The term General is used in two ways: as the generic title for all grades of general officer; and as a specific rank. Since the late twentieth century, the rank of General is usually the highest active rank of a military not at war.
Variations of one form, the old European system, were once used throughout Europe. It is used in the United Kingdom (although it did not originate there), from which it eventually spread to the Commonwealth and the United States of America. The General Officer ranks are named by prefixing General, as an adjective, with field officer ranks, although in some countries the highest general officers are titled Field Marshal or Marshal.
The other is derived from the French Revolution, where generals' ranks are named according to the unit they (theoretically) command.
Old European system {| style="border:1px solid #8888aa; background-color:#f7f8ff; padding:5px; font-size:95%; margin: 0px 12px 12px 0px;" |align="center"| Field Marshal or General Field Marshal |- |align="center"| ''Colonel General'' |- |align="center"| General or Captain General |- |align="center"| Lieutenant General |- |align="center"| Sergeant Major General or Major General |- |align="center"| ''Brigadier (General)'' |}
The system used either a ''brigadier general'' rank, or a ''colonel general'' rank (i.e. exclude one of the italicised ranks.)
The rank of field marshal was used by some countries as the highest rank, while in other countries it was used as a divisional or brigade rank. Many countries (notably pre-revolutionary France and eventually much of Latin America) actually used two brigade command ranks, which is why some countries now use two stars as their brigade general insignia. (Mexico and Argentina still use two brigade command ranks.)
In some nations (particularly in the Commonwealth), the equivalent to Brigadier General is Brigadier, which is not always considered by these armies to be a general officer rank, although it is always treated as equivalent to the rank of Brigadier General for comparative purposes. Unlike other general officers, the brigadier general rank is not derived from a ''field'' rank of brigadier.
The rank of ''major general'' is a shorter form of ''sergeant major general'', and is lower than lieutenant general as a lieutenant outranks a sergeant major, although outranked by a major.
French (Revolutionary) system {| style="border:1px solid #8888aa; background-color:#f7f8ff; padding:5px; font-size:95%; margin: 0px 12px 12px 0px;" |align="center"| Marshal |- |align="center"| Army General |- |align="center"| Corps General |- |align="center"| Divisional General |- |align="center"| Brigade General |} More information about this system can be found on the page: Général.
In addition to militarily educated generals, there are also generals in medicine and engineering. The rank of most senior chaplain, Chaplain General, is also considered to be a general officer rank.
In some armies, however, the rank of Captain General, General of the Army, Army General or Colonel General occupied or occupies this position. Depending on circumstances and the army in question, these ranks may be considered to be equivalent to a full General or to a Field Marshal.
The rank of General came about as a "Captain-General", the captain of an army in general (i.e., the whole army). The rank of Captain-General began appearing around the time of the organization of professional armies in the 17th century. In most countries "Captain-General" contracted to just "General".
In most navies, Flag Officers are the equivalent of General Officers, and the naval rank of Admiral is equivalent to the specific army rank of General. A noteworthy historical exception was the Cromwellian naval rank ''General at sea''. In recent years in the American service there is a tendency to use ''Flag Officer'' and ''Flag Rank'' to refer to generals and admirals of the services collectively.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Cahill generated a certain notoriety in the media, which referred to him by the sobriquet "The General". The name was also used by the media in order to discuss Cahill's activities while avoiding legal problems with libel. During his lifetime, Cahill took particular care to hide his face from the media—he would spread the fingers of one of his hands and cover his face with that hand.
At the age of 16, he was convicted of two burglaries and sentenced to an industrial school run by the Oblates of Mary Immaculate at Daingean, County Offaly. After his release, he returned to his family, which had been moved by the Dublin Corporation after they could not pay the rent on the house. They were moved to Hollyfield Buildings, a dilapidated tenement in Rathmines. Shortly thereafter, he met and married Frances Lawless, a girl from the neighborhood. With his brothers, he continued to commit multiple burglaries in the affluent neighborhoods nearby, at one point even robbing the Garda Síochána depot for confiscated firearms. The Cahill brothers soon turned to armed robbery. Martin Cahill denied that he was ever involved in drug dealing, however his brother and criminal associate Peter Cahill was convicted of heroin supplying in the 1980s.
Cahill and his gang famously stole gold and diamonds with a value of over IR£2 million (€2.55 million) from O'Connor's jewellers in Harolds Cross (1983). The jewellers was subsequently forced to close, with the loss of more than one hundred jobs. In addition, he was involved in stealing some of the world's most valuable paintings from Russborough House (1986) and shaking down restaurants and hot dog vendors in Dublin's night club district.
After a Roman Catholic requiem mass, Cahill was buried at Mount Jerome Cemetery. In 2001, his gravestone was vandalized and broken in two.
Within hours of Cahill's murder, the Provisional IRA claimed responsibility in a press release. The reasons cited were Cahill's alleged involvement with a Portadown unit of the Ulster Volunteer Force. The Unit in question had attempted a bomb attack on a Dublin pub which was hosting a Sinn Féin fund-raiser on the 21 May 1994. The UVF operatives were halted by the doorman Martin Doherty. In the ensuing struggle, Doherty, who the IRA subsequently announced was a Volunteer in the IRA's Dublin Brigade, was shot dead. The Provos further alleged that Cahill had been involved in selling the stolen Beit paintings to the UVF gang led by Billy Wright.. The UVF then fenced the paintings for money, which they used to buy guns from South Africa. This act supposedly sealed Cahill's fate, and put him at the top of an IRA hit list. In a later statement, the IRA said that it was Cahill's ''involvement with and assistance to pro-British death squads which forced us to act''.
Another theory surfaced after the publication of Paul Williams's ''The General'', which claims to have insights from the Garda officers who investigated Cahill's murder. Reputedly, two of Cahill's underlings, John Gilligan and John Traynor, had put together a massive drug trafficking ring. When Cahill demanded a cut of the profits, Gardai believe that Traynor and Gilligan approached the IRA and suggested that Cahill was importing heroin, a drug that the IRA despised and were trying to curtail the distribution of within Dublin. Reputedly, this, and Cahill's past dealings with the Loyalists, gave the IRA reason to order his assassination. This theory is put forward in Paul Williams's book ''Evil Empire''. Additionally, ''Martin Cahill, My Father'', a 2007 book written by Cahill's daughter, Frances, alleges he detested and steered clear of the drug trade.
Yet another theory claims that John Gilligan was ultimately responsible for the murder. Depicted in the film Veronica Guerin, this theory was outlined by journalist Henry McDonald as follows,
"In 1993 Gilligan gets out jail and borrows IR£400,000 from Cahill, which the General had raised from the proceeds of his daring theft of the Beit Dutch masters paintings. Gilligan then uses the loan to finance the importation of tonnes of cannabis from Holland into the Irish Republic. When Cahill demands IR£1.5 million in return for his loan, Gilligan decides to rid himself of the troublesome crime boss. Gilligan ... goes to the so-called commanding officer of the Irish National Liberation Army in Dublin and asks him to shoot Cahill. In return, Gilligan offers the INLA killer IR£26,000. Gilligan then bribes a senior member of the IRA in Dublin, who also controls a security firm in the city, to claim responsibility for the shooting. When Cahill is gunned down in Rathmines, the IRA figure with links to organised crime manages to convince the Provo leadership that his unit carried out the assassination. The IRA then admits responsibility for the murder."
McDonald cites an unnamed Garda officer involved in the investigation as saying that the film "showed the true picture of what happened, not only to [Veronica Guerin] but also to Cahill".
The unnamed officer continued: "In the Boorman film, the Provos are depicted as the ones who dispatch the General because he is working with the UVF. The fact is Cahill had no direct links with the UVF, only indirect ones through a criminal fence who managed to get rid of some of the stolen Beit paintings ... I'm glad this new film shatters the myth that the IRA killed Cahill for some sort of noble reason."
McDonald also quotes Jimmy Guerin, the murdered journalist's brother, as saying: "The film shows Gilligan procuring the murder of Cahill and that as far as everyone involved in both investigations knows is the real version of events."
However this version of events ignores the fact that the INLA had been severely weakened following the assassination of Dominic McGlinchy and would have lacked either the intelligence on Cahill's movements or the manpower in Dublin to conduct such an operation. Furthermore the PIRA were curtailing armed operations as part of the peace process. Any operation would have had to be sanctioned by the PIRA's Southern Command. If the IRA individual had claimed responsibility for the operation if it had not been sanctioned by Southern Command, he would have been subject to court-martialed in accordance with IRA regulations.
The 2003 film ''Veronica Guerin'', implies that John Gilligan ordered Cahill's murder. In the film Gilligan and Traynor are not portrayed as Cahill's subordinates. Instead, Gilligan appears as a rival mob boss, and Traynor as a lower level associate.
The film ''Ordinary Decent Criminal'', starring Kevin Spacey, is loosely inspired by the General.
In 2004, a book written by Matthew Hart was released entitled ''The Irish Game: A True Story of Crime and Art'', which depicted the story of the Russborough House heist in 1986 and Cahill's involvement.
"Whatever it is you say I am, I am not. Whatever it is you want from me, I will give. Whatever it is you take from me, you can take. What is it you can do to me? The worst thing you can do is kill me, after that I won't care, I am still free."
Category:1949 births Category:1994 deaths Category:Art thieves Category:Irish criminals Category:People from County Dublin Category:People killed by the Provisional Irish Republican Army Category:Irish mob bosses Category:Irish murder victims Category:People murdered in the Republic of Ireland Category:Burials at Mount Jerome Cemetery Category:Unsolved murders in Ireland
de:Martin Cahill es:Martin Cahill eu:Martin Cahill fr:Martin Cahill ga:Martin CahillThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 38°09′0″N144°21′0″N |
---|---|
name | Buster Keaton |
birth name | Joseph Frank Keaton |
birth date | October 04, 1895 |
birth place | Piqua, Kansas, U.S. |
death date | February 01, 1966 |
death place | Woodland Hills, California, U.S. |
other names | Joseph Francis Keaton |
occupation | ActorDirectorProducerWriter |
years active | 1898–1966 |
spouse | Natalie Talmadge (1921–32)Mae Scriven (1933–36)Eleanor Norris (1940-66) (his death)}} |
Joseph Frank "Buster" Keaton (October 4, 1895 February 1, 1966) was an American comic actor, filmmaker, producer and writer. He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname "The Great Stone Face".
Keaton was recognized as the seventh-greatest director of all time by ''Entertainment Weekly''. In 1999, the American Film Institute ranked Keaton the 21st-greatest male star of all time. Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies." Orson Welles stated that Keaton's ''The General'' is the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made. A 2002 worldwide poll by ''Sight & Sound'' ranked Keaton's ''The General'' as the 15th best film of all time. Three other Keaton films received votes in the magazine's survey: ''Our Hospitality'', ''Sherlock, Jr.'', and ''The Navigator''.
According to a frequently-repeated story, which may be apocryphal, Keaton acquired the nickname "Buster" at about eighteen months of age. Keaton told interviewer Fletcher Markle that Harry Houdini happened to be present one day when the young Keaton took a tumble down a long flight of stairs without injury. After the infant sat up and shook off his experience, Houdini remarked, "That was a real buster!" According to Keaton, in those days, the word "buster" was used to refer to a spill or a fall that had the potential to produce injury. After this, it was Keaton's father who began to use the nickname to refer to the youngster. Keaton retold the anecdote over the years, including during a 1964 interview with the CBC's ''Telescope''.
At the age of three, Keaton began performing with his parents in ''The Three Keatons''. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing. The act evolved as Keaton learned to take trick falls safely; he was rarely injured or bruised on stage. This knockabout style of comedy led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. He was eventually billed as "The Little Boy Who Can't Be Damaged," with the overall act being advertised as "'The Roughest Act That Was Ever in the History of the Stage." Decades later, Keaton said that he was never hurt by his father and that the falls and physical comedy were a matter of proper technical execution. In 1914, Keaton told the ''Detroit News'':
The secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.
Keaton claimed he was having so much fun that he would sometimes begin laughing as his father threw him across the stage. Noticing that this drew fewer laughs from the audience, he adopted his famous deadpan expression whenever he was working.
The act ran up against laws banning child performers in vaudeville. It is said that, when one official saw Keaton in full costume and makeup and asked a stagehand how old he was, the stagehand then pointed to the boy's mother, saying, "I don't know, ask his wife!" According to one biographer, Keaton was made to go to school while performing in New York, but only attended for part of one day. Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater. Keaton stated that he learned to read and write late, and was taught by his mother. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film.
Although he did not see active combat, he served in World War I, during which time he suffered an ear infection that permanently impaired his hearing.
In 1920, ''The Saphead'' was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play, ''The New Henrietta'', which had already been filmed once under the title "The Lamb" with Douglas Fairbanks playing the lead. It is said to have been Fairbanks that recommended Keaton to take up the role for the remake five years later.
After Keaton's successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including ''One Week'' (1920), ''The Playhouse'' (1921), ''Cops'' (1922), and ''The Electric House'' (1922). Based on the success of these shorts, Keaton moved to full-length features. Keaton's writers included Clyde Bruckman and Jean Havez, but the most ingenious gags were often conceived by Keaton himself. Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen. But we had no luck with Keaton, because he thought up his best gags himself and we couldn't steal ''him!''" The more adventurous ideas called for dangerous stunts, also performed by Keaton at great physical risk. During the railroad water-tank scene in ''Sherlock Jr.'', Keaton broke his neck when he fell against a railroad track, but did not realize it until years afterward. A scene from ''Steamboat Bill Jr.'' required Keaton to run into the shot and stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton's character emerged unscathed, thanks to a single open window which passed directly over him. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of space around Keaton's body. The sequence became one of the iconic images of Keaton's career.
The film critic David Thomson later described Keaton's style of comedy: "Buster plainly is a man inclined towards a belief in nothing but mathematics and absurdity ... like a number that has always been searching for the right equation. Look at his face — as beautiful but as inhuman as a butterfly — and you see that utter failure to identify sentiment." Gilberto Perez describes "Keaton's genius as an actor to keep a face so nearly deadpan and yet render it, by subtle inflections, so vividly expressive of inner life. His large deep eyes are the most eloquent feature; with merely a stare he can convey a wide range of emotions, from longing to mistrust, from puzzlement to sorrow."
Aside from ''Steamboat Bill Jr.'' (1928), Keaton's most enduring feature-length films include ''Our Hospitality'' (1923), ''The Navigator'' (1924), ''Sherlock Jr.'' (1924), ''Seven Chances'' (1925), ''The Cameraman'' (1928), and ''The General'' (1927). ''The General'', set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's proudest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs". The fact that the heroes of the story were from the Confederate side may have also contributed to the film's unpopularity.
It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.
According to Keaton's autobiography, Natalie turned him out of their bedroom and sent detectives to follow him to see whom he was dating behind her back. Her extravagance was another factor in the breakdown of the marriage. During the 1920s, according to his autobiography, he dated actress Kathleen Key. When he ended the affair, Key flew into a rage and tore up his dressing room.
After attempts at reconciliation, Natalie divorced Keaton in 1932, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. The failure of his marriage, along with the loss of his independence as a filmmaker, led Keaton into a period of alcoholism.
During the height of his popularity, Keaton spent $300,000 to build a home in Beverly Hills, which was later owned by James Mason and Cary Grant. Keaton's "Italian Villa" can be seen in Keaton's film ''Parlor, Bedroom and Bath''. Keaton later said, "I took a lot of pratfalls to build that dump." Mason found numerous cans of rare Keaton films in the house in the 1950s; the films were quickly transferred by Raymond Rohauer to safety film before the original cellulose nitrate prints further deteriorated.
Keaton was at one point briefly institutionalized; however, according to the TCM documentary ''So Funny it Hurt'', Keaton escaped a straitjacket with tricks learned during his vaudeville days. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing (Keaton himself later called that period an "alcoholic blackout"). Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton.
In 1940, Keaton married Eleanor Norris (1918–1998), who was 23 years his junior. She has been credited with saving his life by stopping his heavy drinking, and helped to salvage his career. The marriage lasted until his death. Between 1947 and 1954, they appeared regularly in the Cirque Medrano in Paris as a double act. She came to know his routines so well that she often participated in them on TV revivals.
In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at time and shoot immediately after. This is discussed in the TCM documentary ''Buster Keaton: So Funny it Hurt'', with Keaton complaining about having to shoot lousy films not just once, but three times. His stage name in Spanish markets was ''Pamplinas'' ("Nonsense"), and his nickname was ''Cara de palo'' ("Wooden face").
Behind the scenes, Keaton's world was in chaos, with divorce proceedings and alcoholism contributing to production delays and unpleasant incidents at the studio. Keaton was so depleted during the production of 1933's ''What! No Beer?'' that MGM released him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, ''Le Roi des Champs-Élysées''. During this period, he made one other film in Europe, ''The Invader'' (released in America as ''An Old Spanish Custom'' in 1936).
Keaton also had a small bit part as Jimmy The Crook near the beginning of the long, frantic chase scene in ''It's A Mad, Mad, Mad, Mad World'' (1963), directing Spencer Tracy's character, Captain C. G. Culpepper, in storing his police car in a shoreline garage. Keaton was given more screen time in ''A Funny Thing Happened on the Way to the Forum'' (1966). He also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's ''Limelight'' (1952), recalling the vaudeville of ''The Playhouse''. With the exception of ''Seeing Stars'', a minor publicity film produced in 1922, ''Limelight'' was the only time in which the two would ever appear together on film.
In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, ''The Ed Wynn Show'', which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.
Unlike his contemporary Harold Lloyd, who kept his films from being televised (and therefore became lesser known to today's audiences), Keaton's periodic television appearances helped to revive interest in his silent films in the 1950s and 1960s. In 1954, Keaton played his first television dramatic role in "The Awakening", an episode of the syndicated anthology series ''Douglas Fairbanks, Jr., Presents''. About this time, he also appeared on NBC's ''The Martha Raye Show''.
On April 3, 1957, Keaton was surprised by Ralph Edwards for the weekly NBC program ''This Is Your Life''. The half hour program, which also promoted the release of the biographical film ''The Buster Keaton Story'' with Donald O'Connor, summarized Keaton's life and career up to that point.
In December 1958, Keaton was a guest star as a hospital janitor who provides gifts to sick children in a special Christmas episode of ''The Donna Reed Show'' on ABC. The program was titled "A Very Merry Christmas". He returned to the program in 1965 in the episode "Now You See It, Now You Don't". The 1958 episode has been included in the DVD release of Donna Reed's television programs.
In August 1960, Keaton accepted the role of mute King Sextimus the Silent in the national touring company of ''Once Upon A Mattress'', a successful Broadway musical. Eleanor Keaton was cast in the chorus, and during rehearsals, she fielded questions directed at her husband, creating difficulties in communication. After a few days, Keaton warmed up to the rest of the cast with his "utterly delicious sense of humor", according to Fritzi Burr, who played opposite him as his wife Queen Aggravaine. When the tour landed in Los Angeles, Keaton invited the entire cast and crew to a spaghetti party at his Woodland Hills home, and entertained them by singing vaudeville songs.
In 1960, Keaton returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's ''The Adventures of Huckleberry Finn''. Much of the film was shot on location on the Sacramento River, which doubled for the Mississippi River setting of Twain's original book.
In 1961, he starred in ''The Twilight Zone'' episode "Once Upon a Time", which included both silent and sound sequences. Keaton played time traveler Mulligan, who traveled from 1890 to 1960, then back, by means of a special helmet.
Keaton also found steady work as an actor in TV commercials, including a popular series of silent ads for Simon Pure Beer in which he revisited some of the gags from his silent film days. In 1963, Keaton appeared in the episode "Think Mink" of ABC's ''Mr. Smith Goes to Washington'' sitcom, starring Fess Parker.
In 1964, Keaton appeared with Joan Blondell and Joe E. Brown in the final episode of ABC's circus drama, ''The Greatest Show on Earth'', starring Jack Palance. That same year, he appeared on Lucille Ball's CBS television show, ''The Lucy Show'', in an episode ("A Day in the Park") filmed in color but initially televised in black and white; this featured him sitting on a park bench, reading a newspaper, which he gradually unfolded into a huge, single sheet. Harvey Korman played a policeman in the scene.
At the age of 70, Keaton suggested that, for his appearance in the 1965 film ''Sergeant Deadhead'', he run past the end of a firehose into a six-foot-high flip and crash. When director Norman Taurog balked, expressing concerns for Keaton's health, Keaton said, "I won't hurt myself, Norm, I've done it for years!" Keaton also starred in three other films for American International Pictures (''Beach Blanket Bingo'', ''Pajama Party'', and ''How to Stuff a Wild Bikini'').
In 1965, Keaton starred in a short film called ''The Railrodder''for the National Film Board of Canada. Wearing his traditional porkpie hat, he travelled from one end of Canada to the other on a motorized handcar, performing gags similar to those in films he made 50 years before. The film is also notable for being Keaton's last silent screen performance. ''The Railrodder'' was made in tandem with a behind-the-scenes documentary about Keaton's life and times, called ''Buster Keaton Rides Again'', also made for the National Film Board. He played the central role in Samuel Beckett's ''Film'' (1965), directed by Alan Schneider. Also in 1965, he traveled to Italy to play a role in ''Due Marines e un Generale'', co-starring alongside with the famous Italian comedian duo of Franco Franchi and Ciccio Ingrassia.
Keaton's last film appearance was in ''A Funny Thing Happened on the Way to the Forum'' (1966) which was filmed in Spain in late 1965. He amazed the cast and crew by doing many of his own stunts, although Thames Television said his increasingly ill health did force the use of a stunt double for some scenes.
A 1957 film biography, ''The Buster Keaton Story'', starred Donald O'Connor as Keaton. The screenplay, by Sidney Sheldon (who also directed the film), was vaguely based on his life, but contained many factual errors and merged his three wives into one character. Most of the story centered on his drinking problem, in the producer's attempt to imitate the success of ''I'll Cry Tomorrow'', a sudsy biography about another alcoholic celebrity (Lillian Roth). The 1987 documentary, ''Buster Keaton: A Hard Act to Follow'', which won two Emmy Awards and was directed by Kevin Brownlow and David Gill, is considered a much more accurate telling of Keaton’s story.
In 1994, caricaturist Al Hirschfeld penned a series of silent film stars for the United States Post Office, including Rudolph Valentino and Keaton. Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".
Keaton's physical comedy is cited by Jackie Chan in his autobiography documentary ''Jackie Chan: My Story'' as being the primary source of inspiration for his own brand of self-deprecating physical comedy.
Paul Merton often stated on his show ''Silent Clowns'' how influential and hilarious Buster Keaton was to fellow comedians.
Category:Silent film directors Category:1895 births Category:1966 deaths Category:Academy Honorary Award recipients Category:Actors from Kansas Category:American film actors Category:American film directors Category:American silent film actors Category:Cancer deaths in California Category:Deaths from lung cancer Category:Mimes Category:People from Beverly Hills, California Category:People from Woodson County, Kansas Category:People self-identifying as alcoholics Category:Slapstick comedians Category:Silent film comedians Category:Ukulele players Category:Vaudeville performers Category:Short film directors
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Coordinates | 38°09′0″N144°21′0″N |
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name | El General |
background | solo_singer |
birth name | Edgardo Franco |
origin | Republic of Panama |
genre | Reggae en Español / Reggaeton |
years active | |
notable instruments | }} |
El General (born Edgardo Franco) is a Panamanian Reggae artist considered by some to be one of the Fathers of Reggaeton. During the early 1990s, he initiated the Spanish spoken dancehall that would later become reggaeton. Early examples of this were the international and somewhat mainstream songs, “Te Ves Buena” and “Tu Pum Pum.” Both songs, performed in Spanish rap, were very successful in North America. After getting his foot in the door of the commercial market, many other Spanish rappers became famous in the mainstream as well, such as Vico C and DJ Negro. He has a unique, easy to listen to style of dance music and has produced many well known songs all over Latin America. His musical works have become popular in Latin America over the last few years. This style is called Reggae en Español or Reggaeton, because he makes reggae music with Spanish lyrics.
Songs like "Muevelo" (1991), "''Tu Pum Pum''" (1988), "''Rica y Apretadita''", and "''Te Ves Buena''" are among his greatest hits. In 1992, El General received the an MTV award for best Latin video with the great success of "Muevelo".
His breakout performance came in 1995, when he was featured on the song Robi-Rob's Boriqua Anthem Part 2 from C+C Music Factory's self titled album.
In 2007, he became a member of the Jehovah's Witnesses, to which his grandmother also is a member. Now he spends his time teaching others about the Bible.
Category:Panamanian reggaeton artists Category:Living people Category:Year of birth missing (living people) Category:Panamanian singers Category:Panamanian songwriters
ca:El General de:Edgardo Franco es:El GeneralThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 38°09′0″N144°21′0″N |
---|---|
Name | Big Boi |
Background | solo_singer |
Birth name | Antwan André Patton |
Alias | Daddy Fat Sax, General Patton, Sir Lucious L. Leftfoot, The Son of Chico Dusty, Sgt. Slaughter, Corporal Sticky-Pantzz, Chief, Billy Ocean, Hot Tub Tony, Francis the Savannah Chitlin' Pimp |
Birth date | February 01, 1975 |
Origin | Savannah, Georgia, United States |
Instrument | Rapping, keyboards |
Genre | Southern hip hop |
Years active | 1991–present |
Label | Def Jam |
Associated acts | OutKast, André 3000, Dungeon Family, Purple Ribbon All-Stars, Mary J. Blige, Chris Brown, Jay-Z, Gucci Mane, T.I., B.o.B, Janelle Monae, Sleepy Brown |
Website | |
Past members | }} |
Antwan André Patton (born February 1, 1975), better known by his stage name Big Boi, is an American rapper, song-writer, record producer and actor, best known for being a member of American hip hop duo OutKast alongside André 3000. His work in the duo has produced six studio albums. During the duo's hiatus, he and André 3000 each announced plans to release a solo album. Big Boi's solo debut ''Sir Lucious Left Foot: The Son of Chico Dusty'' was released in July 2010 to respectable sales and critical acclaim.
Patton has often used his lyrics to criticize the problems that plague both the African American community and the world. An example is 2003's "War", a scathing attack on the Bush administration and the War on Terror. Another example is 2008's "Sumthin's Gotta Give" with Mary J. Blige talking about the state of America and Barack Obama.
Patton's choice was the single "The Way You Move", featuring Sleepy Brown. It was originally supported by urban radio, but then crossed over to pop charts and became almost as big a pop hit as Benjamin's "Hey Ya!". "The Way You Move" supplanted "Hey Ya!" as the #1 song on the US pop charts. The second single from Big Boi's side of the album was "Ghetto Musick", which featured both members of OutKast and a sample from Patti LaBelle's "Love, Need & Want You".
In 2007 after the sixth album under the OutKast name, ''Idlewild'', Big Boi announced plans to release a full fledged solo album. While he had released a previous solo album in ''Speakerboxxx'', it still was technically under the OutKast name. The album was to be titled ''Sir Lucious Left Foot: The Son of Chico Dusty''. The album's first promotional single, "Royal Flush", was released in 2007, and featured Raekwon and André 3000. Over the next few years the album saw many delays, but multiple promotional and video singles were released such as "Shine Blockas" featuring Gucci Mane, "For Yo Sorrows" featuring George Clinton and Too $hort and "General Patton" featuring Big Rube. The first official single was "Shutterbugg" featuring Cutty and the second "Follow Us" featuring Vonnegutt. The album was released internationally on July 5. Guest artists include alternative urban songstress Janelle Monae; Big Boi's own new group Vonnegutt; plus established rappers T.I. and B.o.B. ''Sir Lucious Left Foot: The Son of Chico Dusty'' received general acclaim from most music critics, earning praise for its inventive sound, varied musical style, and Big Boi's lyricism.
In a July 2010 interview for ''The Village Voice'', Big Boi revealed that he is working on the follow-up album to ''Sir Lucious Left Foot'', entitled ''Daddy Fat Sax: Soul Funk Crusader'', stating that he is "maybe about six songs into it". It is expected for a late-2011 release. The album's title originates from when Big Boi and André 3000 would visit a local White Castle in between recording/writing in their earlier years before ''ATLiens'' (1996), because of an employee known as Daddy Fat Sacks, for his habit of including multiple extra sliders in every 10-sack that they purchased, as he was a fan of their music. Upon hearing of his death after visiting the same location after completing ''Sir Lucious Left Foot'', Big Boi decided to name his follow-up solo album after Daddy Fat Sacks, but intended to use "Sax" instead of "Sacks" as he is "planning on a doing a bunch of sax samples, tenor, soprano, and probably have at least a couple sax players come into the studio for the next record".
On February 27, 2011, it was announced that Big Boi is creating a joint album along with rappers Mike Bigga and Pill. Later that day, Big Boi posted on his Twitter account that he was mixing Mike Bigga's album entitled, "PL3DGE".
In 2006, Big Boi founded the Big Kidz Foundation a nonprofit organization to help youth in Atlanta.] The Foundation's mission is to provide culturally diverse experiences in the field of humanities while helping create socially-conscious youth. In January 2010, Big Boi and the Executive Director, Jennifer Shephard Lester launched the Big Kidz Foundation in Savannah, Georgia.
In 2010, Big Boi launched his custom Chuck Taylor sneakers with Converse. The shoes feature the title of his Def Jam solo album debut: "Sir Lucious Left Foot" on the left, and "Son of Chico Dusty" on the right. His Big Boi logo is featured on the tongue of the shoe.
On April 28, 2011, Big Boi announced that he would be working with Modest Mouse on their new unnamed album.
He sometimes refers to, or credits, himself as "Daddy Fat Sax", which is a term that refers to a drug dealer who sells large amounts of marijuana, a banker or a pimp. In songs such as "ATLiens", "Walk It Out", "I'm So Hood (remix)" and "Morris Brown", Big Boi refers to this term.
Big Boi is a playable character in the ''Def Jam: Icon'' videogame.Big Boi has officially dropped his rivalry with former employee, Killer Mike, which had gone on for 3 years.
He appeared in the ''Law & Order: Special Victims Unit'' episode "Wildlife", which aired November 18, 2008. Big Boi played hip-hop artist "Got$ Money".
His wife Sherlita Patton is also the co-owner of a clothing boutique in Atlanta, Georgia called PValentine. She co-owns the store with Tracy Valentine. The expensive brands carried by the store and the ties to Big Boi attract many music artists and other celebrities to the store. The store was featured on an episode of MTV's ''My Super Sweet 16'' when R&B; artist Chris Brown went for a birthday gift from Big Boi. He is also a registered pit bull breeder.
In August 2011, Patton was returning from a cruise when a U.S. Immigration and Customs Enforcement drug dog at the Port of Miami alerted officers. Patton was arrested and charged with illegal possession of controlled substances Viagra, ecstasy pills and MDMA powder. Patton was released from the Miami-Dade County jail on a $16,000 bond.
Category:1975 births Category:African American rappers Category:African American singers Category:American male singers Category:Rappers from Atlanta, Georgia Category:Dungeon Family Category:Musicians from Georgia (U.S. state) Category:Hip hop record producers Category:Outkast members Category:People from Atlanta, Georgia Category:People from Savannah, Georgia Category:Living people
da:Big Boi de:Big Boi es:Big Boi fr:Big Boi ko:빅보이 hr:Big Boi it:Big Boi nl:Big Boi no:Big Boi pl:Big Boi pt:Big Boi ru:Big Boi fi:Big Boi tr:Big BoiThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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