French-German comedy-drama film directed by Stéphane Robelin. The movie revolves around five old friends who decide to move in together to avoid living in a retirement home, a choice that is quickly joined by a college ethnology student. This compelling tale, filled with laughter and heart, stars Guy Bedos, Daniel Brühl, and Geraldine Chaplin, and has garnered a worldwide gross of $8,835,903. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 96. The 68th Annual Golden Globe Awards (2011) Prepare to witness the extravagance and star-studded glamour of the 68th Annual Golden Globe Awards! . Hosted by the witty and irreverent Ricky Gervais, this unforgettable night is filled with laughter, music, and the most anticipated awards in Hollywood. Join Amy Adams, Max Adler, and a star-studded ensemble of nominees as they come together to celebrate the year’s best in film and television. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 97. No (2012) No (2012) is a gripping drama-historical film set in Chile during the 1988 referendum, where advertising executive Rene Saavedra teams up with a powerful military general to overthrow Augusto Pinochet’s regime. With political reform on the horizon, Rene’s ingenious campaign faces challenges as both sides fight for power and the fate of the nation hangs in the balance. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 98. Jane Fonda AM/PM Yoga for Beginners (2012) Join Hollywood legend Jane Fonda as she guides you through the world of yoga in her 2012 film, AM/PM Yoga for Beginners. This engaging and informative yoga workout program is designed with two distinct styles: morning sessions to energize and rejuvenate, and evening sessions to calm and unwind. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 99. The Oscars (2013) The Oscars, hosted by the charismatic Seth MacFarlane, brings forth a unique mix of music and comedy to celebrate the 2013 Academy Awards. This star-studded event, featuring the likes of William Shatner and Naomi Watts, embraces humor and musical performances, making it an unforgettable night of glamour and entertainment. The Oscars, known for showcasing the best of the best in cinema, takes you on a journey of memorable moments and heartfelt tributes to the industry’s brightest stars. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 100. The Butler (2013) Experience the intriguing journey of Cecil Gaines, played with exceptional talent by Forest Whitaker, as he serves as a devoted butler for eight presidents over the course of his remarkable White House career. From the pivotal events of the civil rights movement to the complexities of the Vietnam War, The Butler sheds light on life’s transformative impact on American society and the personal lives of those involved, portraying the challenges and triumphs Gaines and his family face over time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 101. 2013 Primetime Creative Arts Emmy Awards (2013) The 2013 Primetime Creative Arts Emmy Awards is a celebration of the outstanding achievements in American television programming. This special event showcases the technical and creative prowess of behind-the-scenes talent, such as cinematographers, casting directors, animators, and costume designers. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 102. This Is Where I Leave You (2014) This Is Where I Leave You” is a heartfelt comedy-drama film that follows four grown siblings as they are forced to reunite under one roof after their father’s passing. Their shared childhood home becomes a battleground of relationships, past regrets, and new beginnings. With the help of their over-sharing mother and a colorful assortment of spouses, exes, and potential lovers, the siblings navigate through their parents’ extramarital affair, infidelity, and the loss of a central figure in their lives. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 103. The 37th Annual Kennedy Center Honors (2014) In 2014, the renowned Kennedy Center Honors celebrated its 37th annual event. This prestigious ceremony, which recognizes outstanding contributions to the arts, honored five luminaries: Al Green, Tom Hanks, Patricia McBride, Sting, and Lily Tomlin. The night was filled with music, laughter, and a celebration of the talent these honorees have brought to the world of performing arts. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 104. Better Living Through Chemistry (2014) Experience a hilarious yet poignant journey with “Better Living Through Chemistry” (2014). In a small town, Douglas (Sam Rockwell) is an unassuming pharmacist leading an unremarkable life. His world takes an unexpected turn when he meets the enchanting Prudence (Olivia Wilde), leading to a whirlwind romance filled with desire and attraction. As the chemistry between Douglas and Prudence intensifies, they find themselves entangled in a web of deception, secrets, and humor. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 105. And the Oscar Goes to… (2014) And the Oscar Goes to. . “ — a riveting documentary that delves into the rich history of the Academy Awards. Directed by Rob Epstein and Jeffrey Friedman, the film brings to life the glitz and glamour, the triumphs and tribulations associated with this prestigious event. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 106. The Club (2014) The Club” (2014) is a poignant documentary that explores the profound impact of losing a mother during adolescence. Filmed by directors Katie Green and Carlye Rubin, this moving film showcases the lives of three courageous women who have endured this devastating loss. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 107. Olga (2014) Olga” is a captivating documentary film, originally titled as “Olga (2014)”, exploring the complex and intriguing life of renowned Czech figure skater Olga Jurkova. Directed by the talented Miroslav Janek, this hour-long and twenty-seven-minute masterpiece is an insightful journey delving into the heart of this extraordinary individual. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 108. Becoming California (2014) Becoming California” is a captivating documentary that delves into the fascinating story of environmental change in the Golden State. Spanning deep time and the present day, the film provides a comprehensive overview of the transformative geologic landscape and highlights how human attitudes towards the environment have shaped the state’s evolution. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 109. Journey to Sundance (2014) Journey to Sundance is a thought-provoking documentary that follows a group of passionate filmmakers on a five-year odyssey to unravel the mystery behind ‘independent film. ‘ As they travel the world, they eventually find themselves at the prestigious Sundance Film Festival, where they hope to find the answers to their elusive question. Along the way, they encounter a plethora of intriguing characters and gain valuable insights into the complex world of cinema. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 110. Youth (2015) Youth” is a rich and enchanting drama-comedy musical film. As the holiday season brings old friends together in the Swiss Alps, the retired orchestra conductor Fred Ballinger (Michael Caine) finds himself receiving an unexpected invitation from Queen Elizabeth II. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 111. Now Add Honey (2015) Now Add Honey” is a heartwarming Australian comedy about a happy-go-lucky suburban family whose world turns upside down when their glamorous pop-star cousin unexpectedly arrives at their doorstep. As the family struggles to adjust to their new visitor’s wild lifestyle, they learn important lessons about family ties, forgiveness, and the power of music. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 112. The Black Panthers: Vanguard of the Revolution (2015) The Black Panthers: Vanguard of the Revolution is a riveting 2015 documentary that delves into the captivating and controversial rise and fall of the Black Panther Party, an elusive organization that made headlines for nearly 50 years. This enlightening documentary, directed and written by Stanley Nelson, covers timeframes from the 1960s to the 1970s, providing an insightful look at the party’s beginnings and its impact on the world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 113. Fathers & Daughters (2015) Fathers & Daughters” is a heart-wrenching drama film that explores the complexities of the father-daughter relationship, set against the backdrop of a Pulitzer-winning writer’s struggle to cope with life after a mental breakdown. As the writer, played by Russell Crowe, grapples with his newfound widower and father role, his grown daughter, played by Amanda Seyfried, faces her own struggles in forging meaningful connections. Set 27 years apart, the film intertwines two powerful narratives, creating a poignant examination of the emotional turmoil faced by both the father and the daughter. Directed by Gabriele Muccino and written by Brad Desch, “Fathers & Daughters” delves into the intricacies of love, loss, and the enduring bond between father and daughter, and is accompanied by an immersive cast and compelling soundtrack. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 114. Women He’s Undressed (2015) Women He’s Undressed” is a fascinating documentary that delves into the life of the Australian costume designer and three-time Oscar winner, Orry-Kelly. Directed by Gillian Armstrong and written by Katherine Thomson, this film offers a unique perspective into the world of costume design and the creative process behind some of the most iconic looks in Hollywood history. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 115. 73rd Golden Globe Awards (2016) The 73rd Golden Globe Awards are an annual celebration honoring excellence in film and television, hosted by the renowned actor and comedian Ricky Gervais. This star-studded event, which took place in 2016, is presented by the Hollywood Foreign Press Association and features top talents from film and television industries. The Golden Globes have a long-standing tradition of acknowledging exceptional performances and films, serving as a precursor to the upcoming Academy Awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 116. HyperNormalisation (2016) HyperNormalisation is a captivating and thought-prooking documentary directed and written by Adam Curtis. Released in 2016, this film explores the complex and often confusing world events of our time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 117. Michael Jackson’s Journey from Motown to Off the Wall (2016) Michael Jackson’s Journey from Motown to Off the Wall” is a captivating and riveting documentary that explores the early life of the King of Pop. Directed by the extraordinary Spike Lee, this film takes viewers on a musical journey through the 1970s, showcasing how Michael Jackson evolved from his humble beginnings with the Jackson 5 at Motown Records to his groundbreaking solo career. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 118. Die Goldene Kamera 2017 (2017) Join the excitement and glamour in 2017’s Golden Camera Awards! This 2-hour 25-minute delightful TV special, originally titled “Die Goldene Kamera 2017” in German, showcases outstanding achievements in the world of television. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 119. The King (2017) The King” is a thought-provoking documentary that delves into the life and influence of Elvis Presley, set against the backdrop of a transformative era in American history. The film takes its audience on an unforgettable road trip across the United States in Elvis’ iconic 1963 Rolls Royce. Exploring the interconnected journey of Elvis, the country, and his country, the documentary unravels the compelling story of how a humble country boy lost his authenticity and ultimately became a cultural icon, while America faced political and societal turmoil. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 120. The Fabulous Allan Carr (2017) The Fabulous Allan Carr is a captivating documentary that delves into the life and career of the esteemed producer who was once known for his larger-than-life reputation. Having made waves with the hit movie Grease and the iconic Broadway sensation La Cage Aux Folles, Carr’s journey takes a dramatic turn after he masterminded the infamous 1989 Academy Awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 121. Mansfield 66/67 (2017) Mansfield 66/67" offers an intimate glimpse into the final years of the life of the iconic film goddess Jayne Mansfield. This engrossing documentary delves into the rumors swirling around her mysterious, untimely death, while exploring the life of a woman who was as captivating on screen as she was in the tabloids. The film masterfully interweaves archival footage, interviews with the people closest to Mansfield, and even a poignant animated scene, all coming together to paint a vivid portrait of a life cut tragically short. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 122. Our Souls at Night (2017) Our Souls at Night, released in 2017 and starring Jane Fonda and Robert Redford, is a heartwarming drama that explores the unlikely romance between a widow and a widower. Set in Colorado, Addie Moore and Louis Waters, portrayed by Fonda and Redford, are neighbors who share little more than a passing nod. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 123. Hal (2018) Hal (2018) is a captivating documentary that delves into the exceptional life of Hal Ashby, a renowned filmmaker who created some of the most iconic movies of the 20th century. Known for his Oscar-winning films such as Harold and Maude (1971), Shampoo, and Being There, Ashby’s relentless dedication to his craft led him to create artistic masterpieces that stand the test of time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 124. Seeing Allred (2018) Seeing Allred” is a riveting documentary that delves into the life and career of women’s rights attorney Gloria Allred. Set against the backdrop of the 1970s, Gloria takes on the biggest names in American culture as she tirelessly fights for justice in the face of sexual assault allegations. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 125. Vice (2018) Vice” is a gripping biographical drama that takes us behind the scenes of the U. S. Vice Presidency, focusing on the enigmatic and powerful figure of Dick Cheney. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 126. The Oscars (2018) Dive into the glamour and excitement of the 90th Annual Academy Awards ceremony, hosted by the charismatic Jimmy Kimmel. This prestigious event celebrates the achievements in the film industry for the year 2017, as the world’s biggest stars gather to recognize and pay tribute to their fellow artists. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 127. Jane Fonda in Five Acts (2018) Unveil the compelling life and career of Hollywood icon Jane Fonda in this highly anticipated documentary. From her groundbreaking film roles to her transformative work in health and fitness, and her unwavering commitment to political activism, this film leaves no stone unturned in exploring the many faces of Fonda. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 128. Book Club (2018) Book Club (2018) is a heartwarming comedy that explores the bond between four lifelong friends. The lives of these women take an unexpected turn when they read Fifty Shades of Grey during their monthly book club meeting. This sparks changes in their personal and romantic relationships, leading to unexpected twists and turns, as well as some much-needed laughter along the way. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 129. Whitney (2018) Whitney” is a riveting documentary that delves deep into the life and music of the iconic singer and celebrity, Whitney Houston. Directed by renowned filmmaker Kevin Macdonald, this biographical drama focuses on the highs and lows of Houston’s life, revealing the complexities of her fame and the challenges she faced. The film explores her relationships, personal struggles, and the impact of her music on the world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 130. Feminists: What Were They Thinking? (2018) Feminists: What Were They Thinking? is a riveting documentary that delves deep into the history and evolution of feminism. Released in 2018 and directed by Johanna Demetrakas, the film presents a compelling exploration of the movement’s roots, its impact on society, and the ongoing challenges women face. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 131. Alan Pakula: Going for Truth (2019) Delve into the world of a celebrated yet enigmatic filmmaker with “Alan Pakula: Going for Truth. “ This captivating documentary reveals the personal and professional journey of Alan J. Pakula, a director known for his unwavering commitment to truth in storytelling. Explore the making of iconic movies and get a glimpse into the life of a man who preferred anonymity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 132. WBCN and the American Revolution (2019) WBCN and the American Revolution” is a riveting 2019 documentary that delves into the extraordinary impact of a radio station on the political landscape and the world of music. The film takes the audience on a journey through the revolutionary era of the late 1960s, where a Boston-based radio station, WBCN, played a significant role in shaping the nation’s attitudes and fueling the fire of change. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 133. Robert Scheer: Above the Fold (2019) Robert Scheer: Above the Fold” is a captivating documentary that delves into the six-decade-long career of a tenacious investigative journalist. This film traces Robert Scheer’s journey from his association with the groundbreaking 1960s magazine Ramparts, through his tenure with the influential Los Angeles Times newspaper, and onto his current work with the internet publication Truthdig. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 134. Recorder: The Marion Stokes Project (2019) Recorder: The Marion Stokes Project” is a captivating documentary that explores the life and work of Marion Stokes, an ordinary woman who became an extraordinary archivist. Over the course of 30 years, Stokes obsessively recorded American television news 24/7, amassing a colossal collection of 70,000 VHS tapes. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 135. Natalie Wood: What Remains Behind (2020) Natalie Wood: What Remains Behind, “ a captivating documentary released in 2020, chronicles the life and career of the iconic Hollywood actress, Natalie Wood, through the unique perspective of her daughter, Natasha Gregson Wagner, and those who knew her best. Delving into the world of Natalie Wood, the documentary explores her rise to fame as a child star in the studio system, her numerous marriages, and the challenges she faced as a celebrated figure in the entertainment industry. The film provides an intimate look into her life, revealing the complexities and struggles that lie behind her famous persona. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 136. Broadway: Beyond the Golden Age (2021) Broadway: Beyond the Golden Age” (2021) is a captivating documentary that traces the rich history of Broadway musicals from 1959 to 1983 through the eyes of over 100 legendary performers, directors, and producers. Rick McKay, the accomplished filmmaker behind “Broadway: The Golden Age, “ returns to explore the era beyond the illustrious Golden Age, further unveiling the enduring charm and vitality of this timeless art form. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 137. Senior Entourage (2021) Senior Entourage” (2021) is a hilarious mockumentary-style comedy that takes the humor of “Seinfeld” and applies it to a group of seniors ranging in age from 9 to 90. The zany cast, featuring Ed Asner, Helen Reddy, Charlie Robinson, Marion Ross, and Mark Rydell, brings a unique blend of wit, charm, and hilarity to the screen. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 138. Celebrating Laughter: The Life and Films of Colin Higgins (2022) Celebrating Laughter: The Life and Films of Colin Higgins” is a heartwarming documentary that delves into the life and work of the late comedy writer and director, Colin Higgins. Known for his iconic films like “Harold and Maude, “ “Foul Play, “ “Silver Streak, “ and “Nine to Five, “ Higgins left an indelible mark on the world of cinema with his unique brand of humor and poignant storytelling. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 139. Still Working 9 to 5 (2022) In the 1980 documentary “Still Working 9 to 5, “ acclaimed comedy icons Jane Fonda, Dolly Parton, Dabney Coleman, and Lily Tomlin returned to where it all began — the iconic “9 to 5” film that captivated audiences in 1980. This powerful, insightful documentary explores the transformative impact of the original film on women’s rights and office dynamics. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 140. Body Parts (2022) Body Parts” is a riveting documentary that delves into the hypersexualization and exploitation of the female nude body in Hollywood. Directed by Kristy Guevara-Flanagan and written by Joey Soloway, this film exposes a lesser-known side of Hollywood, shedding light on the objectification and degradation of women in the entertainment industry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 141. Luck (2022) Luck” is a thrilling animated adventure that unveils the secretive world of the eternal struggle between the good and bad luck organizations. Set to captivate audiences of all ages, this whimsical journey delves into the extraordinary influence of superstition on our everyday lives. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art That’s All Folks!
4384	dbpedia	1	87	https://www.filmindependent.org/sponsored-projects/calexico/	en	Film Independent	https://www.filmindepend…ProjectImage.jpg	https://www.filmindepend…ProjectImage.jpg	[ "https://www.filmindependent.org/wp-content/uploads/2024/07/logo-fi-2.svg", "https://www.filmindependent.org/wp-content/uploads/2023/07/Calexico_Cover.jpg", "https://www.filmindependent.org/wp-content/uploads/2024/08/Filmatics_boxad.jpg", "https://www.filmindependent.org/wp-content/uploads/2024/08/Filmatics_b...	[]	[]	[ "" ]	null	[]	2023-07-28T05:08:15+00:00	Film Independent’s Fiscal Sponsorship program opens the door to nonprofit funding for independent filmmakers and media artists. Donate today and help bring Calexico to life. Logline A tough goodbye...	en	https://www.filmindepend…n-57x57.png?v=a1	Film Independent	https://www.filmindependent.org/sponsored-projects/calexico/	Film Independent’s Fiscal Sponsorship program opens the door to nonprofit funding for independent filmmakers and media artists. Donate today and help bring Calexico to life. Logline A tough goodbye on the border. Synopsis 28 years old Chinese-American girl Ash, a rebellious artist wannabe, flees her family’s expectation of taking a stable job to Calexico, a border town in California. She has bonded with Lo, a Mexican transborder college senior who crosses regularly to school and helps to deliver flowers to her uncle’s shop in the US as both are stuck in limbo. After the on-and-off sweet days seeing each other, Ash and Lo have what could have been their last day to say goodbye before Lo’s border crossing visa expires. Both drifters in a land that is foreign to them, the two must confront societal pressures of family, identity, and immigration status and come to terms with their relationship on what could have been their last day together amidst the half-desert half-green land between US and Mexico. Meet the Filmmakers Jingwen Felix Qiang – Writer/Director/Producer Recently completed several Film Directing Workshops from Sundance, Jingwen Felix Qiang (she/they) is a made-in-China, LA-based technologist and multi-media artist who mainly practices in still and moving images, and now…narrative filmmaking! Felix’s work explores the universal complication and nuances in human emotions and relationships regardless of culture and language. Her work has been exhibited and screened internationally, including UCCA Beijing, AIPAD NYC, VICE Media, Artium Gallery, Goldilocks Gallery, Cerulean Gallery in Philadelphia, and many more. She received an honorable mention from International Photography Awards at the age of 19. Outside of art, she wears many hats! She is a Software Engineering Lead at Amazon, creating the next-generation cloud filmmaking technology, and a former investment banker. Her background in art and science well-armed her to lead and work with teams from different backgrounds. She earned her B.A. in Photography and Mathematics from Bryn Mawr College and an M.S. in Computer Science at the University of Pennsylvania. Brielle Yuke Li – Producer Brielle Yuke Li is a Chinese producer based in Los Angeles, CA who aspires to tell stories that are culturally diverse and cinematically bold, with an unconventional narrative and an experimental spirit. She received her MFA degree in Screenwriting from Pepperdine University. She has worked on multiple features, shorts, commercials and documentaries that entered multiple international film festivals, including Toronto International Film Festival, New York Film Festival, Venice Film Festival, Los Angeles Asian Pacific Film Festival, Urbanworld Film Festival, Reel Sister of Diaspora, Beijing International Short Film Festival and etc. Talents and filmmakers that she has collaborated with include Huang Ji (Stonewalling, The Foolish Bird), Ryuji Otsuka (Stonewalling), Michelle Krusiec (Hollywood, Saving Face), Bill Moseley (The Texas Chainsaw Massacre 2), Lauren LaVera (Terrifier 2), and Joe Wong (Chinese-American comedian). She recently produced a CAPE Julia S. Gouw Short Film Challenge winner short film, co-produced a Disney Launchpad/AFI short film and associate produced a Duplass Brothers Production feature. She also line produced and produced web series for ReelShort, ranked highest at Top 3 in Entertainment category at App Store, and also served as the Development Executive/Head of Productions at BarBHouse Productions which produced A Wounded Fawn, a Shudder Original and an Official Selection at Tribeca Film Festival 2022. Jennie Lew Tugend – Executive Producer Jennie Lew Tugend has produced some of the industry’s most memorable franchises: The Free Willy trilogy, Lethal Weapon 1,2,3 and HBO’s Tales from the Crypt. As former Co-President of Kadokawa Pictures USA, Tugend was a producer on One Missed Call, a WB release and two episodes of Showtime’s Masters of Horror. Producing credits include Local Boys starring Mark Harmon and Star Kid, which received an Award of Excellence by the Film Advisory Board; and for MGM, the romantic comedy, Return to Me starring David Duchovny and Minnie Driver; Radio Flyer for Columbia Pictures and Scrooged for Paramount Pictures starring Bill Murray, and was instrumental in the development and production of The Goonies and The Lost Boys. Currently, Tugend and her partners are developing the feature film adaptations of: NY Times best selling novel, “Hotel on the Corner of Bitter and Sweet” with Oscar and Emmy nominated director Bing Liu. Tugend also Executive Produced the independent feature film Albatross released in 2021, which was directed by award-winner writer/director Myles Yaksich, with whom she had previously collaborated on two award-winning short films, Poppies and Erin. Tugend is an active member of the Producer’s Branch of the Academy of Motion Picture Arts and Sciences and the Producers Guild of America. Tugend was a mentor in the prestigious Peter Stark Producing Program at USC and has taught film production at UCLAx. She is currently a Senior Creative Thesis Mentor at the American Film Institute Conservatory (AFI). Kadri Koop – Director of Photography Kadri Koop is an Estonian director of photography who lives between Echo Park, Los Angeles and Europe. Kadri holds a graduate degree from Stanford University in documentary film and from the American Film Institute in cinematography. She has experience teaching various film-related subjects from documentary film to cinematography at San Francisco Art Institute, UCLA Extensions & Stanford University. Kadri is a nominee of the 2022 Student Emmy’s & ASC Student Heritage Award for her narrative cinematography work on Spaceship which won the Gotham Award and subsequently gained distribution by Focus Features. Her recently lensed feature documentary project about the legendary tennis father and coach of Venus and Serena Williams, On the Line: The Richard Williams Story premiered at 2022 Tribeca Film Festival and is distributed globally by Fremantle. Her most recently lensed work, documentary mini-series The House of Kardashian, is available on Peacock in the US and internationally on Sky Network. When not filming, she is taking photos. Her work has been published in Vogue, Elle, The Guardian, The Hollywood Reporter, to name a few. Shicong Zhu – Editor Shicong Zhu (she/they) is a Writer/Director based in Los Angeles with an M.F.A. in Film & Television Production from USC School of Cinematic Arts. During the 2021 China lockdown, Shicong directed a successful web series on Youku, illuminating the power of creating content for women and by women. She also undertook a Queer short film project in suburban Beijing, overcoming challenges posed by the nation-wide lockdown and navigating the impact of restrictions faced by certain banned queer social groups. Despite obstacles, the film was finished in four days, showcasing Shicong’s tenacity. This experience led to a feature script recognized by major studios and advancing in Sundance’s second round. A recipient of the 2020 Alfred P. Sloan Foundation Grant, Shicong is an Emerging Filmmaker at Cannes Marché Du Film – American Pavilion and an Award-winner and mentee at the China Sci-Fi Conference. Her previous creations blend ancient lore, dream spaces, and technology to explore spirituality in contemporary settings, earning accolades from festivals such as Fantasia, Aesthetica, and LA Asian Pacific Film Festival. Make a donation to Calexico. Contact
4384	dbpedia	3	4	https://www.hollywoodreporter.com/business/business-news/how-thinkfilm-goosed-goslings-oscar-130392/	en	How ThinkFilm goosed Gosling’s Oscar drive	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/23cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/23cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc...	[]	[]	[ "" ]	null	[ "Anne Thompson", "The Associated Press" ]	2007-02-16T04:00:00+00:00	As a small indie distributor, ThinkFilm and its distribution and marketing president Mark Urman faced a big challenge to get an&#160; Oscar nomination for&#160; "Half Nelson" star Ryan Gosling for his turn as a drug-addicted high school teacher, ANNE&#160; THOMPSON writes.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/business/business-news/how-thinkfilm-goosed-goslings-oscar-130392/	It takes guts to chase after an Oscar. It also takes serious money, luck, and insider experience. Fail to land a nomination, and that cash doesn’t magically come back. The stakes are precariously high, especially for a small indie distributor. ThinkFilm distribution and marketing president Mark Urman knew that he was in for a wild ride when he made the decision to pursue a best actor Oscar nomination for “Half Nelson” star Ryan Gosling. Here’s how he landed the awards season’s most surprising nomination. The Oscar question was first raised, as it often is these days, during the seductive tap-dance surrounding ThinkFilm’s acquisition of “Half Nelson” at the Sundance Film Festival in January 2006. “Half Nelson” concerns the touching relationship between a gifted inner-city high school teacher (Gosling) and a student (Shareeka Epps) who discovers the teacher’s crack addiction. While it played well at Sundance, and the first reviews were strong, Urman told the rookie filmmakers, writer-director Ryan Fleck and co-writer and producer Anna Boden, that any talk of Oscar was “hideously premature.” After all, the movie cost less than $1 million. “The likelihood of a low-budget American independent film making it to that pantheon was slim. I didn’t rule it out. But if it didn’t penetrate to a higher consciousness of the public, then it wasn’t worth it to piss in the wind,” Urman recalls. Urman, a veteran Oscar marketer who’d played a role in winning campaigns for Lionsgate’s “Gods and Monsters” and “Affliction,” knew that acting nominations for breakthrough newcomer performances are doable. “We all generalize that the Academy is one giant brain,” he says. “But there are trends. There is a steady affection for the discovery, like Julie Christie in ‘Darling.’ The Academy has always enjoyed making an investment in a career.” In 2006, Sony Pictures Classics nabbed Amy Adams a supporting actress nomination for the micro-indie “Junebug.” But Adams won a special jury prize for her performance from the Sundance dramatic jury. It was a bitter blow for Urman when “Half Nelson” won nothing on closing night in Park City. In order to gain the necessary traction, the distributor opened “Half Nelson” in August — well before the customary fall Oscar launch platform at the Toronto International Film Festival. “The only way to do it was not to go out in the fall,” Urman says. “We had to go out ahead of the pack. And by August, people were fed up with summer fun.” The critics gave Urman reason for hope, including Oscar mentions in USA Today and Entertainment Weekly. One critic threw down the gauntlet, as Urman recalls, hoping that Gosling would get the support he deserved. “That was a terrifying moment,” Urman says. “It was a personal challenge. I would be the person who lost Ryan Gosling his Oscar nomination.” At the start of the fall season, Urman checked out the competition for best actor. Who was Gosling up against? The actor’s lucky break: The field was weaker than usual. In a normal year, there are twice as many strong best actor candidates as best actress possibilities, often as many as 15. For 2006, Urman counted just nine, including Gosling, aiming for five slots. And as the possible contenders were shot down, that number got even smaller. Falling by the wayside were George Clooney in “The Good German” and Derek Luke in “Catch a Fire,” examples of how “you can’t build a campaign on visible failure and a rapid exit,” Urman says. Even though “Half Nelson” was limping along at the boxoffice in only three runs, “you can build a campaign on a promise, but not a failed promise.” Another lucky stroke for ThinkFilm came in October, when the company received a healthy infusion of cash when it sold to David Bergstein and Ron Tudor’s film financing and production company Capco Group for about $25 million. Having a cushion of extra money on hand made it a lot easier for Urman, who works closely with ThinkFilm CEO Jeff Sackman, to reach for the Oscar ring. Suddenly, ThinkFilm had a different set of ambitions as it set about attracting filmmakers. “We needed to prove to the industry that we’re real,” Urman says. “A lot of actors make indie movies for prestige, not just money, to prove their chops. What better way to communicate our efficacy as a desirable home for these films than by landing an Oscar nomination for a low-budget movie about a crack addict?” So he did what any smart company would do in this situation. He turned for counsel to 42West’s Cynthia Swartz, who earned her chops at Harvey Weinstein’s knee and helped pushed “Crash” to last year’s surprise best picture win. ThinkFilm followed a similar strategy. It sent out DVDs early, in October, to every branch in the Academy, 5,800 strong. Another 2,000 went to the SAG nominating committee. About 200 went to critics’ groups, and 90 went to the Hollywood Foreign Press Assn. Sure enough, the movie wound up on many critics’ 10-best lists, and while “The Last King of Scotland’s” Forest Whitaker kept winning best actor prizes, Gosling was often a first runner-up. ThinkFilm also bought a lot of ads on the Internet, especially on blogs like Oscarwatch.com, which were asking whether ThinkFilm would cough up the dough for a real Gosling Oscar run. “Half Nelson” hummed along on the crest of its year-end plaudits. At the boxoffice, it grossed more than $2 million, playing best in major cities, but never widening to more than 85 screens. Then came Urman’s worst fear. No Golden Globe nomination for Gosling, even with slots divided between the Globes’ comedy and drama best actor categories. “I took antacids for days,” Urman says. It didn’t help that while other stars were campaigning vigorously, Gosling refused to do television interviews. Urman sent Gosling to the Gotham Awards, where the film was named best feature; to the National Board of Review, where the actor was hailed for his breakthrough performance; to the New York Film Critics Circle Awards, where he presented the best first film award to Fleck; and to the AFI Awards lunch in Los Angeles. Gosling also agreed to do a SAG Q&A. And his eventual SAG nomination proved crucial because “it influenced the Oscars,” Urman says. A return engagement in Los Angeles for “Half Nelson” gave the distributor an excuse to take out ads in the L.A. Times. The trade ad campaign — “never ostentatious,” Urman says — stressed three images from the film, showing Gosling as beautiful, sad and isolated. “The campaign was not about a crack addict,” Urman says, “or a failure of liberal ideals. It was all about an explosive brilliant young talent.” On Jan. 23, Oscar nominations morning, Gosling was on the best actor list. On the down side, ThinkFilm did not land nominations for Epps or the “Half Nelson” screenplay. Still, Urman was on cloud nine. “It was surreal,” he says. “It was what we’d been working toward for so long. I couldn’t allow myself to feel complacent. I became superstitious. When it happened, I realized what would have happened if it hadn’t happened. All that money and my ass on the line.” One month later, just as interest is peaking in the Oscar race, the movie is coming out on DVD. That’s real money in the bank. As for Gosling: He’s now a member of the Oscar club. And on Feb. 24, chances are real good he’ll win a Film Independent Spirit Award. “That’s home,” Urman says. “That will be a good a day for us.”
4384	dbpedia	3	67	https://www.moviemaker.com/why-independent-film-is-alive-and-well-3264/	en	Why Independent Film is Alive and Well	https://www.moviemaker.c…to-935620656.jpg	https://www.moviemaker.c…to-935620656.jpg	[ "https://www.moviemaker.com/cdn-cgi/image/quality=80,format=auto,onerror=redirect,metadata=none/wp-content/uploads/2023/01/mm_site_logo-2.svg", "https://www.moviemaker.com/cdn-cgi/image/width=612,height=612,fit=crop,quality=80,format=auto,onerror=redirect,metadata=none/wp-content/uploads/istockphoto-935620656.jpg...	[]	[]	[ "" ]	null	[ "Timothy Rhys" ]	2003-02-06T00:00:00-08:00	Not long ago independent moviemakers were the darlings of the mainstream media.	en	https://www.moviemaker.c…MM_favicon-2.jpg	MovieMaker	https://www.moviemaker.com/why-independent-film-is-alive-and-well-3264/	Not long ago independent moviemakers were the darlings of the mainstream media. From 1989 when Steven Soderbergh’s sex, lies, and videotape was a surprise winner at the Sundance Film Festival, indies were off to the races. Everywhere, it seemed, charismatic, enormously talented independents began making news with their chutzpah and often breaking box office records with their original visions. Michael Moore, Richard Linklater, Robert Rodriguez, Kevin Smith, Quentin Tarantino, Allison Anders… the Horatio Alger-happy go-go ’90s media had a field day with their underdog stories, which became increasingly outlandish when retold by the bourgeoisie, and even rank-and-file filmmakers. (Wow, this Rodriguez kid—he made this amazing movie for about $75 he got by being a human guinea pig—and now he’s a millionaire! And did you hear about that Linklater kid—he schlepped on an oil rig to get the hundred bucks he needed to make this movie about a bunch of nerds running their mouths—and now he’s a millionaire! And this Tarantino guy—wasn’t he working in a video store just before he made this little cops and robbers movie—minus the cops—and now he’s a millionaire! And didn’t this Smith dude shoot his shakycam masterpiece at the convenience store where he worked—with the change he found while sweeping up at night? And now he’s a millionaire!) Indeed, the stories were everywhere, and film schools were soon flooded. “Indiewood” developed to cash in. But like all urban myths, the stories got overtold, over-exaggerated, and eventually just meaningless. Flash forward to 2002. Like that great “rash of childnappings” plaguing the country last year, the story is dead and the media has moved on. But lately, a few reporters have come back to cover the funeral. Stories have been cropping up with predictable frequency that hail the demise of independent film as we know it, and the evidence seems hard to refute. Financing has dried up. Indiewood is floundering. And there isn’t an urban moviemaking myth to be found. But… couldn’t this just be another spin, calculated to concoct every journalist’s best friend—the Trend? As we enter this 15th year of the modern independent film movement, we decided to find out—by asking the only people who could possibly know the truth—Independent moviemakers and those who work directly with them. We asked a group of 40 to give us their assessment of the health of their industry. Like any good media outlet, we skewed the quesiton, though with a positive slant. We asked for three or more reasons why they believe that independent film is alive and well, and boiled several hundred responses down to seven categories—passion, distribution, talent, technology, audience, personal vision, and the x-factor… the “big fat greek phenomenon.” Passion: The Indie Secret Weapon Independent film is alive and well as long as we have independence in this country, and world. As long as we have the human spirit—and visual storytelling—so too will we have independence. —Roger Avary As long as there are directors, writers, producers, and actors, with singular voices and visions, with the passion to tell the stories studios have forgotten, there will be independent film. —Michael Apted Independent films come from the heart and the public knows this. Mainstream films are created by a committee who just do paint by numbers and force it down the public’s throat. Indie films are made not for profit, not for fame, but for one reason: the love of art. —Lloyd Kaufman These are the only reasons why independent film is alive and well: The artistic passion, optimism, grit, and determination of the independent filmmaker defies economic cycles or trends. Filmmakers will see to it that their film is made one way or another, with or without stars, with or without money, and with or without help. I have never succeeded in talking a prospective independent filmmaker out of getting into the film business, though I have tried. Neither logic, nor business sense, nor horse sense, nor horrific war stories have daunted them. They just keep coming, and so do the movies. —Patrick Gorman People love movies. They love to watch them, they love to make them, they love to know people who make them, they love to be involved even in some peripheral way with their creation. And as long as there are stories to be told, people will find a way to tell them visually. Studios might not be throwing around acquisition money like they used to, but every year a small percentage of films is going to get scooped up and make us indie filmmakers think we have a shot at winning the lottery. —Neil Turitz It’s bollocks to think the “demise of Independent film” is based on the fall of companies like FilmFour, Lot 47 and Good Machine or even current dodgy economics within this sector when a bunch of no names make My Big Fat Greek Wedding show us all the dizzying heights attainable. But, if the mainstream media are sounding the alarm about the demise of independent film based on what they have been spoon-fed over the last several years by artful marketers and publicists, give me the ‘bleedin speaker system to plug it into. Since the mid-’90s many independent filmmakers and producers have matured not only in years but also in their decision to move up the film market chain. As a result, most filmmakers choosing this course have been co-opted by a studio or a mini major attached to a studio as well as being governed by marketing strategies before any production begins. Disney-owned Miramax shows how this is done. Often, a Sundance premiere and a huge press campaign will help complete the job. In other words, around the end of the last century, those who cleverly developed it into a marketing strategy castrated the independent film movement. And, in believing the film food chain is all linked together, that kind of promotion is a positive for moviemakers. The point is, the term “independent” at best has been fragmented and at worst, if you don’t particularly like change, destroyed. Today, there have never been so many low budget filmmakers working to create true independently made films (Slamdance received over 2,800 of them for its 2003 festival). Though the mainstream media might not find the term “low budget” as sexy as they once did with “independent,” it does prove useful in accurately depicting an environment full of passion, vigor and emerging film talent, three of the most important filmmaking elements. Just look and you will see. —Peter Baxter With the number of passionate young filmmakers coming out of this film school and others, there will always be people making films that mean something to them, if not to the distributors and studio execs looking for formula films. These personal indie films will find a market, if underground, on DVD, at festivals and word of mouth. Occasionally one will even take off and go mainstream. Personal passion is the driving force behind independent cinema. This kind of filmmaking is risky, yes, but that is where the art lies, within the risk. Only the indie filmmaker can afford to take that risk for they have little to lose. —David Lyman Each year in this country alone film schools are turning out 25,000 film students ready and eager to spread their wings. As the quality of TV and cinema continues to decline, the passion and higher quality of independent work will increasingly stand out in contrast, and commence to drive out the junk. — Albert Maysles Talent: Independence Attracts It As long as studios are unwilling or unable to take chances with edgier material—as opposed to the formulaic stuff to which they have become so attached—independent film will exist. Indie film is a neccessity, not just to the unknown actors and filmmakers who struggle to reach that next level of success, but as an outlet for established artists. You’ll always see people like Jennifer Aniston taking far less money to do a movie like The Good Girl because it’s the surest way to show the world she is more than a nice sitcom hairdo. —Neil Turitz Movie stars are increasingly willing to trade in part of their hefty paychecks to do more work that challenges their acting skills—work that is provided by independent films. —Jeremy Arnold Established filmmakers and actors, whom audiences are genuinely interested in, drop everything, including their salaries, to do exciting, provocative, challenging work. Whether it’s Alfonso Cuaron, Gus Van Sant, Mira Nair, Matt Damon, or Jodie Foster, there are still numerous instances where everyone gambles and everyone wins—artistically and economically. —Mark Urman We all know actors steer the big studio boat. But they do a helluva lotta driving on the indie Greyhound, too. Most good actors don’t care about “financing in place,” they care about challenging work. They’re bored by formula scripts that come with shiny “offers attached.” Of course, you need a savvy producer who can get to the agent, and a script that said agent likes and is willing to pass along. And you have to approach actors who haven’t sold out to the irresistible tug of multi-million dollar paydays and myriad of agents, managers, lawyers, accountants, publicists, and spouses begging them to choose the $40 million film over the $4 million film. But such actors are out there if you’re timing is right. —Steven Peros Name actors will continue to be drawn to character-driven subject matter and therefore will lend clout to the smaller independents. —Alexandre Rockwell We have found that there is an increasing willingness by A-list actors to involve themselves in character-driven films perceived to be a worthy investment of their time and effort, to compliment their more obvious studio choices. —John Penotti Indepedent films will always occupy a crucial place in the industry because they provide a place where actors can take risks that are otherwise less available in traditional studio films. —Lee Daniels At the end of the day, the strength of the indie film community is the extraordinary talent level of producers, writers, and directors. That’s the reason independent films are here to stay. —Lenmore Syvan The Big Fat Greek Phenomenon I still have yet to see it, but I put it under the category of Blair Witch Project. I detested that film, but thought it was great for the Indie world. —Neil Turitz If My Big Fat Greek Wedding was done at the studio level, it would have been My Big Fat Wasp Wedding. Targeting niche audiences as a starting point in distribution is smart for independent moviemakers. —Doug Atchison As funny and well-produced as Big Fat Greek Wedding was, much of its success was based on the ability to start small with P&A costs by focusing on the Greek community and allowing word of mouth to develop from that base. And there will always be a new cable channel seeking product for target groups. Indies can best capitalize on the growth of niche markets. If you can’t make a blockbuster film, you can only survive by catering to a niche. You don’t need a full page Sunday Times ad if your film is designed for a target market that loves a certain sport, type of music, devoted hobbyist, or tight-knit ethnic culture. —David Albert Pierce As for Greek Wedding’s surface lack of “name talent”, look at the Hanks family names attached off-camera. You can hear the indie studio grumbling, can’t you? “A romantic comedy with no stars? Well… if it doesn’t cost too much and gets us in good with Tom Hanks, okay… But the guy who directed Bronson Pinchot and John Larroquette in that ’80’s turkey Second Sight? Alright, fine. We’re gonna take a bath on this one anyway, so it might as well be a cheap director.” —Steven Peros How one defines “independent film” determines how healthy you think it is. A film like My Big Fat Greek Wedding stretches the definition of independent because while it was independently made, it’s aesthetically a very mainstream, Hollywood film. For different reasons, the same is true of Miramax and a lot of those other establishment indie distributors. Their films are often aesthetically more challenging, but to paraphrase Marx (and who does that any more?), their “means of production” very much fit the Hollywood model. —Steve James My Big Fat Greek Wedding, Memento and Blair Witch Project are not true indications of Independent Film’s health, even from a bottom-line perspective. They are aberrations—films with relatively big money backing (either in production or distribution) that hit the jackpot with entertaining (aka mass consumptive) concepts that were cleverly marketed. But Independent film is not about re-creating these aberrations or it immediately ceases to be independent. —Jacques Thelemaque New Technologies, New Opportunities Independent film is not dead, it is evolving. It has spun a cocoon and will soon emerge as something brilliant. In particular, I am referring to the digital movement. Independent film will influence the way mainstream films are made AND watched. There are more bar mitzvah kids than ever sporting mini-dv cameras and macs, running around shooting and cutting movies. —Jeffrey Abramson Technology is also helping to support the work of filmmakers who otherwise would spend many years with a script under their arm. Practically anyone can grab a DV camera now and shoot a script. Where these movies go depends on the talent of the people involved. On another level, digital intermediate technology now allows movies shot in Super 16 to have a very decent blowup, plus the ability to control the timing of the film in ways that we could only dream about until very recently. So I think that beyond the “Box Office”, which seems to be the only measure of a film’s success these days, there are good opportunities to get films done. —Rodrigo Prieto With the cheap means of digital production, there is more independent production happening now than in any other time in the history of cinema. With DVD and the internet as a delivery medium, there has never been a cheaper form of self-distribution available for first-time filmmakers. —James Boyd Indie Film is incredibly resilient. We won’t see films like Two Ninas made the same way ever again. When I made that film five years ago, the cheapest way to have it look remotely presentable was to shoot Super-16, then blow it up to 35mm. Today, I’m getting ready to make another film and it’s going to be on digital. Five years later and it’s a different format, bigger names, similar price. With stats like that, why spend the extra money on film unless you could easily afford to? —Neil Turitz The “democratization of technology” makes it easier and easier to make films outside the studio system. With the arrival of digital projection and distribution, the system will crack open even further. While none of this guarantees the quality level, the results have been encouraging, interesting, and fun. —Jonathan Dana Dana Digital filmmaking has made it possible for almost anyone to make a movie inexpensively. As more people acquire the equipment and skills to create and edit their own films, the number of digital independents will increase exponentially. Over the last couple of years, SAG has seen a steady influx in the number of producers signing low budget agreements who are shooting in digital format. —Paul Bales Through our website and the massive amount of films submitted to the Tromadance Film Festival and our acquisitions department, we’ve learned that millions of young people have taken advantage of virtually costless digital technology. There appears to be a newly augmented worldwide group of youthful independent filmmakers who are making competent, profound, technologically-sophisticated and entertaining movies in their basements. It is clear to me that digital technology is empowering more independent filmmakers now than in previous cinematic history. —Lloyd Kaufman An attitude that embraces high standards will keep independent cinema vital. Independent film is sometimes synonymous with crappy-looking home movies. Don’t abuse the new technology. If you shoot on digital, be even more rigorous in your casting, rehearsal, lighting, editing than if you were shooting film. —Doug Atchison Ten-year-old kids are shooting, editing, and distributing their films on DVD. They’re editing in between classes on their i-Book, stealing SFX shots from the internet, and continually learning to make better movies. In 10 years, their moviemaking skills will mature beyond the gates of Sundance. —James Boyd The DV revolution and post-house programs for your home computer have eroded financial barriers in a way unimaginable 20 years ago. Granted, a number of DV films are made in haste without first fully developing their scripts and vision, but the revolution has made it possible for the serious student of film to create a lush feature for less than the cost of a film school tuition. It’s only a matter of time before the next John Cassavetes or John Sayles sets this format into overdrive. —David Albert Pierce Exhibition: A Transition Period As is the case when any liberty is suppressed, it always bounces back strong. Film festivals are breaking box-office records. Our audiences are becoming more and more accepting as we stretch the envelope. And our cross-over audience is also growing. So are more or fewer indie films being made? Quantity is not an issue—as festivals like ours have gotten much more selective in our programming, the dividend has been fantastic. —Gregory von Hausch Independent cinema is alive and well because not only are microcinemas popping up all over the world every week, but audiences are filling up microcinemas all over the world every week to watch films they actually like! —Joel Bachar When the digital distribution systems become finalized, more indie product will be able to reach theaters. Alternative site venues are becoming a hot-bed of new talent, as more specialized films forgo traditional distribution routes. —James Boyd Smart, tasteful audiences will always be there, persistent, motivated, original storytellers will always be there, and valuable showcases like Sundance, Slamdance, and Avignon will always be there to bring them together. —Jerome Henry Rudes Film festivals are filled with wonderful independent film product and have for all intent and purpose become an alternative source for exhibition. The difficulty is not so much in making independent film but rather in its exhibition. There are only so many screens in movie theaters and the promoter with the most money will dominate those screens. We are in a transition period where the audience is out there and I believe to a large extent dissatisfied with Hollywood fare. But the risk is high and it’s hard to find the small distributor who is willing to take it. There is probably some clever independent exhibitor out there who is as I write this figuring out some genius plan to get smaller indie product out to its maximum audience. —Alexandre Rockwell Distribution: Room for New Models As companies fold, others will appear to fill the vacuum. Just as filmmakers want that magic check, distributors hope they’re buying the next sensation which can bring them respect, kudos and, most importantly, profits—because they were “visionary” enough to put the thing in theaters. —Neil Turitz Independent film no longer will be limited to production. Soon there will be much more access and options in distribution and exhibition. Distributors may be passed over completely by marketing-savvy filmmakers who sell their films directly to theaters and do co-op advertising and kick-ass public relations. This isn’t a new idea, filmmakers have been doing it for some time—but it will become more acceptable and a system will start to form around it and technology will better support it. —Jeffrey Abramson Distribution is another matter, but good movies have a way of growing legs and getting around. —Rodrigo Prieto With the stock market as tenuous as it is, we have found that several high net worth individuals and some aggressive private equity funds increasingly have an appetite for investments in this sector. —John Penotti For every company that goes under, a new one seems to crop up. Last year marked the birth of THINKFilm, Magnolia, and Newmarket, each of which has already had at least one bona fide hit, meaning they get to renew for another year. As long as there are enough Don Quixotes out there willing to tilt at windmills, there is hope. But, then again, Don Quixote was mad! —Mark Urman As studios increase their focus on high-end, tent pole films, many stories will be overlooked. That’s why independent film is so important. —Michael Apted Independent producers are fortunate that, in addition to established labels like Miramax and Sony Classics, there are respected and thoroughly committed specialized distributors like UA, Focus, Lions Gate and Paramount Classics looking to back interesting films. In addition, outlets like Samuel Goldwyn, IFC and Newmarket, and specialized houses like Arrow, etc., provide even more options. —John Penotti Due to the volatility of the independent film business, companies will come and companies will go. —Michael Apted Unfortunately, because of the five or six devil-worshiping international media conglomerates that own and control all means of distribution, we the public are often denied the pleasure of viewing fine independent works of art. Instead, we are being spoon-fed Hollywood baby food like XXX in thousands of cinemas all over the world. —Lloyd Kaufman More money than ever was generated by independent films in 2002. For every company that goes under, another pops up. This agency has committed more resources behind indie films than ever before—it’s become a major segment of our motion picture department and practically every client has an indie film they want to do. We made 15 films this year. William Morris Independent has the opening film of Sundance (Levity) and five other great films in the festival, and we received nine Spirit Award nominations for four of our films. The other agencies have followed our lead, which is flattering, but more importantly, they will help maintain growth in independent films by being more proactive in this arena. —Cassian Elwes The future of distribution will soon play a real role in the advancement of independent filmmaking. Online distribution and multiple Video On Demand Channels will be then next big boost to the indie film world. —John Peterson Indie filmmaking’s current strength is being driven by a combination of the studios shying away from anything experimental, thus forcing riskier and more controversial material into its own, clearly defined arena. I believe that current events have spurred a need for a creative outlet. The artistic spirit will always test limits, and in the world of filmmaking, that will most likely occur in an independent setting. —Edoardo Ballerini Unfortunately, the commercial networks are still closed to outsiders, but other opportunities for distribution are greater than ever. There are cable networks, DVD and soon the Internet. —Albert Maysles The demise of “independent film” companies means the re-birth of truly independent film. Numerous companies jumped on the indie bandwagon in the late ’90s, greedy to cash in on its perceived profitability. Even well-meaning companies like Next Wave Films, which did indeed help numerous truly independent filmmakers, were funded by corporate behemoths obsessed with the bottom line. Sundance Channel is owned by Viacom. IFC is owned by Rainbow Media, which is in turn owned by Charter Communications. The Sundance Film Festival, funded largely by huge corporate sponsorship and studio interests has relegated true independent cinema to a minor sideshow called American Spectrum. IFP, funded by many of the same business entities behind Sundance, produces the Spirit Awards, the largest so-called “indie” awards show, which has become not much more than an advertising tool for IndieWood (my term for the Miramaxes, Fine Lines, Fox Searchlights and others of that ilk). Examining the numerous small distributors who have bitten the dust reveals that most, if not all, were operating within a classic studio paradigm—without studio financial resources. They spent their energy fishing for “hits,” and when they came up empty, their boats sunk. There is now a shaking out of wannabes and trendies and opportunists who have never really understood independent film, nor how it works in the cultural landscape, nor how to make it financially viable in any realistic way. Independent film, as a state of being, will only grow stronger under current cultural circumstances. There are audiences eager to be fed something other than the glossy but stale corporate propaganda they are forced to consume at the local cineplex. The flood of independent cinema will break the distribution dam. The apparent “demise” of independent film exists solely in perception, which has been created by this bottleneck in distribution. Truly creative filmmakers must continue to create. More and more work will push against this dam, eventually breaking it apart. Old modes and methods of distribution are falling apart and something will emerge to take its place that will service the flood of fresh indie work. The challenge facing independent film has nothing to do with its loss of business viability and everything to do with its struggle for artistic credibility. Once we re-define in public perception the meaning of a successful independent film movement—a definition that focuses not on the bottom line, but on productivity and artistic ambition—we will see that it is indeed thriving. Independent film is not a commodity, it is a state of being. When people talk about the crisis in independent film, they’re usually speaking from an economic perspective. Business entities have worked hard to cash in on independent film’s sexiness and profitability. They worked to commodify it by packaging and branding it for easy public consumption. Visibility and dollars did indeed come, but independent film had to cease being independent for it to happen. This is because the very definition of independent film defies commodification. Truly independent film is not just indepdendent of studio dollars—but of any entities, business or otherwise, that would seek to control it. —Jacques Thelemaque With the sudden maturation, and eventual collapse of the Indiewood distribution system, moviemakers are finding alternative means of self-distribution. In terms of history, we’re just now at the beginning of a new artistic cycle. With digital cinema as the catalyst, a new world of production and distribution is at the fingertips of a new generation of filmmakers. —James Boyd Audiences: Can’t Fool Them All the Time A sizeable audience can turn out for a three-hour-long, digitally shot, subtitled Inuit film. Whenever a success this unlikely occurs, it makes just about anything seem possible. Proving that every silver lining has a cloud, LOT 47 effectively shut down just as The Fast Runner became, by a wide margin, their greatest success. Anything is, indeed, possible. —Mark Urman Apparently some studios have come to realize the value of letting filmmakers achieve their vision without the hindrance of a “client” demanding things from them. I think that instead of fretting about the demise of “independent” movies, we should support independent thinkers and artists who are fighting to have a voice. There will always be an audience for movies that don’t depend on making $50 million on the opening weekend to survive. —Rodrigo Prieto Indies will never die because those predictable, manipulated popcorn eaters surprise us now and then by showing up for movies like The Crying Game, Y Tu Mama Tambien and Greek Wedding, and making them hits. They aren’t as predictable and manipulated as we think. Though by and large they do like popcorn. —Steven Peros The success of Monsters Ball, the film that I produced, demonstrates that independent films can still be extremely profitable. —Lee Daniels In writing for The New York Times, film director James Brooks called attention to the fact that my film, Terror Firmer, shows a movie director (played by me) urinating on a cameraman and two actors simulating bathroom sex. Mr. Brooks clearly did not feel that my art had much merit. Therefore, independent filmmaking must be very much alive if somebody like me is still, after 30 years, able to write and direct the deranged, gore-and-breast-infested movies that I make. Audiences want originality that the phalanx of the mainstream Gerber dealers can’t deliver. All the PR and marketing tie-ins can’t brainwash intelligent supporters of independent art. I’ve been in an auditorium that seats 2,000 people filled to capacity to see an obscure Catalonian film get a standing ovation. There’s an entire universe of independent film supporters who appreciate watching a meaningful movie. —Lloyd Kaufman People need art in their lives, and you can’t fool all of the people all of the time. —Caveh Zahedi There are always highs and lows in the cultural life of a society. Sometimes audiences and distributors will gravitate toward the spectacle and, like ancient Romans, clamor to see the gladiators battle the lions. At other times we can afford to think for ourselves and enter into the dark cathedral of a cinema and dare to dream our own dreams of what magic and beauty the personal cinema still has to offer. Kurosawa, Truffaut, Vigo, Cassavetes, and Fellini are words that hold and the same power as water, fire, earth, and sky. It is my hope that a future generation will enter that cathedral and, as Ingmar Bergman once said, lay a brick in the construction of the great cathedral of world cinema. —Alexandre Rockwell As watered-down, event-driven films are crammed down the throat of Americans, audiences will splinter into the dark safety of an indie film. —James Boyd Personal Vision and Independent Spirit The best stories are still being told by the independents. The studios concentrate on big-budget tent-pole pictures, which are often fun and entertaining, but usually speak to the lowest common denominator. Indie film is still the place to go for thought-provoking, unique, controversial, and courageous storytelling. For the past three years, the SAG has signed over 1,600 independent films per year to the various SAG Agreements. The fact that this number has remained consistent, despite the economic downturn, the studio production slow-down, and the effects of 9-11, is quite remarkable and indicates a robust independent scene. —Paul Bales There will always be issues to uncover, places to explore, people with unique experiences. And there will always be a few controlling entities that will be fearful of investing resources into new topics or technology. This creates a fertile farmland for independent thought, and cinema is the world’s most engaging device to date for sharing ideas and stories. As long as there are creative, innovative and independent thinkers, there will be independent film. —Jeffrey Abramson These are exciting times for independent filmmakers because the line between “independent” and “studio” has blurred. I have been fortunate to work with directors who, while working within the studio system, have been able to keep their vision intact. While shooting 25th Hour with Spike Lee, I felt as if I were working on an independent feature in the sense that we basically did what we wanted (within the constraints of budget and schedule). I am now working on 21 Grams with Director Alejandro González Iñárritu in Tennessee with Sean Penn, Naomi Watts, and Benicio del Toro. Focus is behind this project, and we have total creative freedom, no questions asked. I feel no different than when we filmed Amores Perros in Mexico, except that everyone is speaking English. —Rodrigo Prieto Beginning filmmakers are, by definition, not part of the system. As they mature, some of them maintain their interest in subject matter less “mass market” than the studio system prefers. Fortunately, there are moviegoers with similar sensibilities, so the system continues to go round and round as distributors act as the go-between between these two groups in search of each other. The studios recognize the value of both niche marketing and talent farming, not to mention the value of Oscars, which “independent” films seem to win in disproportionate numbers. —Jonathan Dana There will always be a need for personal films about specific characters in specific worlds. If indies fulfill that need, the market will always need independent movies. Focus on stories and characters the studios ignore. —Doug Atchison Indies remain the lone bastion that can take risks. When major studios live or die by First Weekend Grosses, the choices concerning what gets made becomes far less daring and formulaic. Intelligent audiences will increasingly look for entertainment that delivers more than just popcorn fare. —David Albert Pierce More “commercial” directors are turning to independent films because it gives them greater creative flexibility and control rather than working within the confines and slower pace of the studio environment. —John Penotti I’m not a purist by any stretch, but when I think of independent film, I think of films that come out of left field, mostly from unknown or fledgling directors working against whatever wave everyone else is riding. For these filmmakers, independent film will always be a quixotic and tenuous undertaking. But that also gives the work its urgency and true independence. When I look at the current landscape of documentary films in America, I see an incredibly rich array of films that have broken through to garner real theatrical releases. The heart of it all is that truly independent voices always emerge and are still coming in significant numbers… Just ask Geoff Gilmore and his Sundance colleagues who bore the brunt of God knows how many thousand submissions this year. —Steve James Creative producers always find a way to get powerful films out there. I tell my team if we need to do it with popsicle sticks and lemonade, let’s do it! —Lee Daniels Independent Film is not show business. It isn’t even film business. It’s that spirit of self-determination, ingenuity, and innovation that exists outside the constraints of corporate cinema. It’s a state of being that reacts productively to corporate intrusion —which means the best of it may still be yet to come. As long as there are true filmmakers pursuing their craft, and sometimes, art—as opposed to corporate hacks feeding the profit pipeline—there will always be a healthy independent film movement. —Jacques Thelemaque I came here to New York six years ago as an intern for Hal Hartley, and I’ve struggled, but it’s been worth every second. I may not be rich and I don’t expect my next film to be the next Big Fat Greek Wedding, but as long as people like me and the filmmakers I love and work with can keep making films, then we are truly lucky. Someone recently told me I couldn’t make my next film for the small sum that we are producing it for. He’s wrong—and that’s why indie film is alive and kicking. —Susan Leber Jeffrey Abramson, Director, Gen Art Film Festival • Michael Apted, Producer/Director (Enigma), Chair, DGA Independent Directors Committee • Jeremy Arnold, Writer/Director/Journalist • Doug Atchison, Screenwriter/Producer/Director (The Pornographer) • Roger Avary, Writer/Producer/Director (Rules of Attraction) • Joel Bachar, Microcinema Owner • Paul Bales, Director, SAG Indie • Edoardo Ballerini, Actor/Writer/Producer/Director (Good Night Valentino) • Peter Baxter, Co-Founder, Slamdance Film Festival • James Boyd, Founder, Nodance Film Festival • Lee Daniels, Producer, (Monster’s Ball) • Jonathan Dana, Producer/Producer’s Rep (Standing in the Shadows of Motown) • Cassian Elwes, Senior Vice President, William Morris Agency, Motion Pictures • Steve James, Writer/Producer/Director/Editor (Stevie) • Patrick Gorman, Entertainment Attorney • Lloyd Kaufman, President, Troma Entertainment • Susan Leber, Producer (The Technical Writer) • David Lyman, Founder, International Film & Television Workshops • Albert Maysles, Producer/Director/Cinematographer (Gimme Shelter) • John Penotti, Founder, GreeneStreet Films • Steven Peros, Screenwriter (The Cat’s Meow) • David Albert Pierce, Entertainment Attorney • Rodrigo Prieto, Cinematographer (25th Hour) • Alexandre Rockwell, Writer/Director (13 Moons) • Jerome Rudes, Director, Avignon Film Festival • Lemore Syvan, Producer (Casa de los Babys) • Jacques Thelemaque, President, Filmmakers Alliance • Neil Turitz, Screenwriter/Director (Two Ninas) • Mark Urman, Head of Distribution, THINKFilm • Caveh Zahedi, Actor/Screenwriter/Producer/Director (A Little Stiff)
4384	dbpedia	3	88	https://www.amazon.com/Brother-Only-Child-Velocity-Thinkfilm/dp/B01GWCBNSC	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/xjgkhgck/Captcha_qinoehjhqv.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=E4BEBHXZM8R23TV4FQYC&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
4384	dbpedia	2	1	https://en.wikipedia.org/wiki/ThinkFilm	en	ThinkFilm	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/ThinkFilm_logo.svg/2...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-12-30T22:47:57+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/ThinkFilm	Defunct American film distribution company ThinkFilm (stylized as TH!NKFilm) was an American film distribution company founded in September 2001. It had been a division of David Bergstein’s Capitol Films since 2006. On October 5, 2010, five of Bergstein's companies in the film industry, Capitol Films, ThinkFilm, R2D2, CT-1 and Capco were forced into Chapter 11 bankruptcy by a group of creditors led by the Aramid Entertainment film investment fund seeking payment for outstanding debts of $16 million.[1] This led to a Hollywood legal battle involving Bergstein, his financial partner, Ronald Tudor, the creditors and various lawyers and companies in the industry.[2][3][4][5][6] Films distributed [edit] Title Release date Time Out March 29, 2002 World Traveler April 19, 2002 The Mystic Masseur May 3, 2002 The Dangerous Lives of Altar Boys June 14, 2002 The Last Kiss August 16, 2002 Love in the Time of Money November 1, 2002 Gerry February 14, 2003 Spellbound April 30, 2003 Overnight June 12, 2003 The Heart of Me June 26, 2003 Julius Caesar June 29, 2003 Teknolust August 22, 2003 The Gospel of John September 26, 2003 The Event October 3, 2003 Bus 174 October 8, 2003 Love, Sex and Eating the Bones March 5, 2004 Wilbur Wants to Kill Himself March 12, 2004 The Agronomist April 23, 2004 Still, We Believe: The Boston Red Sox Movie May 7, 2004 The Story of the Weeping Camel June 4, 2004 Festival Express July 23, 2004 Bright Young Things August 20, 2004 Going Upriver: The Long War of John Kerry October 1, 2004 Primer October 8, 2004 Born into Brothels December 8, 2004 The Assassination of Richard Nixon December 29, 2004 Mondovino March 23, 2005 Dallas 362 April 10, 2005 Tell Them Who You Are May 13, 2005 Genesis May 27, 2005 Kontroll 5x2 June 10, 2005 The Last Mogul: The Life and Times of Lew Wasserman June 24, 2005 Murderball July 22, 2005 The Aristocrats August 12, 2005 The Untold Story of Emmett Louis Till August 17, 2005 Where the Truth Lies October 2, 2005 Three of Hearts: A Postmodern Family October 19, 2005 Protocols of Zion October 21, 2005 I Love Your Work November 4, 2005 Lie with Me November 11, 2005 The Boys of Baraka November 30, 2005 Fateless January 6, 2006 The Zodiac March 17, 2006 The Big Question When Do We Eat? April 7, 2006 95 Miles to Go Down in the Valley May 5, 2006 The King Loverboy June 16, 2006 Strangers with Candy June 28, 2006 I Like Killing Flies July 28, 2006 10th & Wolf August 18, 2006 Looking for Kitty September 1, 2006 Half Nelson September 22, 2006 Keeping Mum October 6, 2006 Shortbus October 20, 2006 Tideland October 27, 2006 Fuck November 10, 2006 Candy November 17, 2006 10 Items or Less December 1, 2006 Off the Black December 8, 2006 Funny Money January 26, 2007 Poor Boy's Game February 11, 2007 Glastonbury February 23, 2007 Gangsta Rap: The Glockumentary March 2, 2007 The Killing Floor March 14, 2007 Life Free or Die March 30, 2007 The TV Set April 6, 2007 Zoo April 25, 2007 Avenue Montaigne April 27, 2007 The Dog Problem The Wendell Baker Story May 18, 2007 The Trails of Darryl Hunt June 15, 2007 The Ten August 3, 2007 The Hottest State August 24, 2007 Self Medicated August 31, 2007 In the Shadow of the Moon September 7, 2007 Lake of Fir' October 3, 2007 Before the Devil Knows You're Dead October 26, 2007 War/Dance November 9, 2007 The Walker December 7, 2007 Nanking December 12, 2007 Taxi to the Dark Side January 18, 2008 The Air I Breathe January 25, 2008 Alpha Male March 18, 2008 My Brother Is an Only Child March 28, 2008 Then She Found Me April 25, 2008 The Tracey Fragments May 9, 2008 Noise Stuck May 30, 2008 Encounters at the End of the World June 11, 2008 Roman Polanski: Wanted and Desired July 11, 2008 Young People Fucking August 29, 2008 Good December 31, 2008 Incendiary February 6, 2009 Phoebe in Wonderland March 6, 2009 Five Dollars a Day April 24, 2009
4384	dbpedia	3	47	https://brightside.me/articles/8-actors-who-accepted-massive-pay-cuts-in-order-to-play-a-role-they-wanted-807182/	en	8 Actors Who Accepted Massive Pay Cuts in Order to Play a Role They Wanted	https://wl-brightside.cf…1354ab449c97.jpg	https://wl-brightside.cf…1354ab449c97.jpg	[ "https://wl-brightside.cf.tsp.li/resize/728x/jpg/c6d/323/58949d526d977ced15520289f8.jpg", "https://wl-static.cf.tsp.li/avatars/icons_wl/8.png", "https://wl-brightside.cf.tsp.li/resize/728x/png/832/b14/7af652558f976753624e694325.png", "https://wl-static.cf.tsp.li/avatars/icons_wl/8.png", "https://wl-brightsi...	[]	[]	[ "Inspiration", "Creativity", "Wonder" ]	null	[ "www.facebook.com" ]	2022-05-25T12:30:00+00:00	Apart from their talent, some of the most famous actors get paid so much because it is guaranteed that they will bring a lot of money to a production. They also bring a lot to the table and are the main marketing feature of every project. However, sometimes budgets can’t support their monetary needs and producers offer these actors much less.	en	/favicon.ico	Bright Side — Inspiration. Creativity. Wonder.	https://brightside.me/articles/8-actors-who-accepted-massive-pay-cuts-in-order-to-play-a-role-they-wanted-807182/	Apart from their talent, some of the most famous actors get paid so much because it is guaranteed that they will bring a lot of money to a production. They also bring a lot to the table and are the main marketing feature of every project. However, sometimes budgets can’t support their monetary needs and producers offer these actors much less. Bright Side knows that sometimes even big-time actors have to lower their salaries in order to play certain roles that they really want. 1. Robert Pattinson Robert Pattinson is valued at $100 million for all his work in the film industry and his other ventures. For the first Twilight installment, he received $2.5 million, and for the last film, he got a total of $25 million. If we count in the box office bonuses, he earned a cool $41 million. However, for The Batman, he received only $3 million without any bonuses simply because he was obsessed with getting this part. 2. Ryan Gosling The actor became famous after his role in The Notebook, where he earned $1 million. However, for his next roles, he wanted to concentrate on the quality of his projects and not so much on their commercial success. That’s why he accepted only $1,000 per week for starring in Half Nelson. The movie ended up being a success for Gosling since he was nominated for an Academy Award. 3. Matthew McConaughey In 2008, the actor was offered $15 million, plus 15% of the backend, to act in the reboot of Magnum P.I. However, he turned the role down since he wanted to reinvent his career and take more serious parts. So, a few years later, he appeared in The Dallas Buyers Club, where his salary was under $200,000. His decision turned out to be a very good one since it earned him an Academy Award. 4. Kristen Stewart From the first Twilight film, where she made $2 million, Kristen Stewart ended up making $25 million for the last 2 movies of the series. And that is without including all the added bonuses. However, in 2012, she started filming On the Road alongside a very talented cast. Due to massive budget cuts, she accepted a lowered salary of just $200,000. 5. Oprah Winfrey Oprah Winfrey is one of the wealthiest women in Hollywood, and she has worked really hard to achieve everything she has. She once was the highest-paid talk show host, making $315 million per year for making her daily show. However, before she was in the position to ask for such a hefty salary, she accepted to receive only $35,000 for The Color Purple. That’s because she was relatively unknown then since her talk show only debuted in 1986, a year after the movie was released. 6. Andrew Garfield Andrew Garfield never was a very high-paid actor, getting millions of dollars for every movie. Even for his 2 Spider-Man movies, he made a total of $1.5 million, which is way less than what Tom Holland and Tobey McGuire made. And he made it even more clear that money wasn’t a priority for him after he accepted to work for scale for Martin Scorsese’s Silence. 7. John Travolta The actor is famous for starring in many successful movies, and after Grease, he was getting up to $20 million for every project. He received $1 million for Saturday Night Fever, but he accepted just $140,000 in order to work with Quentin Tarantino in Pulp Fiction. It turned out that working with an accomplished director on a great project was more important than money. 8. Jonah Hill The actor earned an astounding $10 million for his role in 22 Jump Street. However, he only got $60,000 before taxes for his participation in The Wolf of Wall Street. He didn’t seem to care so much about the money but about working with Martin Scorsese. That’s why he accepted that huge pay cut when Leonardo Dicaprio was making $10 million for the same movie.
4384	dbpedia	3	10	https://www.imdb.com/list/ls047664596/	en	1408 2007 premiere	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:140-0399501-5926526:EQ2BPB2RWHQ2MW9S6F02$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DEQ2BPB2RWHQ2MW9S6F02:0", "https://m.media-amazon.com/images/M/MV5BMTQ1NTQwMTYxNl5BMl5BanBnXkFtZTYwMjA1MzY1._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/ima...	[]	[]	[ "" ]	null	[]	null	Tuesday June 12th, National Theatre 10925 Lindbrook Drive, Los Angeles, CA 90024	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls047664596/	Samuel L. Jackson is an American producer and highly prolific actor, having appeared in over 100 films, including Stirb langsam - Jetzt erst recht (1995), Unbreakable - Unzerbrechlich (2000), Shaft - Noch Fragen? (2000), The 51st State (2001), Black Snake Moan (2006), Snakes on a Plane (2006), and the Star Wars prequel trilogy (1999-2005), as well as the Marvel Cinematic Universe. Samuel Leroy Jackson was born in Washington, D.C., to Elizabeth (Montgomery) and Roy Henry Jackson. He was raised by his mother, a factory worker, and his grandparents. At Morehouse College, Jackson was active in the black student movement. In the seventies, he joined the Negro Ensemble Company (together with Morgan Freeman). In the eighties, he became well-known after three movies made by Spike Lee: Do the Right Thing (1989), Mo' Better Blues (1990) and Jungle Fever (1991). He achieved prominence and critical acclaim in the early 1990s with films such as Die Stunde der Patrioten (1992), Amos & Andrew - Zwei fast perfekte Chaoten (1993), True Romance (1993), Jurassic Park (1993), and his collaborations with director Quentin Tarantino, including Pulp Fiction (1994), Jackie Brown (1997), and later Django Unchained (2012). Going from supporting player to leading man, his performance in Pulp Fiction (1994) gave him an Oscar nomination for his character Jules Winnfield, and he received a Silver Berlin Bear for his part as Ordell Robbi in Jackie Brown (1997). Jackson usually played bad guys and drug addicts before becoming an action hero, co-starring with Bruce Willis in Stirb langsam - Jetzt erst recht (1995) and Geena Davis in Tödliche Weihnachten (1996). With Jackson's permission, his likeness was used for the Ultimate version of the Marvel Comics character, Nick Fury. He later did a cameo as the character in a post-credits scene from Iron Man (2008), and went on to sign a nine-film commitment to reprise this role in future films, including major roles in Iron Man 2 (2010), The Avengers (2012), The Return of the First Avenger (2014) and Avengers: Age of Ultron (2015) and minor roles in Thor (2011) and Captain America: The First Avenger (2011). He has also portrayed the character in the second and final episodes of the first season of the TV show, Marvel's Marvel's Agents of S.H.I.E.L.D. (2013). He has provided his voice to several animated films, television series and video games, including the roles of Lucius Best / Frozone in Pixar's film Die Unglaublichen (2004), Mace Windu in Star Wars: The Clone Wars (2008), Afro Samurai in the anime television series Afro Samurai (2007), and Frank Tenpenny in the video game Grand Theft Auto: San Andreas (2004). Sophia Bush has captured film and television audiences with her range of roles and diverse characters She was born on July 8, 1982, in Pasadena, California, and is an only child. Her father, Charles William Bush, is a renowned advertising and celebrity photographer, and her mother, Maureen E. (Searson) Bush, runs a photography studio. Growing up in Pasadena, Sophia made her acting debut there in a school theater production while attending Westridge School for Girls, a small private school. She was crowned Queen of the Royal Court for the 2000 Tournament of Roses and graduated from high school that same year. In 2002, Sophia made her screen debut as Sally, a college student, in the comedy Party Animals - Wilder geht's nicht! (2002), opposite Ryan Reynolds. She attended University of Southern California for three years, and took a Journalism major and Theatre minor, albeit she did not graduate, taking her leave of absence after getting the part as Brooke Davis, a flirtatious cheerleader on the WB TV series One Tree Hill (2003). She was also cast to play opposite Arnold Schwarzenegger and Nick Stahl in Terminator 3: Rebellion der Maschinen (2003), but, after she began principal photography on the film, the director deemed her too young for the role and she was soon replaced by actress Claire Danes. She was also featured in a three-episode arc on the provocative FX drama, Nip/Tuck: Schönheit hat ihren Preis (2003). Sophia got her big break when One Tree Hill (2003) developed a loyal following and became her steady gig. The show ran for nine seasons. Her character evolved from a trouble-making vixen to a fiercely loyal friend, and is a huge fan favorite. It was while working on the series that Bush began dating her on-screen love interest, actor Chad Michael Murray. They wed in April 2005, but split after five months, in September 2005. In December 2006, their divorce became final. Meanwhile, she continued to land big screen roles, such as October Bantum in Stay Alive (2006), a horror film by writer/director William Brent Bell, and as Beth in Rache ist sexy (2006), a comedy by director Betty Thomas, co-starring Jesse Metcalfe and Brittany Snow. Bush is co-starring as Grace Andrews, who is terrorized by a killer played by Sean Bean, in the remake of The Hitcher (2007), for Focus Features. She starred in Serenade Films' movie The Narrows (2008), a movie based on Tim McLoughlin's novel, "Heart of the Old Country". Bush played Kathy Popovich, an NYU student who attracts the attention of Mike Manadoro (Kevin Zegers), a fellow student with some shady connections. "The Narrows" was directed by François Velle. Bush was then seen in Table for Three (2009), an independent comedy that takes a look at the tangled relationships between couples and roommates. The film co-starred Brandon Routh and Jesse Bradford. Bush garnered the most individual Teen Choice Awards in 2007, taking home awards in the categories of "Choice Movie Actress: Comedy", "Choice Movie Actress: Horror/Thriller" and "Choice Movie: Breakout Female". In addition, she was also a recipient of the "Rising Star" Award at the 2007 Vail Film Festival as well as the "New Hollywood Style Icon" Award at the 2008 Hollywood Style Awards. Sophia is a passionate philanthropist whose causes focus on the celebration of arts as well as the environment. She is an advocate of the Maasai Wilderness Conservation Trust, a foundation committed to the preservation of biodiversity within the Maasai tribal lands of East Africa. Funds support conservation, education, and health services within the Maasai community, as well as a host of programs designed to conserve Africa's legendary wildlife. She also contributes her time and talents to the Art of Elysium, a non-profit that enriches the lives of children battling serious medical conditions by bringing together artists to share their time and talent. She has also worked as an Assignment Editor for Annenberg TV News in her spare time. Her other talents include horseback riding, boxing, and photography. She enjoys reading and spending time with her friends, and resided in Wilmington, North Carolina, where One Tree Hill (2003) was filmed. Kristina Anapau is an actress, writer, and producer. Born in Hawaii, Kristina Anapau spent her youth studying classical ballet, music and theatre. She graduated from high school at the age of 15 and, that same year began her studies at The University of Hawaii. With dreams of pursuing a professional dance career, Anapau's life would soon take a fateful turn, as she was cast in Universal Television's Flucht von Atlantis (1997), landing her first professional starring role at the age of 16. Soon after, she relocated to Los Angeles where she continued to work steadily, both theatrically and commercially. At age 20, Kristina landed a recording contract with Hollywood Records and spent much of that year recording an album and opening for Destiny's Child on MTV's TRL Tour, but her true love and passion remained performing in film and television. Anapau has trained and performed theatrically under the tutelage of The Royal Academy of Dramatic Art in London, and on the ballet front with American Ballet Theater and The Joffrey Ballet in New York City. She acted alongside Golden Globe-winner Diane Venora and Greg German in ThinkFilm's independent feature Self Medicated (2005), winner of over 35 international film awards. Anapau starred with Christina Ricci and Jesse Eisenberg in Dimension Films' thriller, Verflucht (2005), directed by Wes Craven, and shined as Cassie Merteuil in the Sony Pictures/Newmarket Films release Eiskalte Engel 3 (2004). She appeared in the films Madison (2001), starring Jim Caviezel and Bruce Dern, as well as, the Lionsgate comedy, Eins, zwei, Pie - Wer die Qual hat, hat die Wahl (2000). Her television credits are impressive as Kristina has recurred and guest starred in many noteworthy productions, including: True Blood (2008), The Glades (2010), Dr. House (2004), Monk (2002), CSI: New York (2004), Without a Trace - Spurlos verschwunden (2002), Noch mal mit Gefühl (1999), General Hospital (1963) and Knight Rider (2008). She also starred opposite popular comedian Dane Cook in the Sony Television-produced pilot Cooked (2005). Anapau recurred on the hit HBO series True Blood (2008) as the enchanting Maurella. She played Galina in Darren Aronofsky's Black Swan (2010), in which she acted opposite Oscar-winner Natalie Portman, Mila Kunis, Winona Ryder and Barbara Hershey. In her spare time, Anapau enjoys skiing and horseback riding. She has been a contributing editorial writer for The Stndrd Magazine and The Hollywood Film Journal among others. Anapau is a graduate of Skidmore College in New York. Actress Fileena Bahris lives on the island of Maui and is the Co-Owner of Designs by Fileena Jewelry for Film & Television and Madbahr Productions. Fileena is well known throughout the Film industry for her one of a kind Jewelery designs. After designing Jewelry for Star Wars- Episode III -Revenge Of The Sith. The $6000 Mace Windu inspired "Shooting Star Collection" Official " Star Wars" Charity Necklace, was donated for auction to help Artists for a New South Africa. The rest followed in the wake of Star Wars. Fileena Bahris began designing jewelry for Television & Film as well as designing for the Academy Awards, Golden Globes, Grammys, Emmys, Cannes Film Festival. Etc. Her work as a Celebrity Jewelery Designer has been featured on MTV, Desperate Housewives, Gene Simons Family Jewels, Big Bang Theory, The Simple Life, Real World, Dismissed, Access Hollywood, Entertainment Tonight, Jay Leno, & Larry King just to name a few. "Designs by Fileena" has been Featured in films such as Vice, Stuck, Crocs, The Ninth Cloud The Way, Never Surrender, Stuck and Star Wars Revenge of the Sith. As Fileena continued to design more & more for the industry, she began to Produce Films & Act with the encouragement & help from so many amazing people in this industry, who Fileena says showed her about acting, producing, negotiating, finance, & all things imaginable that are film related . Without all the insurmountable kindness of the people who believed in her and who gave her an opportunity, Fileena often says she never stood a chance without them. As Fileena continues to pursue her dreams acting and producing films as well as designing jewelery, her underlying passion always remains Charities & the the promoting of Human & Animal welfare and the reduction of suffering in any small way she can help bring more awareness to these issues. Abigail Mason was born in Lansing, Michigan, and her interest in "acting" started at the young age of 8. She had done over twenty theatre productions and musicals by the time she was 14. At the age of 15, she attended a talent convention and convinced her parents it was time to visit Los Angeles. Her visit to Los Angeles proved to be the right move as since she has been on such networks such as Fox, Disney, HBO, lifetime, Comedy Central, and was cast as the 16-year old lead of "Lyddie Cottrel" , in Michael Landon, Jr's, film, "Saving Sarah". "Lyddie" is a religiously devout young lady and the oldest child in a family of five Amish kids, who become orphaned. This project was such a positive experience in that it taught Abigail to enjoy not only the simple things in life such as snowball fights and the value of hard work, but also an overall respect of the Amish culture. It also afforded the opportunity for her to learn the Pennsylvania Dutch accent which she hopes to use again in the future. Abigail is drawn to projects that have strong character roles and that send a positive message to the audience. Any projects that involve her love of sports as well as animals is of great interest to her. Her work on both "Discovery on Blackbird Island" and "The Suite Life" were gratifying because they incorporated her interests with her love of acting. Abigail maintains her inspiration for the craft by participating in an advanced acting class that provides challenge and risk and working with a private coach. There is no second choice of career for her and she accepts the ups and down of this career as part of her journey . Abigail rounds out her busy schedule by supporting Compassion International, sponsoring a child from the Dominican Republic. She is also in the volunteer program, Illuminate that gives underprivileged children an opportunity to express themselves through the creative arts and helps sponsor a program that provides medical support to children with AIDS in Zambia. Anthony Marc Shalhoub was born and raised in Green Bay, Wisconsin. His father, Joseph Shalhoub, who owned a grocery chain, emigrated from Lebanon to the United States as an orphan at age ten, later marrying Shalhoub's mother, Helen (Seroogy), who herself was born in Wisconsin, to Lebanese parents. When Tony was six, he was introduced to the theater, in a school production of "The King and I". He graduated from Green Bay East High, and then graduated with a Bachelor's degree in drama from the University of Southern Maine before progressing to the Yale School of Drama, which he left with a Master's degree in Fine Arts. After a time in the American Repertory Theatre, he moved to Broadway where he met his future wife, Brooke Adams, whom he married in 1992. She had an adopted daughter, Josie, who was three years old at the time that Tony and Brooke married. Tony adopted Brooke's own adopted child, Josie Lynn (born 1989) when she was eight. In 1994, the couple adopted another daughter, Sophie (born 1993). Tony's first audition after arriving in Los Angeles was for Italian cabdriver Antonio Scarpacci in the long-running sitcom Überflieger (1990), which also starred Tim Daly and Steven Weber. Tony next had roles in Men in Black (1997), Men in Black 2 (2002), Galaxy Quest - Planlos durchs Weltall (1999) and 13 Geister (2001). However, his biggest break came, playing the obsessive-compulsive detective Adrian Monk in Monk (2002). The series made him a star and earned him four straight Emmy Award nominations between 2003 and 2006, for Outstanding Lead Actor in a Comedy Series. Tony won the award in 2003, 2005 and 2006, proving how popular he has become after the success of "Monk", which has been both brilliant and popular work during all its seasons. John Cusack is, like most of his characters, an unconventional hero. Wary of fame and repelled by formulaic Hollywood fare, he has built a successful career playing underdogs and odd men out--all the while avoiding the media spotlight. John was born in Evanston, Illinois, to an Irish-American family. With the exception of mom Nancy (née Carolan), a former math teacher, the Cusack clan is all show business: father Dick Cusack was an actor and filmmaker, and John's siblings Joan Cusack, Ann Cusack, Bill Cusack and Susie Cusack are all thespians by trade. Like his brother and sisters, John became a member of Chicago's Piven Theatre Workshop while he was still in elementary school. By age 12, he already had several stage productions, commercial voice overs and industrial films under his belt. He made his feature film debut at 17, acting alongside Rob Lowe and Andrew McCarthy in the romantic comedy Class - Vom Klassenzimmer zur Klassefrau (1983). His next role, as a member of Anthony Michael Hall's geek brigade in Das darf man nur als Erwachsener (1984), put him on track to becoming a teen-flick fixture. Cusack remained on the periphery of the Brat Pack, sidestepping the meteoric rise and fall of most of his contemporaries, but he stayed busy with leads in films like Der Volltreffer (1985) and Lanny dreht auf (1985). Young Cusack is probably best remembered for what could be considered his last adolescent role: the stereo-blaring romantic Lloyd Dobler in Teen Lover (1989). A year later, he hit theaters as a grown-up, playing a bush-league con man caught between his manipulative mother and headstrong girlfriend in Grifters (1990). The next few years were relatively quiet for the actor, but he filled in the gaps with off-screen projects. He directed and produced several shows for the Chicago-based theater group The New Criminals, which he founded in 1988 (modeling it after Tim Robbins' Actors' Gang in Los Angeles) to promote political and avant-garde stage work. Four years later, Cusack's high school friends Steve Pink and D.V. DeVincentis joined him in starting a sister company for film, New Crime Productions. New Crime's first feature was the sharply written comedy Ein Mann, ein Mord (1997), which touched off a career renaissance for Cusack. In addition to co-scripting, he starred as a world-weary hit man who goes home for his ten-year high school reunion and tries to rekindle a romance with the girl he stood up on prom night (Minnie Driver). In an instance of life imitating art, Cusack actually did go home for his ten-year reunion (to honor a bet about the film's financing) and ended up in a real-life romance with Driver. Cusack's next appearance was as a federal agent (or, as he described it, "the first post-Heston, non-biblical action star in sandals") in Con Air (1997), a movie he chose because he felt it was time to make smart business decisions. He followed that with Clint Eastwood's Mitternacht im Garten von Gut und Böse (1997), in which he played a Yankee reporter entangled in a Savannah murder case. Cusack has always favored offbeat material, so it was no surprise when he turned up in the fiercely original Being John Malkovich (1999). Long-haired, bearded and bespectacled, he was almost unrecognizable in the role of a frustrated puppeteer who stumbles across a portal into the brain of actor John Malkovich. The convincing performance won him a Best Actor nomination at the Independent Spirit Awards. In 2000, Cusack was back to his clean-shaven self in High Fidelity (2000), another New Crime production. He worked with Steve Pink and D.V. DeVincentis to adapt Nick Hornby's popular novel (relocating the story to their native Chicago), then starred as the sarcastic record store owner who revisits his "Top 5" breakups to find out why he's so unlucky in love. The real Cusack has been romantically linked with several celebs, including Driver, Alison Eastwood, Claire Forlani and Neve Campbell. He's also something of a family man, acting frequently opposite sister Joan Cusack and pulling other Cusacks into his films on a regular basis. He seems pleased with the spate of projects on his horizon, but admits that he still hasn't reached his ultimate goal: to be involved in a "great piece of art".
4384	dbpedia	3	51	https://chrisjonesblog.com/2012/04/12-ways-film-distribution-must-change-for-distributors-and-filmmakers-to-survive-a-manifesto-for-change.html	en	It’s time for film makers to take action over distribution… it’s OUR problem, not theirs!	https://chrisjonesblog.c…pg?_t=1603530465	https://chrisjonesblog.c…pg?_t=1603530465	[ "https://chrisjonesblog.com/images/2024/07/twisted50.jpg", "https://chrisjonesblog.com/images/2012/04/at-the-movies-8FHMXXH-scaled-e1603530439749-1024x458.jpg?_t=1603530465", "https://secure.gravatar.com/avatar/8a7e0e4619a5d9915948912ac82603d7?s=40&d=mm&r=g", "https://secure.gravatar.com/avatar/128b3813a5f387...	[]	[]	[ "" ]	null	[ "Chris Jones" ]	2012-04-12T00:00:00	It’s no secret that the current distribution model is broken, but I believe that a whole new model is about to evolve. And I woke this morning in something of a…	en	https://www.chrisjonesbl…erboard-icon.png	Chris Jones Filmmaker Blog	https://chrisjonesblog.com/2012/04/12-ways-film-distribution-must-change-for-distributors-and-filmmakers-to-survive-a-manifesto-for-change.html	It’s no secret that the current distribution model is broken, but I believe that a whole new model is about to evolve. And I woke this morning in something of a frenzy, needing to brain dump my thoughts… so here they are… Here are the distribution problems right now… 1. The high impact life of your film is 14 days, max. Any buzz you create, any momentum you build, is now created on a global scale. Social media does not know boundaries – posters, trailers, interviews, articles – all go global in a moment, and ideally viral. I believe that you can only get REAL buzz for your project for a few weeks, something Morgan Spurlock discussed at NAB last week. After those two weeks, internet dies back considerably. 2. It follows then that you need to get your movie out as quickly as possible, and in as many territories as you can, and finally on all devices (TV, web, phone etc.). Ideally this would happen on the same day too. 3. If we create buzz and then fail to deliver an easy way for people to legally watch our films, we are simply begging people to rip and upload our films to share. I don’t believe these people think of themselves as pirates. This isn’t about money, it’s about us promising something amazing and then failing to deliver a way to watch the film legally and easily. 4. No single platform, aside from iTunes, seems to work well as yet. And iTunes being Apple owned, is housed a ridiculous walled garden. 5. Forget theatres, they are operating in a different century. As a film maker, all this means that I will get very little back from current distribution methods and my film will get seen mostly via illegal downloads. So the problem really comes down to an archaic distribution infrastructure run by largely backward thinking business people. Like all empires, this one will topple, and topple very soon. I genuinely wonder what the Cannes Film Market will look like in five years as I can’t see how things can carry on as they are. Three Structures we need in place Here’s what needs to happen for your film, and my film, to have a better chance of success today… 1. We need to release globally on the same day. 2. We need to release on every platform available to us (phone, online, VOD, theatre etc) on that same day. People should be able watch your film in their chosen environment and on the platform or device that suits them. 3. We need to remove as many barriers to purchase as possible (no staggered release, no geolocking, must be value for money, must be easy to purchase). Without these three structures in place, the future is extremely challenging for filmmakers. We need to own it So, we as filmmakers need to own this problem. We need to own the destiny of our films and not just pass it on to third parties and cross our fingers. We need to find bold new collaborators who think like we do. The distributor of tomorrow is more likely a technology company with great marketing, transparent accounting and strong media partners than what we have today. My Manifesto… Filmmakers and sales agents need to start to think truly globally. Sales agents and distributors need to wake up to the fact that filmmakers are now powerful marketers in the life cycle of the film, not just the creators. The audience is no longer just a passive consumer, through social media and transmedia the audience are active participants. If the audience wants a film right now, because we have created demand – they will find it. You either supply it to them, in the way they want it, at a price point that they accept, or they will find it illegally. Distributors need to start thinking collaboratively – they MUST embrace new technology, transparency and partnerships. Theatre owners need to enter the digital age – movies should be uploaded and downloaded online, not transported on 35mm or hard drives as is the current and ridiculous state of affairs. Theatre owners (especially independents) should open themselves up to deals where film makers can use tools like ‘Demand It!’ in order to build a small, local audience for a film – the filmmaker can then upload remotely – the theatre would screen their film, maybe for one day, or even just one screening, after the film maker having driven traffic there. And while we are on it, let’s see large plasma screen that are hooked to the web replacing paper posters inside theatres. Really, why on earth is this not happening now? Artwork should be centralized so that all distributors can share and benefit from each others hard work. Yes I know they will bitch about who pays for what, but we need to move past this and start to really collaborate. Rewards MUST be shared honestly – what if a centralized third party, money-service held all cash, releasing it to parties in accordance with deals made between all parties? Before we all say, ‘that will never happen’, remember, PayPal stole the internet market from Visa and Mastercard (at least at the low end of the market). It is possible and there is money to be made with an online collection agency. This would also make investment easier due to confidence and transparency. And it’s a global release on one day people, on ALL platforms. This is why we need sales agents and distributors with vision, who can work collaboratively. We the filmmaker cannot do this alone, it’s too much work and we don’t have the connections or relationships. We need reliable and honest partners. Let’s ditch DVD and BluRay. Mastering and carrying stock makes no sense when we live in an online world. There is no stock to warehouse or ship when your film is delivered via non-physical digital files. Can we make moves toward a genuine ‘universal master’? So we make ONE file, from which all other files and formats are derived? Maybe uncompressed 1920×1080 HD in 4:4:4 with six discrete audio channels? In order to future proof your movie, there may be a higher quality master that you create before making this Universal Master. But when your film hits sales and distribution, why is there not one single format we can all work toward? Final thoughts… over the years, I have seen filmmakers struggle with film technology that was expensive and a genuinely high barrier to entry. MiniDV removed that barrier, and cameras like the 5D MkII and now the Black Magic camera have crystalised that entry point. Desktop editing, proliferation of knowledge on the web, books and training courses have brought tools, knowledge and experience to everyone. Social media has connected us all in a way that we can genuinely help each other and collaborate… We are now in the final furlong… and distribution is the final fence to jump. Make no mistake, distribution that genuinely works for filmmakers and investors is the highest, most challenging barrier to overcome… but it will happen. I have said it many times, but it needs to be said again. There’s never been a more exciting time to be a filmmaker. Onwards and upwards! Chris Jones My movies www.LivingSpiritGroup.com My Facebook www.Facebook.com/ChrisJonesFilmmaker My Twitter @LivingSpiritPix
4384	dbpedia	1	33	https://www.prx.org/pieces/71192-barbara-martinez-jitner	en	PRX	https://media.prx.org/favicon-16x16.png	https://media.prx.org/favicon-16x16.png	[]	[]	[]	[ "" ]	null	[]	null			//media.prx.org/favicon-16x16.png		null
4384	dbpedia	2	89	https://jeremy-dean.com/the-inependent	en	THE INEPENDENT — JEREMY DEAN	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/541dcbd2e4b0a6db3135d33f/1425257936954-P80KBLIM3ASO1ZPD8QEB/image-asset.jpeg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	JEREMY DEAN	https://jeremy-dean.com/the-inependent	Distribution by Wal-Mart By Nikki Chase Jeremy Dean found a dusty VHS tape tucked away in the basement of a historical society and was captivated by its the black and white footage of the civil rights struggle. “As I sat alone watching Dr. King speaking to a packed church and the demonstrators fearlessly marching for freedom, it became a key that unlocked a mystery. This was my link from the present inequality that I saw to its roots in the Jim Crow era of the past.” Dean took to the streets of St. Augustine and interviewed some its youngest, poorest residents. He anticipated a connection between their present-day struggles and the work of Dr. King, but didn’t find it until he started making the film. He hopes that the result will challenge audiences to consider how much America has changed since the days of Dr. King. Dean credits this unique and relevant perspective on civil rights for landing him a distribution deal with THINKFilm, and then Indican Pictures, which eventually led to a DVD deal with Wal-Mart. The November release of the DVD put Dare Not Walk Alone on the short list of documentaries to ever be carried by the corporation. Dean shares with The Independent how his choices as a filmmaker led to the distribution deal with Wal-Mart and what he hopes will be a successful DVD release. How has your experience as a filmmaker differed from other filmmakers who sought the same sort of success but, perhaps, fell short? I’m not sure if I am all that different, I think everyone is trying to make the best film they can. I was very conscious, though, to make a film that offered a new perspective told in unconventional way. Films about the Civil Rights Movement have become a genre unto themselves and, in my opinion, follow the same script, so I wanted to make something that went in a new direction and spoke to the reality of race 40 years after the movement. This is what makes Dare Not Walk Alone different from any other civil rights film because it is rooted in the present. We have taken two worlds that seem totally disconnected and juxtaposed them to find connections from our history to problems we still face. This approach felt natural to me because my background is in visual art, where connections are made by combining unrelated things, shifting scale, color, composition, forcing relationships, until a new reality or awareness is created. By combining kids living in ghettos dreaming hip-hop dreams with the hopes and bloodshed of the movement and its aftermath, we have taken two worlds and created a relationship that is not immediately obvious, but in the end leads to a new understanding. Some people love this aspect of the film, others hate it, but no one is ambivalent about it. The film usually gets a strong reaction and starts a dialogue. And that was my hope. I did not want to just play it safe and do a historical piece, I wanted to take a chance and make something that would challenge our notion of how far we have come. But the truth is that this message has resonated with audiences across the country because they see elements of their community mirrored in the streets of St. Augustine. I think it was that conscious decision to take a risk and try a new approach that separated this film from many others and ultimately got the attention of distribution channels. Why do you think Dare Not Walk Alone was picked up by Wal-Mart when they have passed on so many other documentaries? A lot of that credit has to go to Indican Pictures, they did the deal with Wal-Mart, but I think that now more than ever people are ready to talk about race and class in a meaningful way. I had hoped that Katrina and the government’s botched response would have started the conversation but I think Obama’s election really has made the difference. In part because we have a positive framework to begin the discussion as opposed to the usual conversation starters that have more to do with some horrific incident that rightfully enrages African Americans and puts whites on the defensive. I think now we can start the conversation on more of an even playing field. So I think the climate is right for DNWA even though in many ways it is challenging to black and white America alike and does not let either off the hook for where we are today. But, a film like yours can still launch critical dialogue about race? Though I am extremely happy to see the election of an African American president in my lifetime, it does not mean that we have finally achieved total equality across the board on issues of race and class in this county. That is where DNWA is so important, because it shows that though we have come a long way, we still have a long way to go, especially as it relates to poverty stricken disenfranchised black communities. As Errol Jones says in the film, “There is poison in the soil, and you have to dig it up, turn it over, expose it to the light, so that we can build community on top of it.” Dare Not Walk Alone is about exposing what has been long forgotten, buried and marginalized so that we can build the beloved community that Dr. King always envisioned. You’ve mentioned before that being picked up by Wal-Mart was “the beginning of a personal moral dilemma.” Can you elaborate on that? Like every other filmmaker I want my film to get out the widest audience possible, so in that respect the Wal-Mart deal is good, but on the other hand I hate to feel like I am benefiting from corporate America that has a strangle hold on this country contributing to outsourcing, greed and the homogenization of America. To quote [folk singer] Greg Brown, “Soon there will be one corporation selling one little box and it will do whatever you want but cost whatever you got.” So it’s a weird position to be in, we need to sell DVDs to pay back all the money we owe for creating the film. For me I guess it’s just more getting used to the idea that this is how the world works, but I am encouraged to see Wal-Mart’s commitment to the King monument in Washington and some of their other initiatives. How has your career changed since your distribution deal with THINKFilm and then, following their buy-out, Indican Pictures? In short, very little. This is my first feature so I am still figuring my way through the maze of the industry. But it’s not like as soon as you sign a distribution deal that all your problems are solved and the work is done, in fact it means that now you have more people to deal with and you have to fight to keep the film on the mind of the distributor, and hold them accountable to what you agreed on. THINKFilm opened a lot of doors by getting the film out there in a bigger way but before we could really move forward they (with no warning) were bought by Capitol Films and now owe us money that they refuse to pay because no one at Capitol can figure out the records. So we went on to distribution with Indican Pictures who released it theatrically and is now putting out the DVD. So in a lot of ways as an independent filmmaker you are really never done with your project, the style of work just changes. What advice can you give other documentarians who are hoping to find the same kind of success for their films? First I think you have to define what success looks like for yourself. For me it was the process of working on the film and the personal connections I made with those who shared their lives with me. In my opinion the biggest success was convincing a white church to apologize to four African American women who, as young civil rights demonstrators in 1964, were barred from worshiping there, spit on, called all kinds of names and arrested. It is a very moving moment in the film when those ladies come back 40 years later to that same church and enter it for the first time as honored guests to receive a heartfelt apology from the congregation. I don’t think there could be anything better than that. So I think you have to get validation from the work itself and one’s own success is really measured by how well you do with the story at hand and with the resources available. Gaining success in the industry is far more elusive and before anyone reading this gets the wrong idea, I must tell you that I still wait tables to stay alive long enough to keep working on films. True independent films are made by real people who work hard, sometimes against incredible odds, to figure out ways of telling stories. So I guess my advice is to be tenacious and keep working. Make films that say something in a fresh way and once you have done that, don’t give up on it. It took over three years to make Dare Not Walk Alone in a process that stretched me beyond anything I thought I could handle, but we finished it. Then I found out that was just the beginning, getting the attention of distributors and on to theaters and DVD took another three years. In that time there was a lot of room for doubt, but we stuck with it and with hard work and a bit of grace, got it out to the world. What role did you play, as a filmmaker, in successfully marketing your film? I think the strength of the film’s marketing is really the film itself because it is very unconventional for its genre, so I think it was new and different enough to catch the attention of people. That being said we did put a lot of time into the art and packaging of the film for its initial release to festivals and distributors. My background in art means that visual images are very important to me and I worked with a very talented graphic designer named Jimmy Reeves who came up with great branding for the film. We used these clear jewel cases that allow you to put something in the spine and I decided to play off the idea of an American flag that Jimmy used for a lot of background imagery. So I soaked real flags in coffee and cut them in strips, frayed the edges and put them in the spine of all the DVD’s we were sending out, I probably did over 100 of them. When I was at Cinequest for our premiere I asked what made them select our film and one of the reviewers said the packaging initially sparked his interest and made him want to watch the film. So every bit helps. Beyond that we just did a lot of old fashioned email and phone calls. A lot of the credit goes to one of the film’s producers Stephen Cobb who is a computer and Internet genius, he really kept the film alive on the web. What other projects do you have in the works, and do you hope they will follow the same path of distribution as Dare Not Walk Alone? As with every other filmmaker, I have several projects that I would like to see get made, a few documentaries, one about surfing in the favelas of Brazil but I am most excited about a script for a narrative feature I have been writing, that is getting most of my attention right now.
4384	dbpedia	3	8	https://judithweston.com/web/photo-gallery/special-events/qa-series/david-jacobson	en	David Jacobson	https://judithweston.com/web/core/misc/favicon.ico	https://judithweston.com/web/core/misc/favicon.ico	[ "https://judithweston.com/web/sites/default/files/images/Icons/threads.png", "https://judithweston.com/web/sites/default/files/images/Icons/facebook-icon-small.png", "https://judithweston.com/web/sites/default/files/images/Icons/amazon-icon-small.png", "https://judithweston.com/web/sites/default/files/images/...	[]	[]	[ "" ]	null	[]	null		en	/web/core/misc/favicon.ico		https://judithweston.com/web/photo-gallery/special-events/qa-series/david-jacobson	Writer-director DAVID JACOBSON is famous in the world of indie filmmaking, and not just because his first film DAHMER was Jeremy Renner’s first major film role. DAHMER was nominated for three Independent Spirit Awards including the John Cassavetes Award. DOWN IN THE VALLEY, David’s second feature, was premiered at the Cannes Film Festival and released theatrically by THINKFilm. David has taken a number of workshops with me, and he did one-on-one consultation with me before directing both DAHMER and DOWN IN THE VALLEY (with Edward Norton and Evan Rachel Wood). He just completed post-production on his latest feature, TOMORROW YOU’RE GONE, starring Stephen Dorff, Michelle Monaghan, and Willem Dafoe. David has a unique and off-beat sensibility, an amazing talent, true artistry, and the most generous nature. In the Q&A event on September 4th he was unguarded and open, and gave many gems of wisdom. The depth and seriousness of his vision and spirit shown through at every moment. Plus he was funny! Following are a few notes from the evening. (Thank you, Craig Ouellette, who I count on for sharing your notes!) David says that these two early decisions are the most important: What is it about? Who are your actors? When casting for DAHMER [where he discovered actor Jeremy Renner), David had lots of callbacks, he feels he continues learning about the script by hearing different actors give different interpretations. Jeremy Renner was then unknown, and David had him come in for many call backs. Jeremy created moments, subtext, in the audition – that’s what made him stand out. Cast the main character, then cast around that person. After the success of DAHMER, his next movie had a budget, so there were no auditions. He usually has a week of rehearsal. The problem is that it’s usually the last week before shooting, which is the hardest time to find time to rehearse. When rehearsing TOMORROW YOU’RE GONE, he spent a couple of hours with Michelle Monoghan and Steven Dorf together, then a couple hours with each one alone. He has always had generous, smart actors. The point of rehearsal is to get the actors together, have time together, be comfortable together. Focus on challenging scenes. Improvise scenes that are not in the script – that’s his main thing he does in rehearsal. Also discuss the script. Improvise what has/will go on before and after scenes (in DOWN IN THE VALLEY, he ended up putting some of these scenes that had been created in rehearsal into the movie). Most actors he has met liked working those other moments, improvising scenes that were not in the script, not so much rehearsal of the scripted scenes. Sometimes he will create an improvisation of a “metaphorical moment,” a situation analogous to the situation in the scene. Day players usually have a lot of anxiety, because when they arrive the others already know each other. He tries to get day players to come to the set a day or more before so they feel comfortable, meet stars at lunch, hang out; it helps integrate them into the cast. Blocking. On DAHMER, it was an 18-day shoot, so you go on adrenaline and instinct. If there is time, he likes to let the actors know what he is picturing, then try it, run a few times, see how the actors feel, see how the DP feels, then make changes. But when there is no time, you need to stick with a choice. For action scenes, you need to do a lot of work and planning beforehand. Vision. The finished film is never anything like what he planned or imagined. It’s exciting and wonderful when the time comes to get to be with the cast and crew – because then he’s not alone anymore; writing is lonely. He finds it exciting to let the actors take it and run with it, he wants them to bring to him what they see in it. Sometimes he feels inarticulate on set, but does everything he can to let actors know it’s their character. Some actors want a lot of input; some don’t want anything. It’s important to have a strong script. It’s a sculpture, then production is like taking a hammer to it, then it re-forms, but the better the script to begin with, the better the final re-form will be. He liked shooting before video tap was a given. Shooting without a video tap was a more intimate experience with the DP – because it means the director has to give the DP trust, responsibility. “The DP is my favorite person.” Two weeks before film he spends 2 hours/day with the DP on the shot list. The more you can download yourself into the DP, so he/she understands what your vision is, the more you can focus on actors. What it’s about - DAHMER. David had heard an interview with Jeffrey Dahmer’s father on NPR, and felt a connection with certain details of Dahmer’s background. David had seen an article which said Dahmer claimed he killed those guys because he was afraid of losing them. That’s what drove David’s interest – fear of losing, fear of separation. When he was sending out the script, many producers were offended, outraged by the script. So he wrote a 4-page Director’s Statement (in the form of an interview although he himself made up the questions) that he sent with the script, and in the Statement he spoke honestly of what he felt the script was about. Shooting an 18-20 day shooting schedule. One thing for sure is that the actors’ time in make-up needs to be limited, no more than one hour. They can’t spend 2 hours in make-up, you can’t lose that time. He lets himself think in front of people, think out loud. Trust in your own passion to think out loud. This was a wonderful evening. The people who came asked smart questions and David knows so much and gave so much. Thank you David!!! Thank you everyone!!!
4384	dbpedia	1	64	https://www.yellowaffair.com/news/the-yellow-affair-to-commence-sales-on-power-of-love-directed-by-jonas-rothlaender	en	The Yellow Affair to commence sales on POWER OF LOVE directed by Jonas Rothlaender. — THE YELLOW AFFAIR	http://static1.squarespace.com/static/5d2f8d4b7e93e900017cf975/5d31be81ce49f50001cf2c7a/63f60a8f6f776e465bc4b051/1714556868910/New+Acquisitions.001.jpeg?format=1500w	http://static1.squarespace.com/static/5d2f8d4b7e93e900017cf975/5d31be81ce49f50001cf2c7a/63f60a8f6f776e465bc4b051/1714556868910/New+Acquisitions.001.jpeg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5d2f8d4b7e93e900017cf975/1567497844935-LWA9169JUIEIQSD9W53R/yellow_affair_lighter_for_black_background.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/5d2f8d4b7e93e900017cf975/1567497844935-LWA9169JUIEIQSD9W53R/yellow_affair_lighter_for_black_backgr...	[]	[]	[ "" ]	null	[ "Steven Bestwick" ]	2023-01-30T12:30:00+00:00	Source: Variety Annika Pham - Jan 29, 2023 Global sales shingle The Yellow Affair has acquired world rights to the modern love story “Power of Love” by German helmer Jonas Rothlaender, whose breakthrough movie “Fado” nabbed a Silver Hugo at Chicago and a German Film Critics’ for best feature de	en	https://images.squarespace-cdn.com/content/v1/5d2f8d4b7e93e900017cf975/1604660557201-48G5K1MCRV340RWI3RXH/favicon.ico?format=100w	THE YELLOW AFFAIR	https://www.yellowaffair.com/news/the-yellow-affair-to-commence-sales-on-power-of-love-directed-by-jonas-rothlaender	Source: Variety Annika Pham - Jan 29, 2023 Global sales shingle The Yellow Affair has acquired world rights to the modern love story “Power of Love” by German helmer Jonas Rothlaender, whose breakthrough movie “Fado” nabbed a Silver Hugo at Chicago and a German Film Critics’ for best feature debut. Julia M. Müller and Luisa Leopold are producing for Germany’s StickUp Filmproduktion, in co-production with Misha Jaari and Mark Lwoff of Finland’s BUFO (“The Gravedigger’s Wife”). The director’s sophomore feature film turns on power dynamics in a couple and the social norms expected of a male/female relationship. Toplining the feature are Saara Kotkaniemi (“Deadwind,” “Bordertown”) and Nicola Perot (“Marie-Antoinette,” “Der Hamster”) as Saara and Robert, both in their 30s, who set off on an extensive summer holiday in the Finnish archipelago. Their love is a constant play with gender role clichés, yet behind the unconventional façade, they struggle with their own insecurities. Stuck on the island and influenced by its rough nature, the pair starts to fall back into the very same archaic relationship patterns that they so desperately try to avoid. Rounding out the cast are Outi Mäenpää (“Hit Big”), Timo Torikka (“Syke”) Elmer Bäck (“Next of Kin”) and Cecilia Paul (“Helsinki Syndrome”). The Yellow Affair’s New-York-based CEO Karoliina Dwyer and London-office rep and head of sales Steven Bestwick said they had been tracking the project since its inception and were eager to team up with Rothlaender: “His ability to create engaging and intelligent stories make him a talent to watch. We were also excited by the intensity of this story and the chemistry between Saara and Robert who each struggle to maintain an emotional balance in a relationship story that is raw, passionate and contemporary.” The movie is co-financeed from Yle, Arte and Rundfunk Berlin-Branderburg (RBB) and has received support from the Finnish Film Foundation, Medienboard Berlin Brandenburg, Deutscher Filmförderfonds, Eurimages and the West Finland Film Commission. BUFO’s own distribution arm B-Plan will handle the theatrical bow in Finland this fall, and Missing Films German distribution. Per Dwyer and Bestwick, “Power of Love” is “a great fit with The Yellow Affair’s slate as a” high quality film with a provocative and thought-provoking edge that brings it into a commercial space.” The feature will debut at the upcoming Berlinale European Film Market (Feb. 15-22). Prior to Berlin, Dwyer is attending this week’s Göteborg industry confab TV Drama Vision (Feb. 1-2) with Yellow Affair’s upcoming Swedish drama comedy “Keep it Together” (“Hålla samman”), produced by Anagram Sweden for Swedish public broadcaster SVT. The eight-part family drama is head-written by rated scribe Erik Ahrnbom (“The Bridge,” “Thin Blue Line”), with Maria Blom (“Dalecarlians”) serving as concept director. The series charters two adult sisters’ altered relationships as they are faced with their father’s Alzheimer disease. The Yellow Affair has started negotiations on the series, due to bow this fall on SVT. The sales outfit’s current slate also includes Season 2 of the Intl. Emmy-winning transgender drama ‘Rūrangi,” picked up by Hulu for the U.S., Latvia’s Oscar contender “January” by Viesturs Kairiss, and the Finnish coming-of-age “Bubble,” by Aleksi Salmenperä.
4384	dbpedia	2	31	https://www.theguerrillarep.com/blog/how-did-film-distribution-get-so-broken	en	How Did Film Distribution Get So Broken? — Guerrilla Rep Media	http://static1.squarespace.com/static/641c70c6404e8240d813222f/641c82d5c65ee52a3811e8dc/646e55186e63382830d0ae74/1684953148451/How+did+Film+Distribution+get+so+broken.jpg?format=1500w	http://static1.squarespace.com/static/641c70c6404e8240d813222f/641c82d5c65ee52a3811e8dc/646e55186e63382830d0ae74/1684953148451/How+did+Film+Distribution+get+so+broken.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v2/namespaces/memberAccountAvatars/libraries/641c70c4ef5a276893a5af4d/e872500bbdc9479ab770df18ff47d213/e872500bbdc9479ab770df18ff47d213.jpeg?format=300w" ]	[]	[]	[ "" ]	null	[ "Ben Yennie" ]	2019-05-29T14:19:00-04:00	Filmmakers know the system sales agents use to exploit their content is well, exploitative. The issue runs deeper that dishonesty. Here’s an exploration.	en	https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/b01f6638-445a-47b7-a5b2-90fd18c71b66/favicon.ico?format=100w	Guerrilla Rep Media	https://www.theguerrillarep.com/blog/how-did-film-distribution-get-so-broken	It’s no secret that many (if not most) filmmakers think film distribution is broken. While there are many reasons for it, part of it is due to the rapid change in the amount of money flowing to distributors, and what constituted effective marketing. What works for marketing films now isn't what worked in the past, and the systems distributors built themselves around have fallen apart. Here's an elaboration. First, some history. Independent Film Distribution used to be primarily a game of access. By controlling the access and becoming a gatekeeper, it was easy to make buckets of cash. If you had a VHS printer and access to a warehouse facility that could help you ship to major retail outlets you could make literal millions off of a crappy horror film. In those days it was also significantly harder and significantly more expensive to make a film, as you’d need to buy 16mm or 35mm film, get it duplicated, cut it by hand using a viola, and then reassemble it and have prints made. This was a very expensive process, so the number of independent films that were made was much smaller than it is today. Then DVD came along, and around the same time some of the early films from the silent era that actually had followings entered the public domain. As such, a good amount of companies started printing those to acquire enough capital to buy libraries and eventually build themselves into major studios. Sure, DVD widened the gate a bit, but it also expanded the market so everyone was happy. Around this time, Non-Linear Editors and surprisingly viable digital and tape cameras were coming into prominence. As a result, it became much more possible to make an independent film than it was before. Of course, at that time it was still beyond the reach of most people, and since the average amount of content being made went up, the demand was growing enough that there still wasn’t a massive issue with oversaturation. A similar expansion was expected with Blu-Ray, but at around the same time, alternative services like iTunes were starting to become viable as broadband internet was becoming commonplace. As such, the demand for physical media started to dwindle, and as a result, the revenue being made dropped. At the same time, Full HD cameras were now very affordable, and some even rivaled 35mm film. So the amount of money being made in the industry went down, and more films were being made than ever before. Shortly after that, the ability to disintermediate and cut out the gatekeepers came to be. As such, the market became flooded with often low-quality films that the challenge was no longer getting your film out there, it was now getting your film noticed. That’s where we are now, and nobody has fully been able to solve that problem yet. Here’s a summary of how we got there, and how the process of distribution has changed. Access USED to be enough It used to be that access was all you needed. Once you had that, you could make an insane amount of money selling other people’s content. Sell it on the box art The box art being caught was the most important thing. Stores didn’t let you return movies because you didn’t like them, and other than your own limited circle of friends consumers didn’t have a lot of power to let people know about bad movies, or bad products in general. Sell it on the trailer Even if it was bad, nothing would come of it. Once you had their money, that was all you needed. The idea of making your money in the first weekend before bad word of mouth got around was much more viable as people couldn’t just tweet it out or rant about it on Facebook or YouTube. Let’s contrast that with how things work Now: Access is easy Anyone with a few thousand dollars can put their film up on most Transactional platforms on the internet. You can also put it on Amazon or Vimeo yourself for free. There are very few in terms of quality controls. the Poster/keyart is still important, but reviews are more important. Sure, people still get their eyes caught by a poster. But the reviews matter significantly more in terms of getting them to a purchase decision. The poster may catch their eye, but the meta score from users on whatever platform you’re watching the film on is important. The trailer might still be the deciding factor Generally, after people see the poster, they’ll read the synopsis, and then they’ll either watch the trailer or read the reviews. If they watch the trailer, they may have more leniency on reviews. Also, if the trailer is really good, it can get a bit of viral spread. If it’s bad, it will become known.
4384	dbpedia	1	72	https://drinkinthemovies.com/2022/04/14/siff-2022-el-carrito/	en	SIFF 2022: El Carrito	https://i0.wp.com/drinki…1200%2C636&ssl=1	https://i0.wp.com/drinki…1200%2C636&ssl=1	[ "https://secure.gravatar.com/avatar/59f97e6e08aeb7c86d48eba73c0dc2e7?s=80&d=identicon&r=g", "https://drinkinthemovies.com/wp-includes/images/rss.png" ]	[]	[]	[ "" ]	null	[ "Drink in the Movies" ]	2022-04-14T00:00:00	Written by Raúl Mendoza “El Carrito” is an intimate portrayal of the American Dream and what it truly means to lose the source of your livelihood. The film is written, directed, edited, and produced by Zahida Pirani who has before tackled the difficulties of being	en	https://i0.wp.com/drinki…it=32%2C32&ssl=1	Drink in the Movies	https://drinkinthemovies.com/2022/04/14/siff-2022-el-carrito/	Directed by: Zahida Pirani Distributed by: TBA Written by Raúl Mendoza 80/100 I am from a border town on the southern tip of Texas. I have always been surrounded by street vendors, and I would go as far as to say some of the best food I have had is from a street vendor. A lot of my childhood was spent traveling and spending time in Mexico, especially places like Monterrey and Nuevo Leon. Every morning, you knew the local street vendor was coming by because you could smell the rich scent of tacos sudados, which are usually tacos with the choice of pork, chicharron, potatoes, or pulled pork that has been steamed (literally cooked by the taco’s “sweat”). We would eat that for lunch and while out in the city you could not miss the vendors selling corn in a cup or on a stick drenched in chile, lime juice, mayo, and cheese. This is how I grew up and seeing these hard-working individuals out there in the coldest and warmest of conditions made me respect the grind of street vending. So when Taylor approached me with this film there was no doubt in my mind that this would be my next review. “El Carrito” is an intimate portrayal of the American Dream and what it truly means to lose the source of your livelihood. The film is written, directed, edited, and produced by Zahida Pirani who has before tackled the difficulties of being a street vendor in her short documentary, “Judith: Portrait of a Street Vendor.” Nelly (Eli Zavala) is an immigrant woman who is a street vendor selling tamales in order to provide for herself and her elderly father, Rico (Jose Febus). Nelly lives and works in Queens, New York where the world of street vending is really competitive as she has to deal with people like Lucia (Idalia Limón) who takes her spot one day. Nelly makes a courageous decision to ditch her small crate and upgrade to a nice cart with a table, pole, and much more space to hold her items. One day coming back from a hard but successful day of sales her cart is stolen and she has to set off on a journey to find her cart or lose the only method through which she can maintain a roof over her head. I found “El Carrito” to be a remarkable short film led by a commanding performance by Eli Zavala. Zahida Parani’s direction is strong and paced well throughout such an anxiety-inducing story. You really see the challenges of the life of a street vendor. Marcus Patterson’s cinematography is dignified through the use of close-ups and shaky camera movements that allow for the atmosphere of this film to be built. A lot of people would have a problem with the use of it but I think that it is necessary to show Nelly’s urgent need to find her cart. We truly watch a journey as our protagonist changes from someone who is concentrated only on herself to understanding the difficulties of everyone in her street vending community. She is only one of many vendors who push their livelihood every day down a street and could easily wake up the next day to it missing. Nelly realizes that life is complex and her struggles are shared by others just like her so instead of competing with each other there should be room to help each other instead. It is a teaching passed through every generation in my community, why are we here if not to help each other? I am excited to see what else Pirani works on, and if it is anywhere as intimate as this film I can find myself having another pleasant experience with her next work. You can watch the Trailer for “El Carrito” here. “El Carrito” was screened as part of the 2022 edition of the Seattle International Film Festival.
4384	dbpedia	3	84	https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/post-production/colourist/	en	Colourist in the film and TV drama industries	https://www.screenskills…screenskills.png	https://www.screenskills…screenskills.png	[ "https://www.screenskills.com/media/jaombwlj/unsplash-passport.jpg?width=1920&height=1080&quality=80&mode=crop&scale=both&center=0,0", "https://www.screenskills.com/media/8446/2023-06-21-glow-up-c-bbc-wall-to-wall.jpg?width=1920&height=1080&quality=80&mode=crop&scale=both&center=0,0", "https://www.screenskills....	[]	[]	[ "" ]	null	[]	null	How to become a colourist (also known as a grader and post digital imaging technician (DIT)).	en	/favicon.ico?v=3	ScreenSkills	https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/post-production/colourist/	What does a colourist do? Colourists contribute to the mood and look of a film by defining its colours. They work with the director and director of photography to decide the palette; whether it’s restrained or hyper-coloured, whether it uses milky colours or primary ones. Colourists are able to contribute to these looks by changing the luminance levels (brightness) and chroma (colour). Film and TV dramas are usually shot on digital cameras in a raw format, which means the information about the colour is captured in the data but can’t be seen until the colour is applied. If shooting on film, the rushes are taken to the lab where they are processed and then scanned into a digital workflow. It’s the job of the colourist to perfect the way in which the colour is put into the picture. This is known as grading. When colourists receive the files in the edit, they stylise the colour in line with the vision of the director and director of photography. They match the shots, balancing colour saturation and luminance so no one shot stands out in the sequence. They also offer creative solutions to picture-related problems. They might know what to do with under or over exposed images, or provide day for night corrections, for example. Colourists are also responsible for ensuring the film complies with the law around luminance levels and chroma. The colourist role is featured in ScreenSkills' new immersive film First Day: In post. Watch Taylre Jones, film and video colorist Red Sparrow - Company 3 senior colorist David Hussey Ten best uses of colour of all time What’s a colourist good at? Understanding colour: know how to use colour to enhance a story, appreciate the psychological effect of colour, have a good eye, know what look fits the style of the drama Knowledge of digital and film process: understand how best to get the creative look from the raw camera negative Knowledge of film production: be aware of the whole process of making a film or TV drama Using software: adept at using colour editing software, such as Baselight or Davinci Studio, keep up-to-date with software developments and know the best tools for the job Communication: work well with the director, understand the vision of the director of photography, share the process with the edit assistants and the script supervisor Attention to detail: be patient, work with tiny changes in colour and tone, keep attending to detail when under pressure Who does a colourist work with?
4384	dbpedia	2	27	https://www.indiewire.com/news/general/distributor-profile-paladin-245004/	en	Distributor Profile: Paladin	https://www.indiewire.co…chebag.jpg?w=400	https://www.indiewire.co…chebag.jpg?w=400	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=300&h=239&crop=1", "https://www.indiewire.com/wp-content/uploads/2010/09/douchebag.jpg?w=400&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/rev-1-BEJU-0193...	[]	[]	[ "" ]	null	[ "Indiewire" ]	2010-09-03T10:17:37+00:00	Distributor Profile: Paladin	en	https://www.indiewire.co…favicon.png?w=32	IndieWire	https://www.indiewire.com/news/general/distributor-profile-paladin-245004/	All information published in the indieWIRE Distributor Profiles is provided by the individual company. Company History Paladin was formed in the summer of 2009 by veteran independent distributor Mark Urman, (who co-founded and headed THINKFilm for its entire seven-year existence, and who previously served as President of Lions Gate Releasing and, more recently, as President of Senator Distribution. Working with a core team of executives, all of whom came from THINK, Urman officially launched Paladin with it first release, the acclaimed drama, “Disgrace,” starring John Malkovich, in September 2009. Other 2009 releases include the comedy “Splinterheads” and the period drama, “Loss of a Teardrop Diamond,” based on a previously unproduced screenplay by legendary writer Tennessee Williams. In 2010 Paladin has released Jeb Stuart’s civil rights drama, “Blood Done Sign My name;” Bette Gordon’s ensemble drama “Handsome Harry,” Shana Feste’s “The Greatest,” with Pierce Brosnan, Carey Mulligan, and Susan Sarandon, and “Great Directors,” a documentary by Angela Ismailos. In association with Reliance, Paladin oversaw the release of the epic romance, “Kites,” which was the widest- ever release of a Bollywood film in North American history. Paladin also released Brett Ratner’s American version of the film, “KITES: The Remix”. In association with Tribeca Film, Paladin has handled the national theatrical release of Julian Nitzberg’s acclaimed documentary, “The Wild and Wonderful Whites of West Virginia” as well as the British comedy, “The Infidel,” currently in release. The Sundance favorite, “Douchebag,” by Drake Doremus, opens October 1. Company Focus Types of films in distributor’s slate: Paladin’s slate has been varied and eclectic, incorporating a broad range of genres, nationalities, and budgetary categories. Advice for filmmakers: Filmmakers should have a thorough knowledge of their distribution options even as their film goes into production and we frequently counsel and work up marketing and distribution plans for filmmakers while they are arranging for their financing. More importantly, producers should always be prepared to partner with a suitable distributor— Paladin, for example—to guarantee a theatrical release for their film, even if it is a limited one. In the current climate, this can often result in a better and more remunerative release than might be offered though traditional means. Quick Stats Who handles acquisitions: Mark Urman, Owner and CEO Number of films released theatrically each year: 8 to 10 Distribution platforms other than theatrical: Paladin is a theatrical distributor only, but works closely with its filmmakers to guarantee and optimize the release of its titles in all platforms, frequently partnering with a film’s post-theatrical distributor from the get-go. Number of films released exclusively via VOD/DVD or “alternative” means of release: None. Number of films acquired at festivals: Usually we get involved subsequent to a festival premiere though, in some instances, we have attached ourselves to films prior to any exposure –festival or market—whatsoever.
4384	dbpedia	1	24	https://www.cartoonbrew.com/tv/fox-picks-up-seth-macfarlane-produced-series-bordertown-90845.html	en	Fox Picks Up Seth MacFarlane-Produced Series “Bordertown”	https://www.cartoonbrew.…1/bordertown.jpg	https://www.cartoonbrew.…1/bordertown.jpg	[ "https://www.cartoonbrew.com/wp-content/themes/cartoon-brew/images/cb-20yrbadge.png", "https://www.cartoonbrew.com/wp-content/uploads/2013/11/bordertown-1280x600.jpg", "https://www.cartoonbrew.com/wp-content/uploads/2013/11/bordertown-580x326.jpg", "http://www.cartoonbrew.com/wp-content/uploads/2013/11/border...	[]	[]	[ "" ]	null	[ "Amid Amidi", "More Articles" ]	2013-11-11T18:11:26+00:00	Seth MacFarlane's stable of animation writers have finally been given a dumping ground for all their offensive Mexican jokes and stereotypes.	en	https://www.cartoonbrew.…on-3-150x150.png	Cartoon Brew	https://www.cartoonbrew.com/tv/fox-picks-up-seth-macfarlane-produced-series-bordertown-90845.html	Seth MacFarlane’s stable of animation writers have finally been given a dumping ground for all their offensive Mexican jokes and stereotypes. Fox has announced a 13-episode pick-up of Bordertown created and written by Family Guy exec producer Mark Hentemann, who will executive produce with MacFarlane. Alex Carter (Family Guy) and Dan Vebber (American Dad) are the co-executive producers. The show, which wil debut in fall 2014 and will be produced by 20th Century Fox Television, is described as such: Bordertown will take a satirical look at the cultural shifts occurring throughout America. Set in a fictitious desert town near the Mexico border, the series centers on the intertwining daily lives of two neighbors: Bud Buckwald and Ernesto Gonzales. Married and a father of three, Bud is a Border Patrol agent who feels threatened by the cultural changes that have transformed his neighborhood. Living next door to Bud is Ernesto, an industrious Mexican immigrant and father of four, who is proud to be making it in America. As Bud and Ernesto’s paths begin to cross, their families become bound by friendship, romance and conflict. The show was designed to replace American Dad! which is moving from Fox to TBS in 2014. Bordertown will air on Sundays alongside The Simpsons, Family Guy, and Bob’s Burgers on Fox’s Animation Domination line-up.
4384	dbpedia	2	26	https://be.linkedin.com/company/tfip	en	Think-Film Impact Production	https://media.licdn.com/dms/image/v2/D4E0BAQHI4TAaBimA0g/company-logo_200_200/company-logo_200_200/0/1690463564085/tfip_logo?e=2147483647&v=beta&t=aZEEY6ktVr8I3VDiUFM9pLdGsA3ZsZ3viIS-GFek_B8	https://media.licdn.com/dms/image/v2/D4E0BAQHI4TAaBimA0g/company-logo_200_200/company-logo_200_200/0/1690463564085/tfip_logo?e=2147483647&v=beta&t=aZEEY6ktVr8I3VDiUFM9pLdGsA3ZsZ3viIS-GFek_B8	[ "https://media.licdn.com/dms/image/v2/D4E3DAQETyLsyGN69Jg/image-scale_191_1128/image-scale_191_1128/0/1690463785046/tfip_cover?e=2147483647&v=beta&t=HpZ5MHJGbrwO35h_Fffg98YF3Vwzujcv8VfyqJ9mJf4" ]	[]	[]	[ "" ]	null	[]	null	Think-Film Impact Production \| 1,386 followers on LinkedIn. At the cutting-edge intersection of film and social change \| Think-Film Impact Production (TFIP) is a creative impact consultancy that explores innovative ways to merge the worlds of film and policy. We harness the power of 2D film, Virtual Reality (VR) and Augmented Reality (AR) to enrich and amplify compelling socio-political narratives. TFIP partners with established and emerging filmmakers to produce and promote feature films, documentaries and VR/AR experiences that address social and political issues.	en	https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca		https://be.linkedin.com/company/tfip	THE POWER OF IMPACT FILM. Join us at our inspiring panel to explore how films can create lasting impact and legacy, feat. award-winning film "Samia", based on the true story of a young Somali runner who pursues her dream of becoming an Olympic athlete despite the odds against her. This is the first in our series of events at Venice Film Festival, stay tuned for more exciting updates! The Human Safety Net, Impact Europe, Misan Sagay, Yasemin Şamdereli, isabelle giordano, Amy Shepherd, Anadil Hossain, Emma Ursich, INDYCA, NEW MOON Films, Fondazione La Biennale di Venezia It has been an amazing week at Sarajevo Film Festival with so many impact moments from inspiring panels to the presentation of our Impact Jury Award! 1. This year's #CineLink Impact Jury Award, in the Docu Rough Cut Boutique and CineLink Works in Progress category, was awarded to #DIVIA. We chose this film for its artistic beauty and unique impact angle of environmental destruction in the context of war crimes in Ukraine. Stay tuned for updates on the impact campaign! 2. Our Founder Danielle Turkov Wilson spoke on a panel of inspiring leading women in the industry with Misan Sagay, Tamara Tatishvili, Una Gunjak and Mia Avdagic asking how we can foster a more inclusive and supportive community in Film and TV. 3. We were invited to the British Ambassador's event celebrating 30 years of the #SarajevoFilmFestival. XTR, Matthew Cherchio, Tribeca, Faridah Gbadamosi, UP UA STUDIO, Polina Herman OZI: VOICE OF THE FOREST shows the power of one voice to make a difference - I'm using my voice to join the call to #RestoreNatureNOW! We must act to protect the world around us for future generations. Be inspired by Ozi! What are you raising your voice for? In UK cinemas now, get tickets here: https://bit.ly/ThinkOziTix #ozimovie #showyourstripes Signature Entertainment UK ClientEarth Mighty Earth WWF-UK Global Canopy The Carbon Literacy Project Wildlife and Countryside Link Friends of the Earth Rainforest Foundation UK Rainforest Action Network The Wildlife Trusts National Trust Extinction Rebellion Chris Packham Jack Harries We are pleased to finally announce the Jury for our VENICE IMPACT AWARD 2024! The Venice Biennale Impact Award honours a film in the festival’s official selection that through its art and storytelling has the greatest potential to have a transformative impact on society. This year we are honoured to be joined by an incredible group of impact storytellers: - Chiwetel Ejiofor (12 YEARS A SLAVE) - Adjoa Andoh (BRIDGERTON) - Mstyslav Chernov (20 DAYS IN MARIUPOL) - Misan Sagay (BELLE) - Alia Shawkat (BLINK TWICE, SEARCH PARTY) Thank you to Impact Europe for co-sponsoring the Impact Award. Fondazione La Biennale di Venezia Read Screen International's article here: https://lnkd.in/e5CaX4SV We are very excited to announce the promotion in our team of Ugne Pilkionyte to the role of Project Manager! Ugne has been leading at the forefront of our impact success over the past year, here are some of her highlights: ARTE series OUR FORESTS impact campaign, mobilising stakeholders in a joint letter and EU Parliament impact screening event calling for better protection of Indigenous and local communities in the Corporate Sustainability Due Diligence Directive. Marché du Film - Festival de Cannes : high-powered industry conversations on women’s representation in film (with L’oeil d’or winner BRINK OF DREAMS), mental health (with MTV Entertainment), and the future of democracy with documentary directors. Fondazione La Biennale di Venezia : Preparation for the Venice IMPACT AWARD 2nd edition with an international talent jury (soon to be announced!). Duemila, WEMW, ESODOC, Marché du Film - Festival de Cannes workshops and masterclasses on impact production. We’re looking forward to the season ahead as Ugne steps up into her new role overseeing action delivery on our impact slate and ensuring we continue to meet our objective of achieving measurable, lasting change with creatively compelling artistic projects! IMPACT FOR THE WIN! We're so proud to partner with films that are winning awards and making waves! Tribeca Best Documentary Feature : HACKING HATE - unveils the dark web of far-right hate online Tribeca Special Jury Mention for International Narrative Feature : SAMIA - fiction based on the story of courageous Somali Olympic runner Samia Yusuf Omar Doc Edge Special Jury Mention for Best International Feature : INVISIBLE NATION - following Taiwan’s first female President Tsai Ing-wen as she champions her country’s democracy and freedom Doc Edge Impact Award : DEVI - one woman’s fight to survive and see justice for sexual violence in Nepal Incredible premieres and more on impact to follow! My Vingren Norsk filminstitutt Swedish Film Institute NEW MOON Films INDYCA Yasemin Şamdereli International Rescue Committee United Nations Department of Economic and Social Affairs Nike Better World Fund The Human Safety Net Paris 2024 - Comité d'organisation des Jeux Olympiques et Paralympiques de 2024 Ted Hope Vanessa Hope Ivan Orlic Seine Pictures #Taiwan Subina Shrestha Rosie Garthwaite Reem Alsalem Pramila Patten #CRSV An intimate story of one woman's fight for justice and reparations, Devi Khadka inspires and leads other women survivors of wartime rape to challenge the leaders of Nepal and expose the shameful truth about how sex abuse was used as a weapon of war. New documentary DEVI follows her story as she leads a grassroots movement pressuring the Nepal government to follow through on transitional justice commitments and shines a vital spotlight on Conflict-Related Sexual Violence (CRSV) survivors in Nepal and worldwide. In 2022, Think-Film platformed Devi on an international stage at the major Preventing Sexual Violence in Conflict Conference (PSVI) in London where she gave a keynote address to a room of policymakers and civil society. We also secured her testimony as the first-ever entry from Nepal in the UN Digital Book "Voices of Survivors of Conflict-Related Sexual Violence and Service-Providers", bringing Nepal back into the conversation. This #InternationalDayForTheEliminationOfSexualViolenceInConflict, we stand in solidarity with Devi Khadka in her mission to pursue justice for all wartime rape survivors in Nepal. DEVI resonated strongly with audiences in Canada, becoming a Top 20 Audience Favourite at Hot Docs Canadian International Documentary Festival. The film is now coming to New Zealand's Doc Edge film festival! Don't miss this incredible film and get your tickets here: https://lnkd.in/e7txQpHa Watch the trailer here: https://lnkd.in/e6rxy5Ud UN Digital Book here: https://lnkd.in/evtX9_ih Rosie Garthwaite Subina Shrestha #DeviDoc
4384	dbpedia	3	85	https://www.thinkfilm.de/panel/spacetime-i-theoretical-physics-and-film-klaus-wyborny	en	Spacetime I: Theoretical Physics and Film - Klaus Wyborny			[]	[]	[]	[ "Spacetime I", "Klaus Wyborny", "Thinkfilm", "experimental", "cinema", "film", "congress", "arsenal", "berlin" ]	null	[]	null	Transcript of a lecture by Klaus Wyborny at the Think:Film Congress Whenever I think about the relation between film and theoretical physics I feel quite alone. I have yet to meet someone in the film scene who understands what I'm aiming at and why it	de	https://www.thinkfilm.de/sites/default/files/favicon_0.ico		https://www.thinkfilm.de/panel/spacetime-i-theoretical-physics-and-film-klaus-wyborny	Transcript of a lecture by Klaus Wyborny at the Think:Film Congress Whenever I think about the relation between film and theoretical physics I feel quite alone. I have yet to meet someone in the film scene who understands what I'm aiming at and why it could be of any relevance. The only exception was the wonderful Hollis Frampton , but too soon he passed away, and that was that. On the other hand, when I talk to physicists they have serious problems understanding the complexity of the film medium. Let’s see if we can change that today. So the theme of my lecture is film and theoretical physics. Both are highly complex phenomena. And to give a short overview of what "physics" is, is meanwhile beyond anybody's capabilities. But "film" is a strange invention, too. The first thing I want to point out is that it has in the meantime completely changed its material base. It started with something we call celluloid, a mechanical thing, mechanical stuff. And now it's an electronic phenomenon. The material basis has been completely transformed. Despite that, our idea of film has stayed more or less the same. That's strange. Generally when technologies become obsolete the content the technology used to transport undergoes significant changes. So that's interesting. The second point is: When film was invented everybody was impressed by its ability to present motion. That was obviously a big plus in relation to photography. But it in fact just added the attribute of motion. The more important invention was installed three or four years later when different film strips were glued together. That happened by pure chance. If another material carrier had been the basis it wouldn't have been possible. But as film had sprocket holes and could be cut with scissors and glued together it became possible to generate "film programs". And when those programs, in which different space-time sections had been put together following some "idea", were presented to an audience, the audience had to cope with it. That was the origin of imaginative editing. Today we can clearly see that editing was a much more far reaching invention than the reproduction of motion was. Because by editing and discovering the potential of what I call "linear cuts", time constructions became possible that were very hard to achieve in other art forms. Literature has a bit of that potential, too, but that's all. What is a linear cut? Consider a person sitting in one space and you film it. Then you place him in a different location and film that, too. Splicing those shots together, one generates a linear cut. Seeing it, you think the person has moved from space one to space two. Because we inject the laws of physical causality into film for some reason, we assume that the person has moved and that he needed some time for that, a time not directly presented in the film. At the cut point there is a time jump. And that's something really interesting, because it made larger amounts of time accessible for the imagination. One could say that by film's potential of being edited it became suddenly possible to depict all the time in the world. And because it furthermore introduced the concept that one can depict large scale temporal developments it paved the way for the usual interpretation of Schwarzschild's symmetrical solution of Einstein's field equation, which is known to us as the big bang theory. Before that, everybody was thinking in terms of a static universe. So it might not have been pure coincidence that cinema came before the theory of general relativity. Something similar happened to Husserl's phenomenology. When he first described how we see objects - that was in 1911 - meaning the way we imagine for example the invisible backside of a cup while actually seeing only the front, his formulations were very insecure, almost obscure. The second formulation of 1926 was much clearer, and I think not only because he was a better writer then, but also because of the movies. For in most movies one has the experience that the camera looks behind an already familiar object in a later shot. And we compare that with what we have imagined about the object's backside before. So the phenomenological thought that we see more than what we actually see was meanwhile a widely shared commonplace experience, and formulating it in the framework of phenomenology had become much easier. That as an introduction. In both cases the movies made the access to new modes of thinking possibly a bit easier. But from now on we want to argue the other way around, and walk into areas where theoretical physics can offer some help, if we want to understand certain complex film phenomena. Before I really start I have to point out, however, that the physics I'll be discussing will not really "explain" those phenomena, at least not in a mathematical way. If you expect that, you will be disappointed. I will just present certain concepts, and then give some idea of how those concepts might be applied to certain confusing aspects of film, hoping to arrive at different, maybe fresher, ways of looking at them. So keep in mind that the transfer of ideas into the film medium will mostly be understood metaphorically. --- looped projection of Lumière's "Arrival of a train" So the new semester has just started, a reason to show Lumiere's "Arrival of a train" again. I don't know how often I have seen it, fifty times maybe, not as often as I've seen my own films, of course, but pretty often. The last time was probably 10, maybe 20 years ago, though. Showing it again last week I was amazed to what extent it was different from what I remembered of it. It's not that I suddenly saw things that I had never seen in it before, for in the course of the film I slowly remembered that I might have seen the stuff in previous viewings – but in the very moment I encountered the images again, I had completely forgotten most of the details. And that is very interesting because it leads us to the question: What do we remember of a film while we see it? Or what do we see at all when we see a film? In the case of "Arrival of a train" I definitely remembered the basic geometrical structure. I knew the train was going from right to left and to the front, I remembered people climbing out, I even remembered reflections on the train and I think a few trees in the background. Not much more. Last week I was above all overwhelmed by the multitude of people moving about the station, and the interesting ways people were dressed. I had thought there were only ten or a maximum of twenty. I had actually been at the station, where the train had been filmed in I guess 1896, in La Ciotat. While shooting my film "The Open Universe" in Marseille I undertook the effort to go there. For filmmakers it’s a magic place. It's hard to tell why, because the film was not part of the legendary first film presentation on the Boulevard des Capucines , but that doesn't seem to matter. For most filmmakers it serves as a metaphor for the beginning of cinema nevertheless. It was a boring station, though, not very interesting, eventually a train came in but it was electrically driven, and just one person got out. But even after the visit the film kept its magic. So I was thinking of that while I was watching it last week. I also realized another effect: While looking at specific details which I momentarily thought I had never seen before, I could not see any other details, I mean: at the same time. That is also very interesting. We can only look at one thing at a time. And that’s a problem, because when we see a film, we only see its images for a certain period. With paintings it's different: At the paintings in a museum we can look as long as we want. In narrative films the usual shot length is maybe three seconds. The Lumière film, well, despite the fact that I've seen it at least fifty times, I really don't know how long it is, well, maybe it's forty, fifty seconds long. That’s quite long for one shot, but we can look at paintings much longer. So the limitation of time forces us to be satisfied with an imperfect perception of the whole thing; it's never complete. One other thing is obvious: when something is moving in a film image, our eye almost by reflex gets attached to this moving thing. On the other hand we know that space is a very important quality of images. So we also try to at least get an idea of where the space might be, in which the picture had been recorded. But unfortunately we can only see one thing at a time when we watch a film image. So when we concentrate on the movement, we have only vague ideas about the space in which it takes place. And to concentrate on the space is only possible when we forget about the movement. That’s reminiscent of something one encounters in physics, something all of you have heard of. It's Heisenberg's uncertainty principle: If you want to locate a particle you can't at the same time determine its, to put it perhaps over-simply, velocity. Because if you want to locate the particle perfectly, you practically have to stop it. So in this case you have an uncertainty in the velocity. On the other hand, if you want to measure its velocity, it is not in one spot anymore. So there is a certain spatial uncertainty, and the product of the two, which was Heisenberg's discovery, is a constant. That's quite remarkable. For some reason something similar seems to happen in cinema. If your attention concentrates on a certain thing you have to neglect other things. If you concentrate on the movement you forget about the space. And the other way around: You can only concentrate on space when there is little movement in an image, let's say if you have a wide angle shot of a forest. Only when there is no spectacular motion-aspect is one capable of concentrating on the spatial quality. So I think there is an uncertainty principle at work when we watch images appear in a film. -- end of looped projection of "Arrival of a train" One could of course think, that the uncertainty will vanish if the shot is long enough. Now it’s a pleasure to have among us the magnificent movie master Michael Snow. Some of his films have very long lasting shots indeed. But for some reason one can't exhaust them, they become more and more complex the longer you watch. There are many miniscule things happening, and they all seem to superimpose. It's very hard to describe what's taking place inside you while you watch his films. In the avant-garde there was (and still is) a direction that concentrated on films with long lasting shots and quite slow developments within the image, especially in the ‘60s and early ‘70s. I guess it started with Warhol's work, but significant contributions were made by – to drop a few more names in addition to Michael Snow – Ernie Gehr, Barry Gerson and Larry Gottheim. And it was astonishing to realize how interesting they were, how inexhaustible. Another, almost opposite, direction used very fast editing, and in these films – I’d like to mention the work of Kurt Kren – it is amazing how much information we can collect when we see something that's edited very fast. To give you an example of that, I’ll show you a piece I shot in 1973, when I was interested in narrative editing. I wanted to explore how narrative editing worked. At that time there were no video recorders yet, so whenever you started to theorize about editing, you had to work with the memory of films you had seen, trying to recall how their editing operated. That was very unsatisfactory. So to overcome this handicap I sat in front of a TV with a Super-8 camera on a tripod and watched films on the regular programs. And whenever there was a cut in a chosen film I pushed the trigger and stopped the camera immediately after. So each time, at each cut of a movie, the camera registered three or four frames of the appearing shot. Each shot was thus kind of recorded, and at the end you can see the complete montage system of a chosen feature film within a few minutes. I suspected of course, that it might be impossible to see anything if you have just 3 or 4 frames of each shot. But then I was surprised that one could understand the whole film even in this concentrated form lasting just 2 or 3 minutes instead of the 90 minutes of the original. Let's look at one of the short versions now. It's part of a 100-minute work called "Elementary Film History", which I finished in 1974. ----- projection of the compact version of "Kiss of Death" (2 minutes) The original film of this section is Henry Hathaway's "The Kiss of Death", made in 1947, with Victor Mature. What do we see in it? We see how our attention is attracted by movement, of course. Like a reflex: whenever something moves – 4 frames seem to be enough – our eyes want to follow. But we see many other things. Mainly the montage figure you are watching now, which is called "shot-reverse-shot". It occurs very often, almost in an inflationary mode, I would say. And we see also that when images reappear, we go back to an almost identical framing. I call this the "dominance of the return-cut" in the narrative film formula. If you look at it in this fast form, there seems to be a formula behind it indeed. And the return cut is by far the most frequent cut. Now the physicist comes into play; as a physicist you want to find out what the formula might be. It's not that difficult to get a grasp of it. The regularity of it, that you cut back to the same framing, that the same patterns appear in different guises, all that makes it possible to develop an understanding of what narrative film editing is about. -- the film is still running Well, of course first of all it's about faces. Ah, look, Richard Widmark is in it, too. The face, and that you recognize faces, is the most dominant structure in narrative films. That has little to do with physics of course. But then there are always residues behind the faces, residues of something the physicist would call "space". A film is something that modulates "space" in the course of time. Oh, now we have reached the end: very important this title "The End", because it makes it clear that the film is finished. But let's get into loop mode and look at the film again. -- compact version of "Kiss of Death" is running from the start in loop mode now When mathematicians or physicists think about space, they usually think about "coordinates". Up to Einstein it was not complicated to attach coordinate systems to each space you saw. In wide angle shots, let's say here, in this room, it's easy to establish a coordinate system. And here you see that these total shots get decomposed into close-ups. And that there are two different kinds of cuts: most of them are "return-cuts", which go back to the same face again and again and again. And sometimes there is a type of cut in which the space is switched. These are the "linear cuts" we have already talked about. They are linear in the person we follow when he or she changes his or her location. See, here we are in a prison, and now, one of the persons moves to another space in a car. That was a linear cut, connecting 2 spaces. As a physicist you would immediately say that these cuts represent coordinate-transformations. Coordinate transformations are very simple mathematic structures. They have the wonderful quality that they are additive. So when you make a coordinate-transformation you can add another one. And you have a result. If you have a series of let’s say 5 coordinate-transformations, you can replace it by a single cut. You can calculate with it, so to speak. And you can make films much shorter. So it's not important how the coordinate-transformation actually happens. If you have a camera in position one, you can put in a box, take a taxi, make a big detour, go to location two, record location two. When you cut the two together, the viewer directly connects the two and it does not matter which path the camera took in between. Coordinate-transformations split up into simple translations and rotations. And another one is called "zoom", with which you magnify things. To a certain extent you can describe all the cuts you are just seeing on screen as space translations, space rotations, and zooms. There wouldn't be much of a mystery about it, if there were not the factor of time. Time makes the whole thing very complicated, because there is a time segment attached to each of these images. Sometimes you have time jumps, and sometimes you have the feeling that time passes smoothly, that it's continuous. In narrative films you usually have the impression, that there are hardly any time jumps. But these you register carefully. Most of the time, however, the action appears to be continuous. For example in shot-reverse-shot systems you seem to have zero time loss at each cut. Whereas in linear cuts, when you change locations, you often encounter time jumps. Because Richard Widmark's body needs some time to go from space A to space B. And because he can't be in two spaces at the same time. Quantum physics taught us that there are some things that have different properties. But narrative films usually describe classical bodies which behave properly. If you watch this 2-minute film a few times you get a clearer and clearer understanding of what a movie is. Actually after you have seen it a few thousand times I bet, ten percent of you could formulate a complete editing theory of the narrative cinema. Something you can discover in almost every film that can be seen on the screen, even today, something you can also discover in TV series. Of course most of the narrative stuff in TV is not as ambitious as an art film, but nevertheless you will observe most of the structures there, too. You could call it a universal pattern, one might even dare say (as many do) that there is a "language" hidden behind it. A universal language. I once met a person however – Grahame Weinbren – with whom I talked about "film language", and that it might have a grammar, and yes, that I possibly had discovered a grammar there, in this short film, which you are just seeing. But he said: "No, Klaus, that's impossible. In a grammar you have the word "no". It requires the word "no" and there is no word for "no" in cinema." And I think Grahame was right. A film image says "yes" all the time. No film image says "no". Film is affirmative. You trust that it's real. At least it's very difficult to construct the word "no" in cinema. Much more difficult than in a language, where saying "No" is the easiest thing. Maybe all languages started with the word "No", the rest of it is embroidery, are attempts to rationalize excuses. So the narrative structure I had discovered is just a structure, nothing more. Just as music is a structure, a certain way of structuring sounds in very specific ways, and not a language. There is no language of music and there is no language of film. So much for that. --- end of the looped projection of the compact version of "Kiss of Death" So this was an example of how theoretical physics can come into play when you analyze certain phenomena of cinema. Now we come to a field which is more complex. Going back in my memories, I remember several conversations with my friend Paul Sharits , most of them conducted casually while drinking in bars and so forth. In such talks filmmakers usually don't talk much about film, and if they do, it's generally just in the form of short sentences, very short remarks. But for some reason one keeps some of those remarks as precious jewels. And one of Paul Sharits's casual remarks, I think from the early ‘70s, was: "I hate cameras, I love projectors." That astonished me, because I thought the camera was at the heart of film production. But he said: "No, the camera bores me. Projectors are the really interesting thing." Well, at that time I of course thought he was just being provocative, but his remark had such a paradoxical ring that I kept thinking about it. And slowly I came to think Paul was right. Projectors are really the heart of cinema. So I came to think that a film is something in which a projector shoots particles at the viewer. The terminology is strikingly fitting: a projector is a "thrower", and films are ordered ensembles of so called "shots" whose impact on the audience is carefully calculated by filmmakers. All the time something is hitting the viewer from the screen. This "something" is modulated light that emerges from the projector, is reflected on the screen and reaches your eye from there. Exactly that was operating in Tony Conrad's and Paul Sharits's first films. In some of them there were even warnings that they might induce epileptic seizures. I refer of course to "The Flicker" and "Ray Gun Virus". And just as Paul's title suggests: in those films the projector was perceived as a "gun", shooting colored light rays (or rather light particles) at the viewer in order to see what would happen. Of course, one can't be satisfied with just, let's say in the extreme case, destroying the viewer’s brain by high energy flicker. As a trained physicist this reminded me of something. As a student I was working at "DESY" for a while, a so called electron synchrotron, an early form of the hadron collider that recently made the news in connection with the Higgs particle. In DESY we were accelerating electrons to high speeds and shot them on selected specimens of matter. Just to see what happens. So there was some parallel, for in Tony's and Paul's films we also have particles shot at a target, the particles being light particles, of course. But what was the target? First of all it is the human eye, naturally. But it's more than just the eye, it is the human brain, human consciousness, human perception. So I thought: "Hey, what if Paul's ‘ray gun’ does more than just throw colored light at the viewer, infecting his brain with a virus? What if the projector ejects particles which are images?" And what does a viewer make of it when those "image particles" contain objects he wants to perceive in the very moment they hit his brain? Could there be a connection between this type of setup and the scattering experiments I helped set up as a physicist? So in order to find out a few things about it I had to produce a film that could be used in such an "image-particle" experiment. At that time I also became interested in Beethoven, so I suddenly – it was 1977 – decided to make a film out of his last piano sonata , taking the music score Beethoven wrote and transferring its rhythmical structures into a visual form. Meaning I generated a shooting score of it, following Beethoven's tempo values plus his accellerandos, meno allegros and ritardandos. So the unmodulated allegro con brio with metronome 120 would mean a quarter note is 12 frames long, an eighth 6 and a sixteenth note 3 frames, etc. Using the single frame features of my Super-8 camera, I then made a film of it, right in the camera, so that for each note of the music a picture of the same length would pop up. When the film was finished (and screened of course at 24 frames per second) it turned out to be quite spectacular. For a while I was showing a silent version of it, because it was not so easy to play the Beethoven Sonata in a way that it would fit the tempo the changing film-images adopted. It actually took me almost thirty years of practice till I finally managed to perform something that could be approximately synced with my visual interpretation of Beethoven's score. But I finally managed, and if you look it at now, you will experience that the images really hit your brain like particles. So let's look at it, it’s the beginning of a 80-minute film called "Hommage to Ludwig van Beethoven", which I finished in 2006. --- projection of "op. 111-1" (8 min.), the first part of "Hommage to Ludwig van Beethoven" Well, thank you. So now you were part of a scattering experiment. Picture-particles got shot into your brains and generated all kinds of brain-particles. But what do you make of it? That's really the question. Even I have no answer, although I've made the film. And even though I've seen it maybe a hundred times. Also in this special case we encounter the question that arose in Lumière’s "Arrival": What does one keep in memory of a "film"? In this film the question becomes even more dramatic: So what have you kept in your memory? I think it's impossible to answer. Every one of you probably has a different memory of it. The only reliable answer that all of us can admit to is: "I remember that I've seen this thing." But you can't really say what you saw. One can of course remember a few structures, and denote some of them by certain words, but one knows immediately that these words describe just a minuscule amount of what was offered. In a certain way the idea of memory of a film becomes completely ridiculous in this case. What you remember most is maybe the surprising experience you had, and how it affected your body. In this film the unit is the shot: a more or less representational shot in which you can recognize a few things. Then the next shot appears, sometimes four frames long, sometimes three, two, sometimes twenty frames or even more. Of course one recognizes hardly anything in the very short ones unless they have some drastic graphic quality, only then you register recognizable stuff. In the shots lasting longer the images can be subtler. And having observed this we are able to proceed to a new chain of arguments, turning the screw a bit tighter: Let's try to find out what all films have in common. This film definitely had very fast editing. In narrative films the editing is, as we all know, considerably slower, you have cuts at an average of let's say three seconds. In some films the average shot length might be longer, of course, in action sequences the editing is often faster. Trying to find out what all films have in common I am again grateful for Paul Sharits's remark "I hate cameras, I love projectors." Nowadays projectors are almost museum pieces. The knowledge of how they work is not common knowledge anymore. On projectors you generally see 2 reels. On one, called the feed reel, is the part of the film which has not yet been projected. The other one is called take-up reel, on it you have the part of the film that was already shown. From the feed reel the film is transported by sprocket wheels that give stability to the transport, into something called "the gate". In the gate the light emitted by the light source hits and penetrates the film and from there the image is thrown at the screen, from where it hits your brain. In a certain sense the image in the gate is the present tense of a film. So you have the future on the feed reel, the projected past on the take-up reel, and the present tense in the gate. Now, what exactly is the present tense? It's something philosophers have argued about for a few thousand years. Even physicists are surprisingly insecure about it, as we have seen when we mentioned Heisenberg's uncertainty principle. In film it seems to be comparatively simple. The present tense is what is in the gate, it is presented to us by the picture you see at this very moment. Discussing Lumière's film, we have already found out, however, that we only get hold of sections of the projected image, our attention does not go beyond certain parts. That’s true also for films that have hundreds of shots, of course. But while we look at the parts that catch our attention in the present shot, we also have a memory of what is on the take-up reel, meaning of what has already been shown. In our brains we have definitely stored residues of that. The strongest memory is of course the memory of the preceding shot. To get an idea of what is taking place when we watch a film, we can use a simple model. Just assume that the new "picture particle" which is in the "gate of presence" is aimed at a "pool of impressions" that your brain has distilled from all the shots that have appeared before. And on the surface of this "pool of collected impressions" floats, as if on a raft, the last image you have seen, the preceding shot, the preceding event. The impressions of the other ones, of the shots having appeared before (meaning the ones that are now on the take-up reel), are much less distinct, they seem to have a somehow fluid aspect, that’s why we choose the metaphor of a "pool". As the memory trace of a film is not concentrated in an area with clear boundaries, the term "pool" of course lacks precision. So "sea of impressions" (which alludes to the well know "electron sea model" that proved useful in understanding electric conductivity) might be in some respect more appropriate, but then the model would lose some handiness. So let's stick for now with the "pool". So whenever a new shot gets into the gate, an "image particle" is ejected from there. Reaching the brain it hits the pool of impressions with a big splash. Doing this it hits the raft floating on top first. The raft (presenting our memory of the preceding shot) gets destroyed or it at least loses its distinctness, so that most of its structures disappear within a fraction of a second, while some remnants start sinking down. Meanwhile the present particle already works havoc in the memory-liquid, where it modifies and destroys a considerable amount of the impressions deposited there. As if a meteorite hits the sea a lot of the memory-stuff splashes out and gets lost. Having finished its destructive job – all this happens within half a second (and it keeps on going) – the picture particle drifts up to the pool's surface, forming a new raft there, which now floats on a "sea of changed impressions", getting more and more structure within its remaining projection time – till the next picture particle will be in the gate, by which the present raft will also be destroyed and the pool modified anew. So that works as model, an approximate model of what happens, when we see a film. I think it's true for all kinds of films, also the Beethoven film with the extremely fast editing. But it's also usable for narrative motion pictures. In each case you get impressions from images and they get modified or destroyed by the next shot. Somehow a pool of those impressions vaguely remains and when the film is over, the remaining pool plus the impressions of the last shot (preferably a happy end, because it feels good when it's superimposed on a film) is what you think you have seen when you leave the cinema. And this again is very interesting if you are a trained physicist. Because this model also has some resemblance with how scattering experiments in physics are set up. In them you also have particles being shot on something which often has a complex structure, and this structure gets destroyed or at least modified by the process. We have already observed that even watching a seemingly simple film like Lumière's "Arrival" is a complicated affair. You can't see the whole thing completely, because there are several uncertainty principles at work. In particle physics similar effects occur. In many cases the uncertainty principle also restricts the precision there. The processes taking place when high energy particles hit a target often become so complicated that it's practically impossible to describe them by a compact mathematical formula. That's why one restricts the physical analysis to an analysis of the incoming particles and the outgoing ones. The function that compares incoming and outgoing particles is called "scattering matrix". And in many areas of contemporary physics the scattering matrix represents the ultimate knowledge you can get out of an experiment. Because the uncertainty principle is in the heart of matter and it's impossible to really describe what is taking place in all its minute details. At the core of all things is an unstable, unimaginable boiling process, which by principle is not describable. Generally one can say that whenever you realize that something like an uncertainty principle is at work, then the only way to get to a reliable understanding of what's taking place is by examining the scattering matrix. Now, what is the scattering matrix in the case of film? The simplest model we find in early film history again, in the period where you had only total shots of the locations in which the action takes place and no close-ups. In those early films you usually see the present location, let's say a room, then a few people would enter, they interact, and then they leave. Obviously that is a scattering process, the incoming particles being the persons entering the room, the outgoing particles the people leaving it. The scattering matrix would describe how they have been changed by their interactions. These changes can be obvious, for example if a person gets terribly wounded, or so subtle that one hardly notices a change. But even then there must have been some change, otherwise the shot was useless. One can say, the reason for a scene appearing in a film is always that it induces subtle changes in the acting persons. Otherwise the scattering matrix of this particular shot would be trivial and the shot superfluous. In the case of the Beethoven film the impression pool is quite chaotic. The new shots almost destroy the past impressions, only very little remains of them. Also every viewer has his own pool, so to speak, everybody sucks different impressions out of the film, dependent on his personal capabilities and his momentary psychological disposition. In narrative features it's different, the impression pools of narrative films have a certain stability, and that’s why every viewer stores approximately the same impressions of certain aspects appearing on screen. Narrative stability is exhibited in 2 layers. In the first, all the locations the viewer has seen in the preceding shots form a compositum, usually a connected fabric of spaces, almost in the form of a geographical map. And in the second layer he registers the characters that have entered those entangled premises and how their dispositions get changed by their interactions. When a new interaction takes place for the same person, the changes add up. So what is the scattering matrix of a whole film? Very simple. In our deliberations of what happens in a single shot, we have to replace the location, in which the interaction takes place with the entangled fabric of spaces generated in the course of the film. And then you have to consider the changes that have affected the characters acting in it. Again you have their state when they first entered the movie, and the state in which they left it. So each movie is a scattering experiment with actors, and the changes in their dispositions are described by a scattering matrix. If you like, it presents the "content" of a film. That’s of course just the final situation, when the film is finished, meaning when it's completely on the take-up reel. When it's still entirely on the feed reel, one doesn't even know the actors and of course all the spaces that will appear are also still unknown. You might have a speculative idea of it though, because you might have heard about the film, in an advertisement or from friends, or because you have an idea of what kind of movie a specific actor prefers to perform in. But there is no actual scattering matrix yet. Just as the impression pool is a function of the projection time so is the scattering matrix. If you stop the film in the middle, you have only memories of the actors that have appeared up to this point. And how they have changed until "now". All this is expressed by the "momentary scattering matrix". As soon as the projector starts again, this momentary matrix gets modified by what happens in the next shots, more or less according to our "pool model". Interesting is how the composite space-fabric gets constructed in the course of the film, thus giving us a "realistic" playground for what is affecting the actors. This space construction can of course be described with the help of space-time coordinates. Which brings us back to "The Kiss of Death" and the editing theory we talked about. The developing space-time fabric is constructed mainly by linear cuts. Return cuts use this fabric and give a ground for what is described in the scattering matrix. Well, I hope I haven't overstrained your attention. If you became interested in it, you can read more in my editing theory book. The last 100 pages of it deal with the aspects we have just talked about, relating them to Feynman Graphs and a mathematical field called topology , but that’s beyond the scope of this talk. One might of course ask if that's not a bit too complicated. After all, film is just an industrial commodity, put out by thousands of small companies generally not run by geniuses. So there shouldn't be much of a mystery behind it. And the rules used to fabricate those films can't be very complex. Well, I think that’s true with respect to "making" films, at least to a wide extent. Most films are made following very simple rules. But don't forget that we have described what a "viewer" makes of it. And that is something that takes place in our brains. So what we described is our perception of a projection of what was "made" following simple rules. There the whole territory of our brain comes into play. And one of the great mysteries of cinema is that each viewer has to perform the act of seeing without the help of others. Brakhage has expressed that very precisely by calling one of his films "The act of seeing with one's own eyes". Well, at present nobody knows how a film is stored in our brain and how the brain manages to make something out of it. But we have at least developed a plausible model. I doubt that neuroscientists are capable of presenting a simpler one. And more than that: I'm afraid a simpler one will never be available. But again: why bother about something that will become obsolete soon? Meanwhile it's obvious that the mechanically based cinema with its celluloid, its projectors, showrooms and reels will have no future. And here I come back to the opening statement of my talk, where I mentioned that "film" has managed to change into an electronic phenomenon without changing its character. I'm afraid the narrative film-form that was developed in the last century, with all its editing strategies and cuts and scattering matrices and so forth, will remain with us, will remain with humanity for at least a few thousand years, experiencing (and surviving) several more transitions of its material base. To a great extent its future is still hidden from us on the feed reel, so to speak, in the future of our civilization. But in the gate of presence we continuously get glimpses of it – and we leave them behind us on the take-up reel of our past achievements. Thank you. *** thrown out: OK, so I think we agree that it's quite complicated. The film was shot in 1977/88 with a single frame Super-8 camera in locations where I grew up as a boy. That made shooting easy because I felt at home. It looks like a lot of work but it was actually not that much. The work energy put in was nothing compared to what an experimental physicist has to invest if he wants to prove a hypothesis. It took me hardly two weeks. Each day I went to the locations I had chosen at ten o'clock in the morning. With me I had my script, based on Beethoven's score, and then I was just, you know, a little bureaucrat, clicking on my camera, all the time counting single frames, hoping not to make mistakes while putting filters in front of the lens for certain shots, making fades, all that kind of stuff. The next day I went there again and so forth, and within three weeks it was finished. After this I had enough confidence to get busy with the second movement of "opus 111", which of course is also part of the "Homage to Ludwig van Beethoven". For that I filmed "three voices", three layers of rhythmically edited images, whose rhythms I derived from Beethoven's score. After the shooting was finished I superimposed them with an optical printer. The result turned out to be even more spectacular than the film you just saw, of course. But that is not the point, at the moment. Let’s rather come back to our question "What do we see in a film and what do we remember?"
4384	dbpedia	3	93	https://www.moviemaker.com/auteur-seeks-complex-character/	en	Auteur Seeks Complex Character	https://www.moviemaker.c…s/directing1.jpg	https://www.moviemaker.c…s/directing1.jpg	[ "https://www.moviemaker.com/cdn-cgi/image/quality=80,format=auto,onerror=redirect,metadata=none/wp-content/uploads/2023/01/mm_site_logo-2.svg", "https://www.moviemaker.com/hop/issues/40/images/directing1.jpg" ]	[]	[]	[ "" ]	null	[ "Tim Molloy" ]	2021-05-22T11:21:18-07:00	For many moviemakers, the traditional characters of the protagonist and the antagonist are clear-cut. But writer-director David Jacobson has proven that	en	https://www.moviemaker.c…MM_favicon-2.jpg	MovieMaker	https://www.moviemaker.com/auteur-seeks-complex-character/	For many moviemakers, the traditional characters of the protagonist and the antagonist are clear-cut. But writer-director David Jacobson has proven that he’s anything but a traditional moviemaker. First gaining attention with 2002’s Dahmer, a brilliant character study depicting the life of serial killer Jeffrey Dahmer, Jacobson secured his position as a new and important voice in independent cinema with three Independent Spirit Award nominations. Now, with Down in the Valley, Jacobson is crossing character lines once again. With Down in the Valley’s release date just a few weeks away, Jacobson spoke with MM about working with Edward Norton, why test screenings do more harm than good and the joy that lies in writing characters that cannot be easily pinned down. Lily Percy (MM): Dahmer, your second film, focused on the life of serial killer Jeffrey Dahmer; Down in the Valley tells the story of Harlan, a mysterious and ultimately delusional cowboy. Both films are thoughtful character studies. What draws you to direct these kinds of films? David Jacobson (DJ): I have to admit that part of me identifies with these lost and broken people. On a story level, I like good bad guys and bad good guys. Morally complex characters make things more unpredictable, which makes the story more absorbing. On yet another level, there is enough of the old good versus evil dichotomy in our daily politics. We used to go to the movies to escape to a simpler world. Now it is up to filmmakers to complicate things and remind people the world is not really just divided between “freedom lovers” and “freedom haters.” MM: You also wrote the script for Down in the Valley. Where did the story come from? DJ: This story slowly bubbled up out of the depths of my unconscious, like a dream of my nightmarish youth. I started writing a story based on my childhood growing up in the San Fernando Valley, and then, from I don’t know where, this character of Harlan Fairfax Carruthers wandered into my head. Harlan kept making the story veer off in strange and unexpected ways, and I often followed. MM: The version of the film that was shown at the Cannes Film Festival last year was a longer cut than the one that is being released in theaters. This is a standard process for any film but how, as both writer and director, do you decide what to leave in and what to take out? How much do test screenings factor into your ultimate decision? DJ: I have never really done test screenings in the true sense of the term. I show rough cuts to people I know and with whom I can discuss their thoughts and feelings. Unless you’re doing a genre film where you’re looking for a very consistent response from an audience (laughter, fear, suspense, etc.) you want to really know the people who are giving you feedback. It sounds obvious, but I have gotten savaged by people and felt terrible about it until I found out who they were. MM: In addition to starring in the film, Edward Norton also serves as a producer. How did you come to work with him? DJ: I have always loved Edward Norton’s work. He is one of those special actors that can be a leading man, but still sink into the role like a character actor. He reminds me of actors like Henry Fonda and James Stewart. Those guys could do anything: big parts, small parts, drama, comedy. Edward has this mercurial quality that lets him play the edge—perfect for the role of Harlan. I was thinking of him even as I was writing the script. My producer, Holly Wiersma, got the script to Edward’s agent. Even though I had a little bit of traction from the reception of Dahmer, it was pretty much a crap shoot, even more so because Edward was wrapped up in one of his own writing projects at the time and was not too open to reading. After waiting for a month we were about to give up on the idea when, lo and behold, Edward’s agent called and said Edward liked it and would like to meet with me. It still took a fair amount of back and forth about it—I certainly needed to gain Edward’s confidence. Once I did, he was a great creative collaborator and also a great advocate for the project. He did everything he could to protect my vision. MM: David Morse and Bruce Dern are two of the most gifted character actors of our time and Evan Rachel Wood and Rory Culkin are two of the most promising young actors of their generation. What was the casting process like? Did you have actors clearly in mind as you were writing the script? DJ: This is a good question because casting Down in the Valley was a big challenge to me. In my other films, I was able to audition many people to find the perfect person to fill each role. Some people might see this as a disadvantage or even a big bummer, but I really like to do that. I like the hunt and the excitement of finding incredible new talent, like Jeremy Renner (who played Dahmer) or Artel Kayaru (who played Rodney in Dahmer). Since casting is so important to the process of making a film, I also enjoy that sense of control. So when I got to Down in the Valley, and I was suddenly being asked to cast from known, bankable talent in order to finance the film; it was very different. You are not going to sit down with these actors and have them read your scenes and do two or three callbacks. You have to use your imagination, based on seeing them in other things they’ve done, and just figure they are so darned good that they can do anything. Then you have to factor in people’s schedules, rejections and the financiers’ concerns. The talent pool can turn into a little puddle. I was never told who to cast, but I was told a couple of times who I could not cast. In the case of Down in the Valley, I was lucky; I ended up with an incredible cast that pleased both the financiers and me. It definitely helped to have Edward signed up. He is the kind of actor that other actors are interested in working with. MM: There are elements of both fantasy and romance at the center of Down in the Valley, and the gorgeous look of the film, which is filled with soft lenses and warm tones, helps to bring that to the screen. What was the film shot on? How do you choose between digital and film? DJ: Even though the film tells the story of a contemporary family living in the San Fernando Valley, I wanted it to have the look of an old western. In some sense, you gradually see the world more and more through the eyes of Harlan, who recedes deeper and deeper into his western fantasy world. In order to give the film that look and feel, we chose to shoot 35mm anamorphic. It really transforms this bleak, paved-over suburban world into a more dramatic, epic landscape. Although it is a film that could have read as a very small, gritty independent film, I think it transcends that in the way it is shot. I love how it looks and hope that DP Enrique Chediak and production designer Franco-Giacomo Carbone get praise for the great work they did. MM: What can we look forward to next from you? DJ: I am currently researching and writing a new script based on a true crime story that takes place in a Louisiana prison in the 1970s and ’80s. It is about an amazing man who transforms his life into a unique and inspiring example, while trying to survive in the utter hell of what was at the time America’s most violent prison. Even though it will be my first story about a hero, he is a hero who did something very bad at the beginning of his life, so it should still mix things up and bother some people.
4384	dbpedia	2	88	https://deadline.com/2019/05/quiver-distribution-launch-berry-meyerowitz-jeff-sackman-movies-1202614186/	en	Berry Meyerowitz & Jeff Sackman Launch Film Indie Quiver Distribution	https://deadline.com/wp-…97983.jpg?w=1000	https://deadline.com/wp-…97983.jpg?w=1000	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://deadline.com/wp-content/uploads/2024/07/Paramount-Jeff-Shell.jpg?w=380&h=212&crop=1", "https://deadline.com/wp-content/uploads/2014/06/patrick-hipes.jpg?w=60", "https://deadline.com/wp-content/uploads/2019/05/berry-meyerowitz-jeff-...	[]	[]	[ "" ]	null	[ "Patrick Hipes" ]	2019-05-14T16:00:45+00:00	Phase 4 Films founder and ex-eOne exec Berry Meyerowitz and onetime Lionsgate Films president Jeff Sackman have launched Quiver Distribution	en	https://deadline.com/wp-…e-touch-icon.png	Deadline	https://deadline.com/2019/05/quiver-distribution-launch-berry-meyerowitz-jeff-sackman-movies-1202614186/	Phase 4 Films founder and former eOne exec Berry Meyerowitz and onetime Lionsgate Films president Jeff Sackman have teamed to launched Quiver Distribution, with a plan to acquire, market and exploit films across all platforms in the U.S. and Canada. The company already has two titles in the pipeline at launch: the John Travolta suspense thriller The Fanatic, to hit theaters September 6, and the Nicolas Cage-Laurence Fishburne action thriller Running With the Devil, which will bow September 13. (Both pics are on offer for international buyers at the now underway Cannes film market.) Quiver, based in Los Angeles and Toronto, solidifies a team-up of the past 2 1/2 years, during which time Sackman and Meyerowitz have collaborated with producers to help finance and sell feature films to the likes of Netflix, Amazon, Hulu, Sony and Paramount. “Our collective experience and relationships will bring value to all constituents,” the pair said in a release announcing the launch. “Quiver Distribution will capitalize on the emergence of new platforms by providing entertaining and star driven films for consumers, no matter where they choose to watch them.” Watch on Deadline Also joining the Quiver team is Sean Monson, who will oversee finance and operations, and Larry Greenberg, who will oversee acquisitions and U.S. distribution. Meyerowitz sold his Phase 4 Films to Entertainment One in 2014, becoming head of eOne’s U.S. Film business. Sackman was the first President of Lionsgate Films and later launched and led ThinkFilm. He most recently ran Tajj Media Services, which focused on consulting, producing and executive producing.
4384	dbpedia	1	49	https://ca.news.yahoo.com/netflix-finland-aurora-jump-bordertown-072006801.html%3Fsrc%3Drss	en	Netflix, Finland’s Aurora Jump Into ‘Bordertown – The Mural Murders’ (EXCLUSIVE)	https://media.zenfs.com/en/variety.com/183025e7491eb08b844f652876bdac56	https://media.zenfs.com/en/variety.com/183025e7491eb08b844f652876bdac56	[ "https://ca.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-CA-en-CA-def%2Cseamless&code=pageRender&device=desktop&lang=en-CA&pageName=deeplink&region=CA&rid=4mvc0etjbp0n5&site=news&t=1723630309240", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/st...	[]	[]	[ "" ]	null	[ "Elsa Keslassy" ]	2020-09-25T07:20:06+00:00	Netflix has acquired the Finnish movie "Bordertown – The Mural Murders," a spinoff of the popular Nordic crime series which is now in its third season. Produced by Matti Halonen and Johannes Lassila at Fisher King, "Bordertown – The Mural Murders" will start shooting next month and will be released theatrically in Finland by the […]	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.yahoo.com/entertainment/netflix-finland-aurora-jump-bordertown-072006801.html	Netflix has acquired the Finnish movie “Bordertown – The Mural Murders,” a spinoff of the popular Nordic crime series which is now in its third season. Produced by Matti Halonen and Johannes Lassila at Fisher King, “Bordertown – The Mural Murders” will start shooting next month and will be released theatrically in Finland by the newly-launched distribution banner Aurora Studios. Netflix has global rights to the movie outside of Finland. The movie brings back “Bordertown”‘s key cast, Ville Virtanen, Anu Sinisalo and Sampo Sarkola. The screenplay is written by Miikko Oikkonen and Antti Pesonen, and Juuso Syrjä will direct. The plot of the movie follows brilliant police investigator Kari Sorjonen chasing his arch enemy Lasse Maasalo. The movie is set against the backdrop of a social media voting contest in which people have voted on without whom the country would be better off. When three of the most-voted people disappear, Sorjonen is asked to come back to work to investigate the hate crimes. “We are extremely excited to launch to movie theaters the award-winning and critically acclaimed Bordertown, which has been one of the top Nordic noir IPs,” said Antti Toiviainen, the CEO of Aurora Studios. Matti Halonen, the Executive Producer of the film at Fisher King, said ”Bordertown is a big audience movie, and Aurora Studios is going for a nationwide theatrical release in autumn 2021.” “It is also truly excellent that we have signed a worldwide distribution agreement with Netflix which means that probably for the first time ever, a Finnish-language film will be shown all over the world, from US to Australia,” added Halonen. The filming of “Bordertown – The Mural Murders” will take place in and around Helsinki, the capital of Finland, under strict sanitary guidelines. “Bordertown – The Mural Murders” is financed by Yle, Netflix, Aurora Studios, Business Finland and the Finnish Film Foundation. More from Variety How Reality Hits Like 'Survivor,' 'The Circle' and 'Love Is Blind' Inspired Online Role-Playing Games During the Pandemic 'Cuties' Controversy: Surge in Netflix Cancellations Was Short-Lived, Data Shows TV News Roundup: Netflix Debuts 'The Queen's Gambit' Trailer Best of Variety The Best Comedies on Netflix to Watch Right Now Everything Coming to Netflix in September What's Coming to Disney Plus in September 2020
4384	dbpedia	2	0	https://www.nytimes.com/2014/01/06/business/media/thinkfilm-a-short-lived-but-wily-distributor-still-influences-industry.html	en	Lived but Wily Distributor, Still Influences Industry	https://static01.nyt.com…9e3&k=ZQJBKqZ0VN	https://static01.nyt.com…9e3&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2014/01/06/business/thinkfilm1/thinkfilm1-articleLarge.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Michael Cieply", "www.nytimes.com", "michael-cieply" ]	2014-01-06T00:00:00	Alumni of ThinkFilm have become a force in an industry that has been learning to think smaller, make do with less and live more by wit than a fat bankroll.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2014/01/06/business/media/thinkfilm-a-short-lived-but-wily-distributor-still-influences-industry.html	LOS ANGELES — In two weeks, the feisty operatives of an ever tighter, tougher independent film business will gather at the annual Sundance Film Festival. Perhaps the toughest of the lot are the survivors of ThinkFilm. ThinkFilm, a small, short-lived movie distributor, briefly took the indie world by storm with provocative fare like “Half Nelson,” about a drug-addicted high school teacher, and “Taxi to the Dark Side,” a documentary about the use of torture in the American war on terror. When it closed most operations in 2008, as financial carnage hit the independent film business, it seemed destined to become just another relic of the art-house movement. Yet ThinkFilm’s influence lives on. Its alumni have become a force in an industry that has been learning to think smaller, make do with less and live more by wit than a fat bankroll. Nearly a dozen companies, many of which will be wheeling and dealing at Sundance, are rooted in the diaspora created by ThinkFilm’s demise. Some, like Long Shot Factory, are in the vanguard of a digitally sophisticated do-it-yourself movement. Others, like Tajj Media, run by a co-founder of ThinkFilm, Jeff Sackman, have narrowed their focus to an audience segment or business niche; Tajj Media, for instance, helps filmmakers find government subsidies. These companies’ vigor underscores the maturing of the independent film business. Once populated by young film school graduates turning out productions on the fly, the industry now includes experienced filmmakers and entrepreneurs. As Sundance turns 30, it is these survivors who are forming the backbone of a more seasoned indie community. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
4384	dbpedia	3	46	https://www.tcm.com/tcmdb/person/186253%257C62548/Gloria-Stuart/	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	http://prod.tcm.com/unavailable/	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
4384	dbpedia	3	31	https://progressiveproductions.eu/insights/hungary/hungarians-in-hollywood	en	Hungarians in Hollywood	https://res.cloudinary.c…/bela-lugosi.jpg	https://res.cloudinary.c…/bela-lugosi.jpg	[ "https://cdn.progressiveproductions.eu/assets/logo/orange/figure_orange.svg", "https://progressiveproductions.eu/assets/orange/progressive_productions_orange.svg", "https://cdn.progressiveproductions.eu/assets/icons/scroll_down.svg", "https://progressiveproductions.eu/assets/orange/progressive_locations_orang...	[]	[]	[ "" ]	null	[ "Progressive Staff" ]	2017-06-15T11:00:16	These stories of the numerous Hungarian filmmakers and artists who moved to Hollywood and became defining figures of the film industry will surely inspire you.	en	https://cdn.progressivep…cons/favicon.svg	Progressive	https://progressiveproductions.eu/insights/hungary/hungarians-in-hollywood	WILLIAM FOX, the Founder of Fox Film Corporation William Fox, who was born as Fried Vilmos in 1879 in a small Hungarian village called Tolcsva, worked as a producer and founded Fox Film Corporation. When he was just nine months old he and his family emigrated to the United States because they could not make a living in Hungary. There they changed their names to Fox, their mother’s maiden name. As he was so young when they moved, Fox never learned to speak Hungarian. He grew up on the worst streets of New York and had to start working at the age of 8 as a servant in a lavatory. In the States he had eleven siblings but only six of them survived because of their poor conditions. He even stopped going to school at the age of 11. He later started working as a salesman in the fur garment industry, but after saving up a few thousand dollars he got out and invested in the film industry by buying a nickelodeon in Brooklyn. By the end of the year he owned a whole chain of them as well as a production company which was the start of his empire. He laid down the foundation for the Hollywood studio system by organizing Fox Film Corporation and the Fox West Coast Theatres chain, creating the star culture, and for freeing the industry from Thomas Edison’s monopoly. During his work in Hollywood he hired many Hungarian actors, writers and creatives with whom he worked closely. Although he never returned to Hungary, he sent a news filmmaker to his hometown to shoot some footage, which he later showed to his family in the States. In 1999 a memorial tablet was made in his honour that hangs on the wall of Fox Film Studio’s screening room, and is made of the famous Hungarian Herendi porcelain. His former home has just been recently discovered in Tolcsva, and is waiting to be rebuilt into a Museum in his honour which is expected to highly boost the tourism of this little town. He contributed greatly to the art, technology, and business of the film industry. Up to this day he is considered a pioneer in the film industry. Due to the stock market crash of 1929, alongside several legal issues, as well as a car accident forced him into a long struggle to fight bankruptcy and eventually Fox lost control of the Fox Film Corporation through a hostile takeover in 1930. In 1941 he even served a few months in prison for bribing a judge during the liquidation of his holdings. After that, Fox was forced to retire from the film business as he was blacklisted. He died in 1952 at the age of 73 in New York. None of his former film industry colleagues attended his funeral. Even though he had to sell his interests in the ’30s, his legacy lives on in the name of 20th Century Fox and his films that influenced the lives of millions. ADOLPH ZUKOR, the Founder of Paramount Pictures Adolph Zukor became one of the fathers of the Hollywood film industry by founding Paramount Pictures. He started from nothing, but he accomplished everything he ever wanted to. Thanks to his hard work he became one of the founders of the American film industry. He was born in a Hungarian town called Ricse in 1873, where his parents owned a small shop. He became an orphan at the age of 7. He was an exceptional student, but had to start working at the age of 12 while still attending night school. When he turned 15, he decided to travel and emigrate to the United States completely alone. At that time he just finished elementary school and never went back to high school afterward. With just a few bucks sewed into the lining of his coat, Adolph Zukor arrived in New York in 1889. Once in the states, he first took a job he could get at a furrier. In his free time he played baseball, and constantly sang Hungarian songs with other immigrant boys. Over the years he saved up a few thousand dollars, and returned to Hungary for a visit, after which he married Lottie Kaufman, who was also a Hungarian immigrant. In the 1910s and 20s his career reached its peak, he became one of the most influential people in Hollywood by founding Paramount Pictures and building a whole realm of cinemas and studios around it. But even then, he always kept in touch with his hometown. He even sent money to build a school in Ricse, and to the people in need. He helped his hometown in any way he could. Although he spent most of his life in the United States, he never forgot his hometown and country, where he came from. Perhaps the most expressive and famous legend about him is that he had an inscription on the wall of his office that said: “It is not enough to be Hungarian” - to which he was quoted to add in a low voice: “but it may help.” In 1932, Paramount went bankrupt and Zukor left his role as president and became chairman of the board. Adolph Zukor was a pioneer in the industry, he saw the future and possibilities of the motion picture before most people did. Zukor even got an Academy Award in 1949 for his life achievements. He wrote his memoir in 1953, which is called The Public Is never Wrong. He retired from Paramount in 1949, but held the role of chairman emeritus until his death in 1976 at the age of 103. Today, Paramount is the fourth oldest surviving film studio in the world. Curtiz was born in 1886 in Hungary where he later studied the art of filmmaking and directing. Curtiz decided to leave when the Hungarian film industry was nationalized in 1919. He first worked in Vienna and moved to America in 1926, where Jack Warner hired him as a director. In the States he directed many classics like The Adventures of Robin Hood, Mildred Pierce and of course Casablanca, for which he won the Academy Award for Best Director. Even today the American Film Institute considers Casablanca as the third greatest American movie ever made. But this wasn’t his first Oscar nomination. He had been nominated four times before for Captain Blood, Angels with Dirty Faces, Four Daughters and Yankee Doodle Dandy. Curtiz also worked with such actors as Elvis Presley, Errol Flynn and Humphrey Bogart. He never fully learned English which is a huge part of the anecdotes of him. The most famous story of him is that during a shooting he said: „Bring on the empty horses!” by which he meant bring the horses without riders, but it made his colleagues laugh very hard. His most successful period was when he worked for the Warner Brothers and after the 40s, when he tried to become a freelancer, his career began to decline. Still, he continued directing films until his death in 1962. During his career he directed more than 50 films in Europe and more than a hundred in the States. Andrew G. Vajna, the producer of Rambo and Terminator Andrew G. Vajna, or as many simply call him Andy Vajna, was one of the most important Hollywood producers of the second half of the 20th century. He was the executive producer of the Rambo series, Terminator 3-5, Die Hard with a Vengeance and Evita, as well as the founder of Carolco Pictures and Cinergi Productions. Although he reached such success in Hollywood, the beginning of his life was extremely tumultuous. In 1956, after the defeat of the Hungarian Revolution by the Soviet Army, he emigrated to the U.S. at the age of 12 with the assistance of the Red Cross. The experience of his parents allowing him to leave to start a new life alone on another continent at such a young age, unquestionably had an enormous influence on his personality, forming it to become driven, inventive, innovative and fearlessly enthusiastic. After learning English, he went on to study cinematography at the University of California. But instead of diving into the film industry, he started to work as a hairdresser and then went to Hong Kong to start a high-quality wig business, which became a huge success. Selling his company in Hong Kong gave him the financial stability to purchase cinemas in the Far East and to start Panasia, a highly profiting venture dealing with film distribution. He then sold this company of his, to found Carolco Pictures with Mario Kassar in 1976. Starting as a small office with only the two of them and their partners as secretaries, they set out to deal with distribution, funding and selling films on a global scale. Alongside his Hollywood success, he always sought to connect with Hungary, even before the political change. He was one of the first to bring large scale Hollywood productions to Hungary when as the producer of Red Heat, he took the crew and cast to the other side of the Iron Curtain in 1988. With the political change only a few years away, the change was more tangible in Hungary, making shooting easier here than in Moscow, where they were denied filming permits even for one scene. But Andy’s recklessness was not stopped by that; the most important members of the crew flew to Moscow, where they illegally shot a scene in the Red Square. The production of the film in Hungary was significant because it gave opportunities to many Hungarian actors and generally offered an extraordinary experience for the inhabitants of Budapest to witness a Hollywood production in the making for the first time in their lives. After selling his part of Carolco due to disagreements with his partner, Vajna founded Cinergi Productions in 1989, so that he could continue his passion of independent film production and distribution, which he based on close relations with his creatives partners. But Vajna continued to be on good terms with Carolco and even collaborated as producer of Terminator 2, another of the company’s landmark movies. Vajna’s Cinergi participated in distribution with The Walt Disney Company for nine years. He produced some key films through this company, such as Die Hard with a Vengeance, the third movie of the series, that gained the largest box office success of 1995. He also bought the rights to the story and produced the enormously successful historical musical feature film Evita in 1996. The brilliant super-production stars Madonna as the Argentine president's wife for which she received a Golden Globe for Best Actress, and the film also received awards for Best Picture and Best Original Song. Next to filming on location in Buenos Aires, many key scenes were filmed in Budapest as well. In this period he also worked on other productions with countless other star actors like Anthony Hopkins, Sean Connery and Danny DeVito. But regardless, many of the films were not able to gain a sufficient amount of financial success, leading to the company closing in 1998. Lately, a heated debate has evolved surrounding Szabó, since the Hungarian Filmacademy Association has given him a lifetime achievement award in 2020, but a well-known Hungarian historian stood out against this due to Szabó’s spy activities from 1957 to 1963. After the political change, the Hungarian public learned that he wrote reports on the anti-government activities at the Hungarian Film University and specifically on his classmates. After graduating, he continued to report on his fellow directors and actors with whom he collaborated. This was during the period of retaliation after the 1956 revolution when imprisonment and executions were everyday matters in the dictatorship. Following finishing his spy activities at the age of 26, he was constantly granted opportunities to shoot feature films in an era when other talented filmmakers had to wait many years to shoot if they were not collaborative with the Communist Party. The news of Szabó’s activity as a communist informer broke in 2006, but he and many others stated he reported with the intentions of defending people. Regardless of his intentions, it is a truly relevant question, whether a director’s film lifetime achievements can be awarded to someone whose first half of his carrier was supported by a dictatorial system, due to his secret reports against his fellow filmmakers. The wider public is provided only limited access to the archive of reports, which makes it quite impossible to be able to certainly decide whether Szabó’s reports were made with good intentions or not. And Many, Many Others... We could introduce countless Hungarians who work or worked in the Hollywood film industry, but unfortunately we only have space and time to mention a few more. You might know that the protagonist of the legendary Some Like it Hot with Marilyn Monroe, Tony Curtis, was also Hungarian. You might know that, because in the last few decades of his life he took great interest in his Hungarian heritage, along with her daughter, Jamie Lee Curtis. His parents were born in Hungary but emigrated to America. Curtis himself could only speak Hungarian until the age of six, which made it difficult for him to start his schooling. With her daughter, Tony Curtis even helped finance rebuilding the Synagogue of Budapest in the 1990s. He also founded the Emanuel Foundation for Hungarian Culture. Furthermore, he promoted the tourism of Hungary in several commercials. If you are a fan of the classic Hollywood, you might have heard about George Cukor, the master of romantic movies. Yes, he also had Hungarian blood running through his veins. His parents were also immigrants from Hungary, but Cukor himself was born in New York. He directed such cult classics as The Philadelphia Story, My Fair Lady and Romeo and Juliet. He is also known for playing a huge part in Katharine Hepburn’s rise and success. Frank Darabont is an American director, screenwriter and producer of Hungarian heritage, whose life story is a typical example of the adventurous and dangerous lives of the Hungarian emigres of the 1956 Revolution. His parents had to flee the country with the infant Darabont hidden in a picnic basket, according to his recollection, arriving in Chicago and then Los Angeles at the age of five. He grew up to become a filmmaker nominated for three Academy Awards and a Golden Globe, renown for adapting Stephen King’s works, such as The Shawshank Redemption, The Green Mile, and The Mist to screen. Darabont is also widely respected for developing and executive producing the first season of The Walking Dead horror series and creating the neo-noir TNT series Mob City. Joe Eszterhas, screenwriter, who after being born in a Hungarian village, ended up in an Austrian refugee camp during the Second World War and then moved with his family to the poor immigrant area of Cleveland, New York. In the 1970s he worked for Rolling Stone and wrote his first screenplay for F.I.S.T. starring Sylvester Stallone. He continued to write the scripts of such cult films as Basic Instinct, Flashdance and Jagged Edge. He also wrote the movie Showgirls’ script, for which he was given an award for the worst screenplay. Paradoxically, as time went on this film still became so popular among the public that it is one of MGM’s top 20 all-time bestsellers. Still, all the scripts he wrote in the next decade never got produced. After a long period of failure, at least one of his scripts finally got produced in 2006. The producer was Andy Vajna, a Hollywood filmmaker also born in Hungary. For this production, they when back to Hungary for shooting the Hungarian language film called Children of Glory, about the 1956 revolution in Budapest. Klasky Csupo Inc. was founded and is lead by Gábor Csupó and his ex-partner Arlene Klasky. Csupó was born and grew up in Budapest, but escaped the Communist regime in 1975 at the age of 23, moving firstly to Sweden and then to the United States. Klasky Csupo Ins. is one of the world’s most famous animation studios based in Hollywood. Its success peaked in the 1990s, when working on the pilot and first three seasons of world-famous The Simpsons, for which Csupó decided on the series’ characteristically weird colouring. The next huge success came after producing Rugrats, one of Nickelodeon’s first animated shows. They also created Duckman and made further animated series, movies and commercials, even winning an Emmy award. In the last few years, films made in Hungary have also been successful in Hollywood, winning Oscars and other internationally renown awards. Made in 2015, Son of Saul is an Oscar-winning Hungarian film that revisits the topic of the Holocaust in such an innovative and reformative manner, that it shocked the mainstream film industry and audience. Both its story and its unique visual language was inspired by files about and photographs made by members of the Sonderkommando, work units made of prisoners at German Nazi death camps. They were the people forced to do the work behind the constant extermination of the prisoners. The exceptional way that the DOP Erdélyi Miklós and Director Nemes Jeles László use one unusual close-up framing throughout the film brings the world of the deathcamp uncannily close to the viewer, without showing violence and death upfront.
4384	dbpedia	2	92	https://books.google.com/books/about/The_Insider_s_Guide_to_Independent_Film.html%3Fid%3Dmc-3Q5-3vTYC	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
4384	dbpedia	3	66	https://daily.jstor.org/the-development-of-central-american-film/	en	The Development of Central American Film	https://daily.jstor.org/…ilm_1050x700.jpg	https://daily.jstor.org/…ilm_1050x700.jpg	[ "https://daily.jstor.org/wp-content/themes/daily2018/build/assets/images/j_dailylogo_header_184x60.png", "https://daily.jstor.org/wp-content/uploads/2024/05/the_development_of_central_american_film_1050x700.jpg", "https://daily.jstor.org/wp-content/uploads/2018/02/jstor-logo@2x.png", "https://daily.jstor.org/...	[ "https://www.youtube.com/embed/SVf8in0dj9s?feature=oembed", "https://www.youtube.com/embed/kGqnATWRu5c?feature=oembed", "https://www.youtube.com/embed/EJfvKnLPqFM?feature=oembed" ]	[]	[ "" ]	null	[ "The Editors" ]	2024-05-01T13:55:00+00:00	A new collection of essays examines the reasons behind the recent boom in feature and documentary film-making from Belize to Panama.	en	https://daily.jstor.org/…copy-300x300.jpg	JSTOR Daily	https://daily.jstor.org/the-development-of-central-american-film/	The icon indicates free access to the linked research on JSTOR. In her seminal but untranslated 2005 study La pantalla rota: Cien años de cine en Centroamérica, the Costa Rican film scholar María Lourdes Cortés referred to Central American film as “perhaps one of the least known and invisible in world cinema.” Her claim was justified; during the entirety of the 1990s, the region—with over 100 million inhabitants distributed across 200,000 square miles—produced a single feature that was known internationally: El silencio de Neto, directed by Guatemalan filmmaker Luis Argueta. Fortunately, cinema from the region has come a long way since then, as Mauricio Espinoza and Jared List explain in The Rise of Central American Film in the Twenty-First Century, now out from the University Press of Florida and included among titles in JSTOR’s Path to Open pilot program. Between 2000 and 2017, Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, and Panama collectively produced over 200 features and documentaries. “While this may seem like a low number compared to larger, more established Latin American film industries in countries such as Mexico or Argentina,” the authors write in their introductory chapter, “it represents a giant leap considering the state of the region’s filmmaking in the late twentieth century.” The Rise of Central American Film consists of fourteen essays by a group of scholars whose contributions are arranged thematically, with sections centering on memory, movement, identity, and representation. Both Tomás Arce Mairena and Lilia García Torres, for instance, examine how film preserves—or warps—the legacy of war, revolution, and political oppression, while Arno Jacob Argueta and Jennifer Carolina Gómez’ Menjívar dissect films about race and gender discrimination. For their part, Espinoza and List, associate professors—respectively—of Spanish and Latin American literature and cultural studies at University of Cincinnati and Spanish at Doane University criticize the notion of a “Nuevo Cine Centroamericano.” They argue that “recent cinematic production might be better characterized as a new phase in the region’s path toward consolidation and professionalization of its film industry.” While contemporary directors like Guatemala’s Jayro Bustamante have access to new technologies and distribution channels that their twentieth century predecessors did not, their style and subject matter remains heavily informed by the region’s revolutionary past, which—as Espinoza discusses in the following interview— imparted a lasting interest in the portrayal of socioeconomic realities. For many a Central American filmmaker, film is neither a form of entertainment nor a vehicle for abstract philosophizing; rather, it’s a tool to examine society, expose corruption, and—ideally— outline a path towards a better future. This conversation has been condensed and edited for clarity. Tim Brinkoff: Central American film has been called “one of the least known and invisible in world cinema.” What accounts for this invisibility, and what’s necessary for the world to take notice of the region’s vibrant cinematic culture the way it has now taken note of, say, South Korea’s? Editors Mauricio Espinoza and Jared List: A key factor is output. In the book, we talk about the limited number of movies made and the limited reach those movies have. Both have increased significantly in the past twenty years, and especially in the past five. Before that, this was not the case. Researchers have documented how poor the infrastructure for Central American film industries was in the twentieth century in terms of government support, training opportunities, and the availability of film schools. As a result, little attention was paid to Central American film in world cinema. I teach an intro to cinema and media course, and when the textbooks touch on Latin American cinema, they only mention Mexico, Cuba, Argentina, and Brazil. That’s it. The only people who really know about Central American film are those that have traveled, have gone out of their way to look and learn. Even the Caribbean, a nearby region with similarly small populations, gets more recognition, largely because of Cuba. Another issue is circulation. With the exception of a few Central American films that have won awards at prestigious festivals, exposure to Central American cinema has not been consistent enough for academics and critics, let alone moviegoing audiences, to truly appreciate and understand films from the region. And it’s not just film. Literary production—and indeed cultural production in general—has traditionally only been noticed because of some crisis, something negative that catches the attention of international news, like the Sandinista Revolution in Nicaragua. It’s symptomatic of how the world perceives Central America, which only hits the spotlight when something explosive—literally explosive—is going on: drug violence, gang violence, mass migration. Central American filmmakers are interested in social issues. Would you say Central American audiences are, too? We’re talking about an industry that’s ultimately a form of entertainment. All around the world, audiences are more interested in entertainment than social issues and we see that in Central America as well. The Central American films that have drawn the highest number of viewers, the few to have recovered their investment, have tended to be comedies, dramas, romances, musicals—movies with light topics. Films with more serious topics, like migration or war, were met with mixed reception. Some have seen relative success, but most of the interest comes from outside the region, from Europe, the US, and other places. From festivals and academic institutions. Some directors from Central America have even said they make movies with international audiences in mind, for funding and distribution purposes. The exception is someone like Jayro Bustamante, from Guatemala. He made La Llorona, a horror film that—though it’s about a taboo topic, the genocide of Indigenous peoples—was a hit in his own country, perhaps because of its supernatural elements, which draw from Hollywood tropes. Central America was and remains wrought with political instability and uncertainty. How will ongoing developments in countries like El Salvador, where President Nayib Bukele has recently broken term limits to remain in power, affect the film scene? El Salvador’s industry has historically not been as strong as in Guatemala, Panama, or Costa Rica, the three countries whose industries have seen the most national and international success, infrastructural development, and government and institutional support. El Salvador does not have any of that. Most of the movies coming out of this country have been dominated by a few directors who have dealt with subjects like historical memory, war, civil war, trauma, migration, gender violence, drug trafficking. But those directors have operated on the outside—in Mexico and other countries. I guess it would come down to how the Bukele administration views the importance of cinema and its role in their national project: how film can influence the way the government is perceived. That’s something Bukele is concerned with; he wants to project the image of a new El Salvador, through tourism, the construction of a new national library, through culture and knowledge. Film has been used by Central American governments on both the Left and the Right, either as a propaganda machine or to shape national identity. Costa Rica, for example, has financed film production to make the country known overseas, boosting tourism and foreign investment. Perhaps El Salvador will follow. Or we will stick to the same trajectory we have right now: of independent directors and producers working mostly across the border, in other countries. Central America has a rich and vibrant tradition of documentary filmmaking. Where does this tradition come from, and do you think it has influenced the way that filmmakers in the region approach narrative film, which deals with many similar themes and also seeks to portray reality in an authentic, realistic manner? First and foremost, it comes from necessity. It’s more expensive to make a narrative film than it is to make a documentary. Documentary was a format that allowed filmmakers to produce on a shoestring budget without having to find and pay actors and make sets and props. At the same time, it comes from the legacy of a socially conscious generation of filmmakers that emerged in the 1960s. Their political beliefs called for a transformative kind of filmmaking. Although these individuals experimented with fiction and narrative film, documentary—or a hybrid between documentary and narrative—was the preferred genre because it was more realistic in how it documented the suffering of people, their socioeconomic conditions. Filmmakers in Nicaragua, during the Sandinista Revolution, took inspiration from the model that Cuba had implemented years earlier and received support from Cuban filmmakers. To them, film was a tool of education, for telling the stories about the revolution, for revealing the inequalities revolutionaries were fighting and—later on—for celebrating their own achievements. Today this tradition of documentary filmmaking remains because, after the Cold War, a lot of the production from this time period was revisited by a new generation of filmmakers trying to make sense of the past they experienced as children, like Mercedes Moncada from Nicaragua. They combined fact with fiction, and interviewed the survivors of wars and war crimes. A lot of people active in Central American film are women, which is interesting because Central American societies are overall quite patriarchal. How did this come about? Women are involved in Central American film as directors, producers, or academics studying film. They also organize film festivals, manage funds, and lead institutes. While we consider many of the socialist revolutions as failed attempts at creating a different, utopian future, the truth is that they did have an impact. Though not all of their ideas ended up materializing, they did have a lasting influence on society, politics, and the arts. We see this in the number of female presidents Central America has had since 1990, Nicaragua being the first. Today, some governments have even implemented affirmative action approaches to increase the number of women in politics. Think of Costa Rica establishing a rule that there needs to be at least one woman vice president in every party. The same goes for education. If you look at universities—I don’t have the data for all Central American countries—but in Costa Rica, there are more women than men. I saw that growing up there; there were more women than men in my graduating class. This doesn’t mean there is complete equality in the film industry. It’s still difficult for women to work on big, commercial films, for example. These are still produced mainly by men, so there is a disconnect there in terms of resources and compensation. Then there’s the question of what roles women have in films. Bustamante has been pretty good in this regard—most of his films have a strong woman at their center. Others, not so much. Films by women tend to also have female protagonists, characters that struggle with and rebel against patriarchal society while figuring out their place in the world. Take, for example, Violeta al fin, a 2017 film by Costa Rican director Hilda Hidalgo, about an older woman trying to get a divorce in a traditional and religious society. It’s not just that these directors are women, which is in itself an advancement, but also that they tell stories about nuanced characters who are women. The leaders of the Panama Film Festivals are women, which is important, because they decide what’s being shown and where the funding goes. Film scholar María Lourdes Cortés has been the director of a fund called Cinergia for years, providing seed money for many successful directors from the previous decades. The relationship between art and activism is hotly debated all around the world. To what extent have Central American films—documentary or fiction—inspired concrete social change? The films by Mercedes Moncada, like Palabras mágicas (Para romper un encantamiento), and Gloria Carrión’s Pantasma—both of them children of the Sandinista Revolution, daughters of revolutionaries—have become quite unpopular with the current administration of Nicaragua. Both filmmakers now work outside the country. They couldn’t do what they are doing now if they remained in Nicaragua. The same goes for writers like Gioconda Belli and Sergio Ramirez. Many activists and intellectuals have had to leave Nicaragua in the past few years, especially when things got worse in 2017-2018, with protests. These movies, that’s what they do: they try to dissect what went wrong with the promise of the revolution, the hypocrisy of revolutionary leaders that moved in practical terms to the right but still try to preserve the ghostly presence of a leftist revolution that does not exist anymore. Tatiana Huezo is making films in Mexico about drug cartels and drug trafficking and their effect on women. Such sensitive, difficult topics make her a target. It’s dangerous work. It gets people killed, kicked out of their countries, or threatened. These filmmakers know they are getting into risky business. Making films, whether fiction or documentary, is pushing against serious realities. It’s activist work in itself. Indigenous peoples remain marginalized throughout much of Latin America. To what extent has Central American cinema depicted them as subjects as opposed to objects, the way they had often previously been portrayed? There is still a deficit, but I think the representation of Indigenous stories and actors have been an important part of the resurgence of Central American film. Before, there was very little inclusion. If there was, it was almost always through an anthropological lens. Bustamante’s Ixcanul (Volcano), about a Mayan girl who awaits an arranged marriage, was spoken completely in Kaqchikel. This was a gutsy decision for his first feature. It’s already tough to have a film succeed with audiences as is. Now you’re making one that’s not even in Spanish; unless you’re from that community, you’ll have to depend on subtitles. It’s completely about an Indigenous population’s story, their worldview and political issues. Fortunately it was successful, especially abroad, which indicates that inclusion of Indigenous stories and actors is profitable in addition to being a right of fair representation, especially in a place like Guatemala where 40% is Indigenous. It’s not that much of a minority. In literature, there has been this new wave of Indigenous writers writing in their native languages, publishing bilingual editions. I think film is the next area where we will start to see not just mestizo, white directors like Bustamante representing Indigenous populations, but also Indigenous directors doing that kind of work. Of course, it’s much more expensive to produce a film—even a short film or a documentary—than it is to write a poetry book. Editor’s note: This story was updated to correct the title of press to the University Press of Florida.
4384	dbpedia	1	86	https://www.coursehero.com/sitemap/schools/269-California-State-University-Los-Angeles/courses/7172448-PAS3822/	en				[]	[]	[]	[ "" ]	null	[]	null					null
4384	dbpedia	3	5	https://variety.com/2007/film/news/thinkfilm-under-fire-1117957633/	en	ThinkFilm under fire	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2...	[]	[]	[ "" ]	null	[ "Brendan Kelly" ]	2007-01-18T02:16:39+00:00	Several Canuck producers have sent letters to Toronto-based film distributor ThinkFilm demanding that the company allow them to take back rights to their pics.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2007/film/news/thinkfilm-under-fire-1117957633/	Several Canuck producers have sent letters to Toronto-based film distributor ThinkFilm demanding that the company allow them to take back rights to their pics. With ThinkFilm now American-owned, the films will lose their official status as Canadian projects if released by ThinkFilm, which could force the producers to pay back hundreds of thousands of dollars in tax credits. Previously Canadian-owned, ThinkFilm was acquired in October by Los Angeles entrepreneur David Bergstein, who also owns U.K.-based foreign sales agent Capitol Films. Toronto lawyer David Steinberg, who reps three Canadian producers who are in dispute with ThinkFilm, said the company is refusing to negotiate with the filmmakers. “I’ve sent letters to demand that the films be given to a Canadian distributor,” said Steinberg, a partner at Toronto law firm Heenan Blaikie, one of the main legal players in the Canuck film biz. Bergstein has not “responded to the letters. So we don’t know what his intentions are. “We thought this would’ve been taken care of a long time ago. This seems irrational. Why would they be putting Canadian producers in this position?” A ThinkFilm spokesman would say only that the company is in negotiations with some of the Canadian producers whose films are in limbo. Under Canadian law, a Canadian film can access tax credits only if it is released by a Canadian-owned distributor. Producers normally obtain loans from banks based on the presumption that they will be repaid once the producers receive the tax credits after shooting wraps. The lack of a Canadian-owned distrib also will affect the producers’ deals with TV networks, because the Canuck webs buy pics specifically to fill Canadian-content quotas. If the films are no longer officially Canadian, the nets may not want to air them. An estimated 20 pics are affected by the dispute. Steinberg represents Darius Films, producer of Slamdance opener “Weirdsville” and “Hank and Mike,” and Alchemist Entertainment, producer of “King of Sorrow.” All three pics were meant to be distributed in Canada by ThinkFilm. Steinberg also reps a third Canadian producer whom he would not name. Another pic in ThinkFilm limbo is helmer Paul Fox’s comedy “Everything’s Gone Green,” penned by novelist Douglas Coupland. First Independent Pictures plans to release the film in the U.S. in late March, and the original plan was to launch the pic in Canada at the same time. That now looks unlikely to happen.