Coordinates	55°45′06″N37°37′04″N
Name	Audiences
Background	group_or_band
Origin	Chicago, IL
Genre	Indie rock, alternative, pop, folk rock
Formed	2010
Website	http://www.audiencesmusic.com
Current members	Billy Jesus - lead vocals, guitar Cardigan - vocals, bass guitar Krayneeum - guitar, vocals Bobby Is - drums, vocals }}

Audiences is an indie rock band based in Chicago, Illinois. They have self-released two live albums. ''Live at The Otterarium'' was self recorded and produced in their practice space. ''Live at Lincoln Hall'' was recorded live at Lincoln Hall Chicago and engineered by Flashpoint Academy graduate sound engineer John McNulty. McNulty also recorded and engineered the band's debut single 'Mountainesque' in Flashpoint's music studio. The four members currently live in Chicago, IL.

The band has been described to have musical elements similar to bands like Polaris, Vampire Weekend, and MGMT.

The Otterarium is home to Audiences practice space and members Billy Jesus and Cardigan, located in Lakeview, Chicago it is also where the band recorded their first live album; 'Live at The Otterarium'.

Audiences is currently recording their first E.P.

Singles

Mountainesque - (March 2011)

Live Albums

Live at The Otterarium (February 2011)

Live at Lincoln Hall (March 2011)

References

Category:Musical groups from Chicago, Illinois Category:American indie rock groups

Coordinates	55°45′06″N37°37′04″N
birth name	Michael Francis Moore
birth date	April 23, 1954
birth place	Flint, Michigan, United States
years active	1972–present
occupation	Actor, director, screenwriter, producer
spouse	Kathleen Glynn (1991–present)
alma mater	University of Michigan–Flint (dropped out)
website	http://michaelmoore.com/ }}

Michael Francis Moore (born April 23, 1954) is an American filmmaker, author and liberal political commentator. He is the director and producer of ''Bowling for Columbine'', ''Fahrenheit 9/11'', ''Sicko'', and ''Capitalism: A Love Story'', four of the top ten highest-grossing documentaries of all time. In September 2008, he released his first free movie on the Internet, ''Slacker Uprising'', documenting his personal crusade to encourage more Americans to vote in presidential elections. He has also written and starred in the TV shows ''TV Nation'' and ''The Awful Truth''.

Moore criticizes globalization, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton and George W. Bush, the Iraq War, the American health care system, and capitalism in his written and cinematic works.

Early life

Moore was born in Flint, Michigan and raised in Davison, a suburb of Flint, by parents Veronica (née Wall), a secretary, and Frank Moore, an automotive assembly-line worker. At that time, the city of Flint was home to many General Motors factories, where his parents and grandfather worked. His uncle LaVerne was one of the founders of the United Automobile Workers labor union and participated in the Flint Sit-Down Strike. Moore has described his parents as "Irish Catholic Democrats, basic liberal good people."

Moore was brought up Roman Catholic, attended parochial St. John's Elementary School for primary school and originally intended to join the seminary. He then attended Davison High School, where he was active in both drama and debate, graduating in 1972. As a member of the Boy Scouts of America, he achieved the rank of Eagle Scout. At the age of 18, he was elected to the Davison school board.

Career

After dropping out of the University of Michigan–Flint following his freshman year (where he wrote for the student newspaper ''The Michigan Times''), Moore worked at the local Buick plant. At 22 he founded the alternative weekly magazine ''The Flint Voice'', which soon changed its name to ''The Michigan Voice'' as it expanded to cover the entire state. In 1986, when Moore became the editor of ''Mother Jones'', a liberal political magazine, he moved to California and ''The Michigan Voice'' was shut down.

After four months at ''Mother Jones'', Moore was fired. Matt Labash of ''The Weekly Standard'' reported this was for refusing to print an article by Paul Berman that was critical of the Sandinista human rights record in Nicaragua. Moore refused to run the article, believing it to be inaccurate. "The article was flatly wrong and the worst kind of patronizing bullshit. You would scarcely know from it that the United States had been at war with Nicaragua for the last five years." Berman described Moore as a "very ideological guy and not a very well-educated guy" when asked about the incident. Moore believes that ''Mother Jones'' fired him because of the publisher's refusal to allow him to cover a story on the GM plant closings in his hometown of Flint, Michigan. He responded by putting laid-off GM worker Ben Hamper (who was also writing for the same magazine at the time) on the magazine's cover, leading to his termination. Moore sued for wrongful dismissal, and settled out of court for $58,000, providing him with seed money for his first film, ''Roger & Me.''

Directing/producing

; ''Roger & Me'': Moore first became famous for his 1989 film, ''Roger & Me'', a documentary about what happened to Flint, Michigan after General Motors closed its factories and opened new ones in Mexico, where the workers were paid much less. Since then Moore has been known as a critic of the neoliberal view of globalization. "Roger" is Roger B. Smith, former CEO and president of General Motors.

; ''Pets or Meat: The Return to Flint'': (1992) is a short (23-minute) documentary film that was aired on PBS. It is based on the feature-length film ''Roger & Me'' (1989) by Michael Moore. The film's title refers to Rhonda Britton, a Flint, Michigan, resident featured in both the 1989 and 1992 films who sells rabbits as either pets or meat.

; ''Canadian Bacon'': In 1995, Moore released a satirical film, ''Canadian Bacon'', which features a fictional US president (played by Alan Alda) engineering a fake war with Canada in order to boost his popularity. It is noted for containing a number of Canadian and American stereotypes, and for being Moore's only non-documentary film. The film is also one of the last featuring Canadian-born actor John Candy, and also features a number of cameos by other Canadian actors. In the film, several potential enemies for America's next great campaign are discussed by the president and his cabinet. (The scene was strongly influenced by the Stanley Kubrick film ''Dr. Strangelove.'') The President comments that declaring war on Canada was as ridiculous as declaring war on international terrorism. His military adviser, played by Rip Torn, quickly rebuffs this idea, saying that no one would care about "... a bunch of guys driving around blowing up rent-a-cars."

; ''The Big One'': In 1997, Moore directed ''The Big One'', which documents the tour publicizing his book ''Downsize This! Random Threats from an Unarmed American'', in which he criticizes mass layoffs despite record corporate profits. Among others, he targets Nike for outsourcing shoe production to Indonesia.

; ''Bowling for Columbine'': Moore's 2002 film, ''Bowling for Columbine'', probes the culture of guns and violence in the United States, taking as a starting point the Columbine High School massacre of 1999. ''Bowling for Columbine'' won the Anniversary Prize at the 2002 Cannes Film Festival and France's César Award as the Best Foreign Film. In the United States, it won the 2002 Academy Award for Documentary Feature. It also enjoyed great commercial and critical success for a film of its type and became, at the time, the highest-grossing mainstream-released documentary (a record now held by Moore's ''Fahrenheit 9/11''). It was praised by some for illuminating a subject slighted by the mainstream media.

; ''Fahrenheit 9/11'': ''Fahrenheit 9/11'' examines America in the aftermath of the September 11, 2001 attacks, particularly the record of the Bush administration and alleged links between the families of George W. Bush and Osama bin Laden. ''Fahrenheit'' was awarded the ''Palme d'Or'', the top honor at the 2004 Cannes Film Festival; it was the first documentary film to win the prize since 1956. Moore later announced that ''Fahrenheit 9/11'' would not be in consideration for the 2005 Academy Award for Documentary Feature, but instead for the Academy Award for Best Picture. He stated he wanted the movie to be seen by a few million more people via a television broadcast prior to election day. According to Moore, "Academy rules forbid the airing of a documentary on television within nine months of its theatrical release", and since the November 2 election was fewer than nine months after the film's release it would have been disqualified for the Documentary Oscar. However, Fahrenheit received no Oscar nomination for Best Picture. The title of the film alludes to the classic book ''Fahrenheit 451'' about a future totalitarian state in which books are banned; according to the book, paper begins to burn at 451 degrees Fahrenheit. The pre-release subtitle of the film confirms the allusion: "The temperature at which freedom burns." At the box office, as of 2010 ''Fahrenheit 9/11'' is the highest-grossing documentary of all time, taking in over US$200 million worldwide, including United States box office revenue of almost US$120 million. In February 2011, Moore sued producers Bob and Harvey Weinstein for US$2.7 million in unpaid profits from the film, claiming they used "Hollywood accounting tricks" to avoid paying him the money.

; ''Sicko'': Moore directed this film about the American health care system, focusing particularly on the managed-care and pharmaceutical industries. At least four major pharmaceutical companies—Pfizer, Eli Lilly, AstraZeneca, and GlaxoSmithKline—ordered their employees not to grant any interviews to Moore. According to Moore on a letter at his website, "roads that often surprise us and lead us to new ideas—and challenge us to reconsider the ones we began with have caused some minor delays." The film premiered at the Cannes Film Festival on 19 May 2007, receiving a lengthy standing ovation, and was released in the U.S. and Canada on 29 June 2007. The film was the subject of some controversy when it became known that Moore went to Cuba with chronically ill September 11th rescue workers to shoot parts of the film. The United States is looking into whether this violates the trade embargo. The film is currently ranked the fourth highest grossing documentary of all time and received an Academy Award nomination for Best Documentary Feature.

; ''Captain Mike Across America'':Moore takes a look at the politics of college students in what he calls "Bush Administration America" with this film shot during Moore's 60-city college campus tour in the months leading up to the 2004 election. The film was later re-edited by Moore into ''Slacker Uprising''.

; ''Capitalism: A Love Story'': On September 23, 2009, Moore released a new movie titled ''Capitalism: A Love Story'', which looks at the late-2000s financial crisis and the U.S. economy during the transition between the incoming Obama Administration and the outgoing Bush Administration. Addressing a press conference at its release, Moore said, "Democracy is not a spectator sport, it's a participatory event. If we don't participate in it, it ceases to be a democracy. So Obama will rise or fall based not so much on what he does but on what we do to support him."

Acting

Moore has dabbled in acting, following a 2000 supporting role in ''Lucky Numbers'' as the cousin of Lisa Kudrow's character, who agrees to be part of the scheme concocted by John Travolta's character. He also had a cameo in his ''Canadian Bacon'' as an anti-Canada activist. In 2004, he did a cameo, as a news journalist, in ''The Fever'', starring Vanessa Redgrave in the lead.

Television

Between 1994 and 1995, he directed and hosted the BBC television series ''TV Nation'', which followed the format of news magazine shows but covered topics they avoid. The series aired on BBC2 in the UK. The series was also aired in the US on NBC in 1994 for 9 episodes and again for 8 episodes on Fox in 1995.

His other major series was ''The Awful Truth'', which satirized actions by big corporations and politicians. It aired on Channel 4 in the UK, and the Bravo network in the US, in 1999 and 2000.

Another 1999 series, ''Michael Moore Live'', was aired in the UK only on Channel 4, though it was broadcast from New York. This show had a similar format to ''The Awful Truth'', but also incorporated phone-ins and a live stunt each week.

In 1999 Moore won the Hugh M. Hefner First Amendment Award in Arts and Entertainment, for being the executive producer and host of ''The Awful Truth'', where he was also described as "muckraker, author and documentary filmmaker".

Music videos

Moore has directed several music videos, including two for Rage Against the Machine for songs from ''The Battle of Los Angeles'': "Sleep Now in the Fire" and "Testify". He was threatened with arrest during the shooting of "Sleep Now in the Fire", which was filmed on Wall Street; the city of New York had denied the band permission to play there, although the band and Moore had secured a federal permit to perform.

He also directed the videos for R.E.M. single "All the Way to Reno (You're Gonna Be a Star)" in 2001 and the System of a Down song "Boom!".

Appearances in other documentaries

Moore appeared in ''The Drugging of Our Children'', a 2005 documentary about over-prescription of psychiatric medication to children and teenagers, directed by Gary Null a proponent of Alternative Medicine. In the film Moore agrees with Gary Null that Ritalin and other similar drugs are over-prescribed, saying that they are seen as a "pacifier".

Moore appeared on fellow Flint natives Grand Funk Railroad's edition of Behind The Music.

Moore appeared as an off-camera interviewer in ''Blood in the Face'', a 1991 documentary about white supremacy groups. The film centers around a neo-Nazi gathering in Michigan.

Moore appeared in ''The Yes Men'', a 2003 documentary about two men who pose as the World Trade Organization. He appears during a segment concerning working conditions in Mexico and Latin America.

Moore was interviewed for the 2004 documentary, ''The Corporation.'' One of his highlighted quotes was: "The problem is the profit motive: for corporations, there's no such thing as 'enough'".

Moore appeared in the 2006 documentary ''I'm Going to Tell You a Secret'', which chronicles Madonna during her 2004 Re-Invention World Tour. Moore attended her show in New York City at Madison Square Garden.

Books

Moore has authored three best-selling books:

''Downsize This!'' (1996), about politics and corporate crime in the United States,

''Stupid White Men'' (2001), ostensibly a critique of American domestic and foreign policy but, by Moore's own admission, "a book of political humor," and

''Dude, Where's My Country?'' (2003), an examination of the Bush family's relationships with Saudi royalty, the Bin Laden family, and the energy industry, and a call-to-action for liberals in the 2004 election.

Political views

Though Moore rejects the label "political activist", he has been active in promoting his political views. According to John Flesher of the Associated Press, Moore is known for his "fiery left-wing populism," and publications such as the Socialist Worker Online have hailed him as the "new Tom Paine."

Moore was a high-profile guest at both the 2004 Democratic National Convention and the 2004 Republican National Convention, chronicling his impressions in ''USA Today''. He was criticized in a speech by Republican Senator John McCain as "a disingenuous film-maker." Moore laughed and waved as Republican attendees jeered, later chanting "four more years." Moore gestured his thumb and finger at the crowd, which translates into "loser."

During September and October 2004, Moore spoke at universities and colleges in swing states during his "Slacker Uprising Tour". The tour gave away ramen and underwear to young people who promised to vote. This provoked public denunciations from the Michigan Republican Party and attempts to convince the government that Moore should be arrested for buying votes, but since Moore did not tell the "slackers" involved for ''whom'' to vote, just to vote, district attorneys refused to get involved. Quite possibly the most controversial stop during the tour was Utah Valley State College in Orem, Utah. A fight for his right to speak ensued and resulted in massive public debates and a media blitz. Death threats, bribes and lawsuits followed. The event was chronicled in the documentary film ''This Divided State''.

Despite having supported Ralph Nader in 2000, Moore urged Nader not to run in the 2004 election so as not to split the left vote. On ''Real Time with Bill Maher'', Moore and Maher knelt before Nader to plead with him to stay out of the race. In June 2004, Moore stated that he is not a member of the Democratic party. Although Moore endorsed General Wesley Clark for the Democratic nomination on January 14, Clark withdrew from the primary race on February 11.

Moore drew attention when charging publicly that Bush was AWOL during his service in the National Guard, describing Bush as "The Deserter" (see George W. Bush military service controversy).

On April 21, 2008, Moore endorsed Barack Obama for President, stating that Hillary Clinton's recent actions had been "disgusting."

In December 2010, Moore publicly offered to contribute $20,000 to the bail of Julian Assange, then held in custody in Britain after Swedish prosecutors sent a European Arrest Warrant, wanting to question Assange for alleged sex crimes. Moore also wrote an open letter to the Swedish government, citing statistics on the increasing number of reported rape cases in Sweden. Some of these statistics appear to have been misinterpreted.

Personal life

Since 1990, Moore has been married to producer Kathleen Glynn, with whom he has a stepdaughter named Natalie. They live in Traverse City, Michigan.

Moore is a Catholic, but has said he disagrees with church teaching on subjects such as abortion and same-sex marriage. He acquired a life membership to the National Rifle Association following the Columbine massacre.

In 2005 ''Time'' magazine named him one of the world's 100 most influential people. Also in 2005, Moore started the annual Traverse City Film Festival in Traverse City, Michigan.

Moore's net worth has been estimated at "8 figures".

Controversy

Moore was criticized by Sean Hannity for criticizing capitalism while benefiting from it himself.

Published work

Bibliography

Filmography

''Roger & Me'' (1989)

''Pets or Meat: The Return to Flint'' (1992) (TV)

''Canadian Bacon'' (1995)

''The Big One'' (1997)

''And Justice for All'' (1998) (TV)

''Lucky Numbers'' (2000) (as actor)

''Bowling for Columbine'' (2002)

''The Corporation'' (2003)

''Fahrenheit 9/11'' (2004) "Palme d'Or" in Cannes

''Sicko'' (2007)

''Captain Mike Across America'' (2007)

''Slacker Uprising'' (2008)

''Capitalism: A Love Story'' (2009)

Television series

''TV Nation'' (1994)

''The Awful Truth'' (1999)

''Michael Moore Live'' (1999)

References

External links

Michael Moore on YouTube

The Populist: Michael Moore Can Make You Cry / ''New Yorker'' (16 February 2004)

America's Teacher by Naomi Klein, ''The Nation'', September 23, 2009

A 2007 NOW on PBS interview with Michael Moore What makes him tick, and why our health care system ticks him off

Michael Moore on His Life, His Films and His Activism - video interview by ''Democracy Now!''

Michael Moore on 2010 Midterm Elections, the Tea Party, and the Future of the Democratic Party

Category:1954 births Category:Living people Category:People from Flint, Michigan Category:Actors from Michigan Category:American alternative journalists Category:American anti–Iraq War activists Category:American anti-war activists Category:American documentary filmmakers Category:American film actors Category:American film directors Category:American health activists Category:American political writers Category:American social commentators Category:American writers of Irish descent Category:César Award winners Category:Documentary film directors Category:Eagle Scouts Category:Emmy Award winners Category:National Rifle Association members Category:University of Michigan alumni Category:Writers from Michigan Category:Writers Guild of America Award winners Category:Youth empowerment individuals Category:Youth rights individuals Category:Roman Catholic activists Category:Academy Award winners

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Coordinates	55°45′06″N37°37′04″N
name	John Cassavetes
birth name	John Nicholas Cassavetes
birth date	December 09, 1929
birth place	New York City, New York, U.S.
death date	February 03, 1989
death place	Los Angeles, California, U.S.
occupation	Actor, Director, Producer, Screenwriter, Film editor
years active	1951–1988
spouse	Gena Rowlands (1954-1989, his death) }}

John Nicholas Cassavetes (in Greek: Γιάννης Νικόλαος Κασσαβέτης; December 9, 1929 – February 3, 1989) was an American actor, screenwriter and filmmaker. He acted in many Hollywood films, notably ''Rosemary's Baby'' (1968) and ''The Dirty Dozen'' (1967). Cassevetes was also a pioneer of American independent film by writing and directing over a dozen movies, which he financed in part with his Hollywood paychecks, and which pioneered the use of improvisation and a realistic cinéma vérité style.

Early life

Cassavetes was born in New York City, the son of Katherine Cassavetes (who was to feature in some of his films) and Nicholas John Cassavetes, Greek immigrants to the U.S. His early years were spent with his family in Greece; when he returned, at the age of seven, he spoke no English. He grew up on Long Island, New York. He attended Port Washington High School from 1945 to 1947, participating in Port Weekly (the school paper), Red Domino (interclass play), football, and the Port Light (yearbook). Next to his photo on page 55 of his 1947 year book is written: "'Cassy' is always ready with a wisecrack, but he does have a serious side. A 'sensational' personality. Drives his 'heap' all over." Cassavetes also attended high school at Blair Academy in New Jersey before spending a year at Colgate University in Hamilton, New York, before transferring to the American Academy of Dramatic Arts. After graduating in 1950, he continued acting in the theater, took small parts in films and began working on television in anthology series such as ''Alcoa Theatre''.

The middle years

Acting workshop and ''Shadows''

By 1956, Cassavetes had begun teaching method acting in his own workshop in New York City. An improvisation exercise in his workshop inspired the idea for his writing and directorial debut, ''Shadows'' (1959; first version 1957). Cassavetes raised the funds for production from friends and family, as well as listeners to Jean Shepherd's late-night radio talk show ''Night People''. His stated purpose was to make a film about little people, different from Hollywood studio productions.

Cassavetes was unable to gain American distribution of ''Shadows'', but it won the Critics Award at the Venice Film Festival. European distributors later released the movie in the United States as an import. Although the box office of ''Shadows'' in the United States was slight, it did gain attention from the Hollywood studios.

Television and acting jobs

Cassavetes played bit parts in B-pictures and in television serials, until gaining notice in 1955 as a vicious killer in ''The Night Holds Terror'' and as a juvenile delinquent in the live TV drama ''Crime In The Streets'' (he would repeat this latter performance in the 1956 film version). His first starring role in a feature film was ''Edge of the City'' (1957), which co-starred Sidney Poitier. He was briefly under contract to MGM and co-starred with Robert Taylor in the western ''Saddle the Wind'', written by Rod Serling. In the late 1950s, Cassavetes played Johnny Staccato the title character in a television series about a jazz pianist who also worked as a detective. It was broadcast on NBC between September 1959 and March 1960, when it was acquired by ABC. Although critically acclaimed, the series was cancelled in September 1960. Cassavetes also appeared on the NBC interview program ''Here's Hollywood''. Cassavetes directed two movies for Hollywood in the early 1960s — ''Too Late Blues'' and ''A Child Is Waiting''. In the 1962-1963 season, Cassavetes guest-starred on the CBS anthology series, ''The Lloyd Bridges Show'', and directed two episodes, including "A Pair of Boots", in which his friend Seymour Cassel guest starred. In the 1963-1964 season, Cassavetes appeared in Jason Evers's ABC drama about college life, ''Channing''. That same season, he appeared in the ABC medical drama about psychiatry, ''Breaking Point''. In 1965, he appeared on ABC's western series, ''The Legend of Jesse James''. The same year he also guest starred in the World War II series ''Combat!'' in the episode "S.I.W.".

It was with the payment for his work on television, as well as a handful of film acting jobs, that he was able to relocate to California and to make his subsequent films independent of any studio, as ''Shadows'' had been. The films he acted in with this intention include: Don Siegel's ''The Killers''; the motorcycle gang movie ''Devil's Angels'' (1967); ''The Dirty Dozen'' (1967), in a role for which he was nominated for an Academy Award for Best Supporting Actor as PVT. Victor R. Franko; Roman Polanski's ''Rosemary's Baby'' (1968), and ''The Fury'' (1978).

The ''Faces International'' films

''Faces'' (1968) was the second film to be both directed and independently financed by Cassavetes. The film starred Cassavetes' wife Gena Rowlands, whom he had married during his struggling actor days, John Marley, Seymour Cassel and Val Avery, as well as several first time actors, such as lead actress Lynn Carlin. It depicts the slow disintegration of a contemporary marriage. The film reportedly took three years to make, and was made largely in the Cassavetes home. ''Faces'' was nominated for three Academy Awards (Best Original Screenplay, Best Supporting Actor and Best Supporting Actress). Around this time, Cassavetes formed "Faces International" as a distribution company to handle all of his films.

In 1970, Cassavetes directed and acted in ''Husbands'', with actors Peter Falk and Ben Gazzara. They played a trio of married men on a spree in New York and London after the funeral of one of their best friends. ''Minnie and Moskowitz'' (1971), about two unlikely lovers, had Rowlands with Seymour Cassel.

In 1972, Cassavetes played opposite Peter Falk again and Blythe Danner in the ''Columbo'' episode ''Etude in Black'', playing the symphony conductor Alex Benedict.

''A Woman Under the Influence'' (1974) stars Rowlands as an increasingly troubled housewife named Mabel. Rowlands received a Academy Award nomination for Best Actress, while Cassavetes was nominated for Best Director.

In ''The Killing of a Chinese Bookie'' (1976), Ben Gazzara plays Cosmo Vitelli, a small-time strip-club owner with an out-of-control gambling habit, pressured by mobsters to commit a murder to pay off his debt.

''Opening Night'' (1977) has Gena Rowlands as lead actress with Cassavetes, Ben Gazzara, and Joan Blondell. Rowlands portrays an aging film star named Myrtle Gordon working in the theater and suffering a personal crisis. Alone and unloved by her colleagues, in fear of age and always at a remove from others on account of her stardom, she succumbs to alcohol and hallucinations after witnessing the accidental death of a young fan. Ultimately, she fights through this, delivering the performance of her life in a play. Rowlands won the Silver Bear for Best Actress at the 28th Berlin International Film Festival for her performance.

Last years

Cassavetes directed the film ''Gloria'' (1980), featuring Rowlands as a Mob moll who tries to protect an orphan boy whom the Mob wants to kill. Rowlands earned another Best Actress nomination for it. In 1982, Cassavetes starred in Paul Mazursky's ''Tempest'', which costarred Rowlands, Susan Sarandon, Molly Ringwald, and Raúl Juliá.

After receiving the prognosis from his doctor that he had six months to live, Cassavetes made ''Love Streams'' (1984) which featured him as an aging playboy who suffers the overbearing affection of his recently divorced sister. It was entered into the 34th Berlin International Film Festival where it won the Golden Bear. The film is often considered Cassavetes' "last film", in that it brought together many aspects of his previous films and also in that he despised the film he made afterwards. ''Big Trouble'' (1986), was taken over during filming from Andrew Bergman who wrote the original screenplay. Cassavetes came to refer to the film as "the aptly titled 'Big Trouble'", since the studio vetoed many of his decisions for the film and eventually edited most of the film in a way which Cassavetes disagreed with.

In January 1987, Cassavetes was facing health problems but having outlasted his doctor's prognosis, wrote the three-act play ''Woman of Mystery'' and succeeded in bringing it to the stage in May and June at the Court Theater.

Cassavetes worked during the last year of his life to produce a last film which was to be titled ''She's Delovely''. He was in talks with Sean Penn to star, though legal and financial hurdles proved insurmountable and the project was forgotten about until after Cassavetes's death, when it was finally made as ''She's So Lovely''.

Death and legacy

An alcoholic, Cassavetes died from cirrhosis of the liver in 1989 at the age of 59. He was survived by Rowlands and three children (Nick, Alexandra and Zoe).

At the time of his death, Cassavetes had amassed a collection of more than forty unproduced screenplays, as well as a novel of ''Husbands''.

Cassavetes is the subject of several books about the actor/filmmakers life. ''Cassavetes on Cassavetes'' is a collection of interviews collected or conducted by Boston University film scholar Ray Carney, in which the filmmaker recalled his experiences, influences and outlook on the film industry. In the Oscar 2005 edition of ''Vanity Fair'' magazine, one article features a tribute to Cassavetes by three members of his stock company, Rowlands, Ben Gazzara and Peter Falk.

Many of John Cassavetes' films are owned by Faces Distribution, a company overseen by Gena Rowlands and Julian Schlossberg, with Castle Hill Productions distributing.

In September 2004, The Criterion Collection produced a Region 1 DVD box set of his five independent films: ''Shadows'', ''Faces'', ''A Woman Under the Influence'', ''The Killing of a Chinese Bookie'' and ''Opening Night''. Also featured in the set is a documentary about the life and works of Cassavetes called ''A Constant Forge'', a booklet featuring critical assessments of the director's work and tributes by old friends. In 2005 a box set of the same films was released in Region 2 by Optimum Releasing. The Optimum DVD of ''Shadows'' has a voice-over commentary by Seymour Cassel. Mistakes about the first and second versions of the film are documented on Ray Carney's web site.

Cassavetes's son, Nick Cassavetes, followed in his father's footsteps as an actor and director. In 1997, Nick Cassavetes made the film ''She's So Lovely'' from the ''She's Delovely'' screenplay his father had written. The film starred Sean Penn, as John Cassavetes had wanted. Alexandra Cassavetes directed the documentary, ''Z Channel: A Magnificent Obsession'' in 2004 and in 2006 served as 2nd Unit Director on her brother Nick's film ''Alpha Dog''. John Cassavetes's younger daughter, Zoe Cassavetes, wrote and directed the 2007 film, ''Broken English'', featuring Rowlands and Parker Posey.

Filmmaking style

Directing

Aside from presenting difficult characters whose inner desires were not easily understood, Cassavetes paid little attention to the “impressionistic cinematography, linear editing, and star-centred scene making” that are fashionable in Hollywood and art films. Instead, he chose to shoot mostly hand held with general lighting or documentary style, to accommodate the spontaneity of his actors.

Cassavetes was never interested in working with actors who were more concerned with their images than with that of the characters whom they were portraying, which is why he rarely had actors of note (other than Gena Rowlands) in his films. As Cassavetes said, he strove “to put [actors] in a position where they may make asses of themselves without feeling they’re revealing things that will eventually be used against them.”

How Cassavetes used improvisation in films is frequently misunderstood. With the exception of the original version of ''Shadows'', his films were completely scripted. Confusion arises in part because Cassavetes allowed actors to bring their own interpretations of characters to their performances. Dialogue and action were scripted but delivery was not.

Cassavetes's unorthodox characters reflected his similarly unconventional method in the making of his films. He employed mostly his friends as actors and set personnel, generally for little or no money guarantee and a share in the profits of the film. Both ''Shadows'' and ''Faces'', two of his earliest films, were shot over a four-year period on week-ends and whenever funds became available.

Cassavetes once said: “The hardest thing for a film-maker, or a person like me, is to find people…who really want to do something…They’ve got to work on a project that’s theirs.” This method differs greatly from the 'director run' sets of big-budget Hollywood productions

Marshall Fine wrote: “Cassavetes, who provided the impetus of what would become the independent film movement in America…spent the majority of his career making his films ‘off the grid’ so to speak…unfettered by the commercial concerns of Hollywood.” To make the kind of films he wanted to make, it was essential to work in this ‘communal', ‘off the grid’ atmosphere because Hollywood’s “basis is economic rather than political or philosophical,” and no Hollywood executives were interested in Cassavetes’s studies of human behaviour. He mortgaged his house to acquire the funds to shoot ''A Woman Under the Influence'', instead of seeking money from an investor who might try to change the script so as to make the film more marketable.

Music

Cassavetes was passionate about a wide range of music, from jazz to classical to rock, "I like all music. It makes you feel like living. Silence is death."

For the soundtrack of ''Shadows'', Cassavetes worked with jazz composer and musician Charles Mingus and Shafi Hadi to provide the score. Mingus's friend, Diane Dorr-Dorynek, described Cassavetes' approach to film-making in jazz terms:

"The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at the moment, so that each performance was slightly different. A jazz musician works in this way, using a given musical skeleton and creating out of it, building a musical whole related to a particular moment by listening to and interacting with his fellow musicians. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced."

When asked by a documentarian, during the making of ''Faces'', whether he had the desire to make a musical film, Cassavetes responded that he wanted to make only one musical, Dostoyevsky's ''Crime and Punishment''.

Cassavetes worked with Bo Harwood, from 1970 to 1984, on six films in several different capacities, even though Harwood had initially only signed on to do "a little editing" for ''Husbands'', and "a little sound editing" for ''Minnie and Moskowitz''. Harwood composed poignant music for Cassavetes' following three films, and was also credited as "Sound" for two of them. During these projects, Harwood wrote several songs, some with Cassavetes.

During his work with Cassavetes, Harwood claimed that the notoriously unpredictable director preferred to use the "scratch track" version of his compositions, rather than to let Harwood refine and re-record them with an orchestra. Some of these scratch tracks were recorded in Cassavetes office, with piano or guitar, as demos, and then eventually ended up in the final film. While this matched the raw, unpolished feel that marks most of Cassavetes' films, Harwood was sometimes surprised and embarrassed.

The relationship seems to have ended amicably. When asked by documentarian Michael Ventura, during the making of Cassavetes' last film ''Love Streams'', what he had learned from working with Cassavetes, Harwood replied:

I learned a lot through John. I've done a lot of editing for him. Picture editing, sound editing, music editing, shot sound, composed score, and I've learned a lot about integrity...I think you know what I mean. You know, thirty years from now, I can say I rode with Billy the Kid."

In popular culture

In the British comic 2000AD (prog 627, created by Alan Grant and Colin MacNeil), the death of Cassavetes was the trigger (albeit hundreds of years in the future) for Judge Dredd's disillusionment with Mega City One's fascistic social repression, and his subsequent resignation, as told in 1989's The Dead Man story arc.

In the Robert Crais books ''The Monkey's Raincoat'' and ''Stalking the Angel'', the main character Elvis Cole is noted to look like John Cassavetes '20 years ago'. He also uses the name Johhny Staccato when giving his details to an apartment guard.

Washington D.C. band Fugazi recorded a tribute on 1993 record ''In on the Kill Taker'' called "Cassavetes".

Jem Cohen's film about Fugazi, 'Instrument' is dedicated to Cassavetes, as well as D. Boon of the 1980s punk rock band the Minutemen.

New York City band Le Tigre released 'What's Yr Take On Cassavetes?', on their ''self-titled album'', featuring a debate between two individuals on the director.

On the album ''The Gap'' (2000) by Chicago band Joan of Arc, is a song titled "John Cassavetes, Assata Shakur, and Guy Debord Walk Into a Bar.."

The season finale of ''Moral Orel'' entitled "Nature, Part 2" on July 15, 2007 was dedicated to John Cassavetes.

Elaine May's ''Mikey and Nicky'' (1976), featuring Falk and Cassavetes, was an overt homage to Cassavetes in cultural / thematic scope, cinematography, and the improvisational nature of the acting.

In the 1993 Denis Leary song "Asshole", Leary states he is going to get "The Duke" (John Wayne), John Cassavetes, Lee Marvin, Sam Peckinpah and a case of whiskey and drive down to Texas—just for some toughness.

The Hold Steady's 2008 album ''Stay Positive'' makes various allusions to Cassavetes's ''Opening Night''.

The lyrics to the song "Opening Night" by Motion City Soundtrack also contain references to the film. This song can be found on their Back to the Beat EP.

On the cover of the compilation "Tank Girl 2" by Jamie Hewlett and Alan Martin, Tank Girl has the name "Cassavetes" written on her sleeve, with no further explanation.

In the book "Chronic City" by Jonathan Lethem, one of the main characters, a film critic named Perkus Tooth considers John Cassavetes one of his "holy heroes".

In the novels of author Robert Crais, private detective Elvis Cole is often told he looks like John Cassavetes.

His movie "Killing of a Chinese bookie" is referenced in one of the episodes of Northern Exposure by the Ed Chigliak character.

Filmography

Notes

Charles Warren, "Cavell, Altman and Cassavetes" in the Stanley Cavell special issue, Jeffrey Crouse (ed.) ''Film International'', Issue 22, Vol. 4, No. 4, 2006, pp. 14–20.

References

External links

Ray Carney's ''The John Cassavetes Pages''

John Cassavetes Tribute Site

Bright Lights Film Journal:Review of Criterion's Box Set ''Five Films''

Playboy Magazine interview (07/1971)

Literature on John Cassavetes

Category:1929 births Category:1989 deaths Category:American experimental filmmakers Category:American film actors Category:American film directors Category:American screenwriters Category:Burials at Westwood Village Memorial Park Cemetery Category:Deaths from cirrhosis Category:American people of Greek descent Category:People from Long Island Category:Blair Academy alumni

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Coordinates	55°45′06″N37°37′04″N
name	Michael Parenti
birth date	1933
education	City College of New York, B.A.Brown University, M.A. Yale University, Ph.D.
birth place	New York City
occupation	political scientist, historian, and media critic
nationality	American
subject	History, Politics, Economics
children	Christian Parenti
website	http://www.michaelparenti.org }}

Michael Parenti is an award-winning, internationally known American political scientist, historian, and culture critic who has been writing on a wide range of both scholarly and popular subjects for over forty years. He has taught at several universities and colleges and has been a frequent guest lecturer before campus and community audiences. In addition, he has played an activist role in political struggles, most notably various anti-war movements. Included among the subjects he addresses are American politics, world affairs, news and entertainment media, ideology, historiography, ethnicity, and religion.

Background

Parenti received his Ph.D. in political science from Yale University and has taught at several universities, colleges, and other institutions. He is the author of twenty books and many more articles. His works have been translated into at least eighteen languages. Parenti lectures frequently throughout the United States and abroad. He wrote ''The Assassination of Julius Caesar'', He is the father of Christian Parenti, an author and contributor to ''The Nation'' magazine.

Parenti's writings cover a wide range of subjects: U.S. politics, culture, ideology, political economy, imperialism, fascism, communism, democratic socialism, free-market orthodoxies, conservative judicial activism, religion, ancient history, modern history, historiography, repression in academia, news and entertainment media, technology, environmentalism, sexism, racism, homophobia, Venezuela, the wars in Iraq and Yugoslavia, ethnicity, and his own early life. Perhaps his most influential book is ''Democracy for the Few'', now in its ninth edition, a critical analysis of U.S. society, economy, and political institutions and a college-level political science textbook published by Wadsworth Publishing.

Parenti lectures across the United States, Canada and abroad. In recent years he has addressed such subjects as "Empires: Past and Present," "US Interventionism: the Case of Iraq," "Race, Gender, and Class Power," "Ideology and History," "The Collapse of Communism," and "Terrorism and Globalization."

Michael Parenti was raised in an Italian-American working-class family and neighborhood in New York City about which he has written. For many years Parenti taught political and social science at various institutions of higher learning. Eventually he devoted himself full-time to writing, public speaking, and political activism.

In Washington, D.C., in 2003, the Caucus for a New Political Science gave him a Career Achievement Award. In 2007, he received a Certificate of Special Congressional Recognition from U.S. Representative Barbara Lee and an award from New Jersey Peace Action. For several years in the 1980s, he was a Visiting Fellow at the Institute for Policy Studies in Washington, D.C.

He served for some 12 years as a judge for Project Censored. He also is on the advisory boards of Independent Progressive Politics Network, and Education Without Borders; as well as the advisory editorial boards of ''New Political Science'' and Nature, Society and Thought.

Social and political analyses

Parenti has covered many subjects in 45 years of teaching, writing, and speaking. The broad outlines of some of these are summarized below.

Racism

Parenti argues that western racism is systemic and historical in nature and should be regarded as more than just an attitudinal problem. He identifies the origins of western racism in imperialism and slavery: To justify the colonial plunder of another nation or entire continent (as in the case of Africa) as well as the enslavement of conquered populations, imperialists and/or slave traffickers dehumanize their victims and define them as moral inferiors and subhuman.

Parenti maintains that racism serves several functions for ruling interests in the United States:

# It divides the working class against each other. # It creates a "super-exploited" group of people who are forced to work at below scale wages thereby depressing wage levels for the entire workforce. # It distracts the (United States) white population from its own legitimate grievances by providing an irrelevant scapegoat in the form of minority populations

Culture and social structure

In the late 1960s and early 1970s, becoming increasingly critical of the existing socio-economic system, Parenti argued that images of the United States as a pluralistic, democratic society were more ideological than accurate. He did not deny the existence of a vast plurality of social, ethnic, and regional groups in America, but he felt that this group pluralism did not translate into a democratic pluralism in political life. Only limited portions of the political process are accessed by the general populace. Power in America is not broadly distributed, according to Parenti, but is highly concentrated in a social structure dominated by corporate moneyed interests, whose influence predominates in most mainstream institutions and major policy areas. Parenti maintains that the resources of power are lodged in the social structure itself, the culture, institutions, and established social roles, and that ruling elements maintain their dominant positions not only by raw economic power but by attaining “cultural hegemony,” a concept formulated earlier by Antonio Gramsci (whom Parenti cites).

Role of US media

With respect to the US media Parenti has maintained that, while news coverage can be marred by problems of deadlines, space, and ordinary human error, much of the misleading coverage is the result of carefully honed ideological production. Reporters, he says, often exercise much skill to avoid the more important points of a story or news analysis so as not to offend anyone who wields substantial political and economic power, including their own bosses and corporate advertisers. Parenti concludes that their goal is to avoid fishing too deeply into troubled waters thereby maintaining an appearance of objectivity and moderation. Their careers, he suggests, depend in part upon their ability to equate centrist views with “objectivity,” and to stay within the prevailing ideological orthodoxy.

Parenti’s treatment of entertainment media (movies and television) continues the argument that the media are not neutral and favor elitist interests. Exploring a wide range of films and programs, he has attempted to demonstrate that the entertainment media do more than entertain; they indoctrinate by propagating values in keeping with their corporate ownership and corporate advertisers. Most recently, he wrote the foreword to Matthew Alford's Reel Power: Hollywood Cinema and American Supremacy (Pluto Press, 2010).

Parenti often attacks specific examples of the misleading coverage provided by the US media. In ''Blackshirts and Reds'' he cites historian J. Arch Getty's figures to demonstrate the exaggeration elsewhere in the US media of the executions effected by Joseph Stalin in the Great Purge. Parenti critically reviews ''Slobodan Milosevic and the Destruction of Yugoslavia'' in "The Demonization of Slobodan Milosevic" and ''To Kill a Nation: The Attack on Yugoslavia'' , finding similar exaggeration of war crimes in the breakup of the second Yugoslavia. In "Friendly Feudalism: The Tibet Myth" he observes, "western news media, travel books, novels, and Hollywood films have portrayed the Tibetan theocracy as a veritable Shangri-La" then goes on to detail what he feels were its negative aspects.

Culture across the globe

Parenti maintains that, far from being neutral, culture is often ideologically driven in a highly skewed system of social power, benefiting some groups at the expense of others. “Growing portions of our culture are increasingly commodified and mass marketed.” “So we buy more and more of our culture and create less and less of it.” Rather than being accepted at face value, Parenti says that all cultures should be subjected to critical investigation to be judged by “universal human rights standards” and by the criticisms voiced by those who are victimized within the various cultures of the world. Parenti gives extensive attention to those who are regularly victimized by their own cultures, providing examples in chapters entitled “Custom Against Women,” “The Global Rape Culture,” and “Racist Myths.”

Role of voting fraud in US elections

Parenti is among those who have cited a variety of studies claiming that the 2004 presidential election was fraudulent. In an essay entitled "The Stolen Election of 2004" he argued that modern voting technology allowed powerful corporations to manipulate the electoral results. He concluded the article by observing, about the forthcoming US election, "Given this situation, it is not likely that the GOP will lose control of Congress come November 2006. The two-party monopoly threatens to become an even worse one-party tyranny." In an updated analysis of the 2000 and 2004 presidential elections, he adds a postscript explaining why—despite the massive crossover reported in the polls away from the GOP-—the Democrats won only a slim victory in the Congressional 2006 elections.”

Class and class power

Parenti stresses the role of class in all societies, particularly the purportedly classless US one. He extends the definition of class as a demographic trait relating to status, education, lifestyle, and income level to include the effects of social interrelationships. He observes that there can be no rich slaveholders without poor slaves, no powerful feudal lords without serfs, no corporate bosses without workers. The interrelationship is highly asymmetrical. It centers on the organized wealth of the society.

Parenti also believes that there is a third factor involved in class relationships, specifically the productive resources (land, agriculture, herds, natural resources, factories, technology, etc.). The dominant group in class relationships owns or controls these economic resources. The weaker class historically has had only its labor to sell. Hence the “dominant money classes” exercise a preponderant influence over workforces, markets, major investments, consumption patterns, media, and public policies. Parenti concludes that when discussing class, class power—how it is used, for whose interests, and at whose expense—must also be discussed.

US downplay of class

Parenti has repeatedly criticized the tendency among many who profess to be progressive to downplay the importance of class and class power as a formative force as compared to race, gender, and culture. He allows that each of these other categories of social experience have imperatives that are distinctly their own, sometimes of a life-and-death urgency. Still they should not be seen as being mutually exclusive of, or in competition with, considerations of class power in society, he argues, and should not be used as a means of evading class analysis.

Democracy and capitalism

From the late 60s well into the 80s, Parenti was one of many radicals and socialists who questioned the validity and value of what they called “bourgeois democracy,” seeing it more as a charade to mislead the people into thinking that they were free and self-governing. By the late 80s, however, he noticeably modified his position, arguing that democracy should not be thought of as merely a subterfuge or cloak created by ruling elites, although it certainly can serve that purpose. More often, Parenti claimed, whatever modicum of democracy the people attain in any society is usually the outcome of genuine struggle for a more equitable politico-economic order. He asks why the corporate class should be credited with giving people a “bourgeois democracy,” when in fact the ruling plutocrats furiously opposed most democratic advances in U.S. history, such as the extension of the franchise or the struggle for ethnic and gender equality, more direct forms of representation, more room for dissent and free speech, greater accountability of elected officials, and more equitable socio-economic domestic programs.

According to Parenti, reacting to mainstream commentators who turn every systemic vice and deficiency into a virtue, leftist critics of the status quo, seeing no real victories or progress in the centuries of popular struggle, have felt compelled to turn every virtue into a vice. To counter this trend, he says, people should recognize that real gains have been made, democracy refuses to die, and both at home and abroad popular forces, continue the democratic struggle, even against great odds.

For Parenti, democracy has two basic dimensions, the procedural and the substantive, both of which are equally important. Procedural democracy consists of the basic political forms: free speech and assembly, the right to dissent, accountability of officeholders, the right to vote in regular and honest elections, etc. Substantive democracy consists of egalitarian socio-economic outputs that advance the well-being of the populace, protect the environment, and curb the abuses and often untrammeled powers of great wealth. Parenti quotes the German sociologist Max Weber who remarked almost a century earlier that it remains to be seen whether democracy and freedom can exist under the dominion of a highly developed capitalism.

Parenti concludes that “there is no one grand, secret, power elite governing this country, but numerous coteries of corporate and governmental elites that communicate and coordinate across various policy realms. Behind their special interests are the common overall interests of the moneyed class,” which is not to say that differences never arise among these elites.

Technology, money, and deficit spending

Parenti believes that people's thinking about past and present developments needs to be contextualized, that is seen in a social context of power and ideology. He gives the examples of technology and money. Both are seen as neutral entities that are inherently neither good nor bad. This may be true hypothetically, he writes, but, in reality, both technology and money have been developed within specific historical contexts by powerful interests that gained great advantage from their development. Almost all technology, he argues, is devoted to advancing the interests of higher circles, maximizing profits and corporate production, or in the case of government, maximizing surveillance, communication, and military striking power. New advances in technology are not neutral things. They impact upon us and our environment in ways that can advantage some and hurt others, according to Parenti. He writes similarly about money: "Like technology, money has a feedback effect of its own, advantaging the already advantaged", liquefying wealth, making it easier to mobilize and accumulate. With the growth of moneyed wealth comes a greater concentration and command over technology by the moneyed class.

Few phenomena in the social order can operate with neutral effect even if supposedly pursued with neutral intent, according to Parenti. The national debt is a good example. Considered merely as a “problem” of excessive government spending, the national debt in fact works well for certain interests, specifically the moneyed class, Parenti claims. By 1977,he noted how the national debt brought a transfer of income from the taxpayers to the wealthy creditors, the holders of government bonds. The greater the debt, the greater the upward transfer, as the government continues to borrow money from those they should be taxing (the big money interests). Parenti concludes it is no accident that the biggest deficit spenders have been conservative presidents like Ronald Reagan and both George H. W. Bush and George W. Bush. The national debt is in effect a way of privatizing public spending and defunding the federal budget, Parenti argues. The bigger the debt, the less money available for domestic programs, and the more money that goes from the pockets of ordinary taxpayers to rich creditors.

Fascism

Parenti’s treatment of fascism differs from that of the many writers who stress the irrational features of fascism: its state idolatry, nationalistic atavism, and leadership cult. While not denying that these are key components in the propagation of fascism’s appeal, he invites us not to overlook the “rational politico economic functions” that fascism performed. “Much of politics is the rational manipulation of irrational symbols,” he claims. The emotive appeals of fascist ideology have served a class-control function, “distracting the populace from their legitimate grievances and directing their frustrations at various scapegoats.”

Most of the immense literature on the subject of fascism and Nazism focuses on who supported Hitler’s rise to power. Relatively little, Parenti writes, is said about whom the Nazis supported when they came to power. In both fascist Italy and Nazi Germany, he points out, wages were cut drastically, domestic programs were rolled back, huge subsidies were given to heavy industry, labor unions were broken, taxes on the very rich were greatly reduced or eliminated altogether, and workplace safety regulations were ignored or abolished. Fascism, he concludes, has a much overlooked politico- economic agenda; it involves something more than just goose stepping.

Empire

U.S. foreign policy is neither confused nor bungling, according to Parenti. It is quite consistently directed toward certain goals, and is largely successful. For the most part, U.S. leaders have maintained friendly relations with those governments that have opened up their countries to Western corporate investors, and have shown hostility toward those countries that have tried to use their land, labor, natural resources, and markets for their own self-development, Parenti believes. Iraq was targeted for “having committed economic nationalism,” with a state-run economy that pretty much shut out Western investors. The same holds true for Yugoslavia, he claims. Both countries were bombed and invaded, and their public economies were shattered. Parenti believes that Yugoslavia was transformed from a viable social democracy to a cluster of little right-wing mini-republics.

Parenti's beliefs led him to become head of the United States chapter of the ''International Committee to Defend Slobodan Milošević'', in which capacity he added to the criticisms of bias in the International Criminal Tribunal for the former Yugoslavia

Parenti also maintains that the U.S. empire feeds off the U.S. republic. The empire’s expansion abroad entails increasing costs for the republic. Ventures that are profitable for military contractors and overseas investors have to be paid in blood and taxes by the American populace. The many third world countries that are the targets of colonial intervention pay the highest price, he writes. They suffer not from underdevelopment, but from “maldevelopment,” a result of generations of overexploitation.

Communism

Many on the left continue to deliver impassioned and blanket condemnations of deceased communist countries, Parenti states. “Those of us who refused to join in the Soviet bashing were branded by left anti-communists as ‘Soviet apologists’ and ‘Stalinists,’ even if we disliked Stalin and his autocratic system of rule and believed there were things seriously wrong with existing Soviet society.”

Parenti did in fact make a number of criticisms of the Soviet Union. In 1986 he wrote: "In the USSR there exist serious problems of labor productivity, industrialization, urbanization, bureaucracy, corruption, and alcoholism. There are production and distribution bottlenecks, plan failures, consumer scarcities, criminal abuses of power, suppression of dissidents, and expressions of alienation among some of the population."

More recently he wrote that the state-owned economies of Eastern Europe and the Soviet Union suffered “fatal distortions in their development” because of the years of “embargo, invasion, devastating wars, and costly arms buildup; excessive bureaucratization and poor incentive systems; lack of administrative initiative and technological innovation; and a repressive political rule that allowed little critical expression and feedback while fostering stagnation and elitism.” Some on the left heavily criticized Parenti for what they saw as his defense of such regimes, however, in his book Blackshirt and Reds.

Parenti argues that “despite the well-publicized deficiencies, crimes, and injustices, there were positive features about existing communist systems that were worth preserving, such as the free medical care and human services; affordable food, fuel, transportation, and housing; universal literacy; gains in women’s rights; free education to the highest level of one’s ability; a guaranteed right to a job; free cultural and sporting events, and the like.” He supported Gorbachev’s campaign of perestroika and glasnost until 1990 when it became evident to him that the Gorbachev reforms were leading to the implantation of free-market capitalism and were, as he saw it, bringing hardships to the common people.

Social democracy

Parenti maintains that the structural problems of free-market transnational capitalism will only worsen the living standards of people in the United States and abroad, while deepening the environmental crises. He advocates a greater measure of public ownership in the USA. Parenti asks “can socialism work? ... Is it not just a dream in theory and a nightmare in practice? Can the government produce anything of worth?” He goes on to point out that it already does citing publicly owned transportation systems, utilities, banking, education, and health services that are run efficiently by the governments of the USA and various social democracies and at a far lesser cost than their private counterparts.

Ecology

Parenti points to the increasingly catastrophic droughts, storms, floods, and abnormally high temperatures in many parts of the world to justify a hypothesis that the widely discussed ecological crisis of global warming will not be upon us “by the end of the century” or “in the lives of our grandchildren,” but is already happening today. He builds on this in an essay, "Why the Corporate Rich Oppose Environmentalism," to argue that immediate and immense profits that come at a cost to the environment are of more concern to corporate investors than the diffuse and long-run damage done to the global ecology.

History and historiography

Much of Parenti’s work draws upon history. In his ''History as Mystery'' he takes the old adage that history is written by the victors and fleshes it out with examples drawn from ancient and modern times. In regard to early Christianity, for instance, he maintains that, contrary to popular notions, the “Jesus worshipers” did not gather most of their followers from the poor and downtrodden but from the more affluent strata. Some Christian leaders discouraged slaves from converting to Christianity. Slaves were prohibited from becoming church deacons or priests, he maintains. Contrary to conventional US notions, he argues that the Christians were not the keepers of learning and scholarship during the Dark Ages but played a relentless role in destroying all the advanced learning and all the libraries of antiquity that were in their reach.

In ''The Assassination of Julius Caesar'', he states that many historians, both ancient and modern, have treated popular insurgencies and the common people with fear and loathing, depicting them as mindless rootless mobs of ne’er-do-wells. He also argues that Caesar and other popular reformers of the Roman Republic before him were assassinated not because they were violating the Roman constitution but because they were advocating reforms that benefited the commoners at a cost to the aristocracy. He does not draw a link between Caesarism and the eventual descent of the Republic into the despotism of the Empire.

References in popular culture

New York City based ska punk band Choking Victim use a number of samples from Michael Parenti's lectures in their album, ''No Gods, No Managers''.

Appearances in Film and Television

Apart from several recordings of some of his public speeches, Parenti has also appeared in the 1992 documentary Panama Deception and the 2004 documentary Liberty Bound as an author and social commentator.

In addition, he was interviewed for two episodes of the Showtime series Penn & Teller: Bullshit!, speaking briefly about the Dalai Lama (Episode 305 - Holier Than Thou) and patriotism (Episode 508 - Mount Rushmore).

Bibliography

''The Anti-Communist Impulse'', Random House, 1970.

''Trends and Tragedies in American Foreign Policy'', Little, Brown, 1971.

''Ethnic and Political Attitudes'', Arno, 1975. ISBN 0405064136

''Democracy for the Few'', First Edition circa 1974, Eighth Edition 2007. ISBN 0495007447, ISBN 9780495007449

''Power and the Powerless'', St. Martin's Press, 1978. ISBN 0312633726, ISBN 0312633734

''Inventing Reality: the Politics of News Media''. First edition 1986, Second Edition 1993. ISBN 0312020139, ISBN 0312086296

''The Sword and the Dollar: Imperialism, Revolution and the Arms Race'', St. Martin's, 1989. ISBN 0312022956

''Make-Believe Media: the Politics of Entertainment'', St. Martin's Press, 1992. ISBN 0312056036, ISBN 0312058942

''Land of Idols: Political Mythology in America'', St. Martin's, 1993. ISBN 0312094973, ISBN 0312098413

''Against Empire'' Published by City Lights Books, 1995, ISBN 0872862984, 9780872862982, 217 pages

''Dirty Truths'', City Lights Books, 1996. Includes some autobiographical essays. ISBN 0872863174, ISBN 0872863182

''Blackshirts & Reds: Rational Fascism and the Overthrow of Communism'', City Lights Books, San Francisco, 1997. ISBN 0872863298, ISBN 0872863301

''America Besieged'', City Lights, 1998. ISBN 0872863387, ISBN 0872863387

''History as Mystery'', City Lights, 1999. ISBN 0872863573, ISBN 0872863646

''To Kill a Nation: The Attack on Yugoslavia'', Verso, 2000, ISBN 1859847765

''The Terrorism Trap: September 11 and Beyond'', City Lights, 2002. ISBN 0872864057

''The Assassination of Julius Caesar: A People's History of Ancient Rome'', The New Press, 2003. ISBN 1565847970.

''Superpatriotism'', City Lights, 2004. ISBN 9780872864337

''The Culture Struggle'', Seven Stories Press, 2006. ISBN 1583227040, ISBN 9781583227046

''Contrary Notions'', City Lights Books, 2007. ISBN 0872864820, ISBN 9780872864825

''God and His Demons'', Prometheus Books, 2010

''The Face of Imperialism'', (Paradigm, 2011)

References

External links

Michael Parenti Political Archive maintained by Michael Parenti

Michael Parenti's articles

GIobal Rollback: After communism

Dubious Design (Creationism & Intelligent Design)

Audio

Talks by Michael Parenti - MP3 format.

TUC Radio's Michael Parenti Archive - recordings available for purchase.

Michael Parenti talks about “The Culture Struggle” May 2007 on Democracy Now radio.

October 2006 interview on KPFA radio.

Category:American economics writers Category:American historians Category:American Marxists Category:American media critics Category:American political scientists Category:American political theorists Category:American political writers Category:Anti-corporate activists Category:Anti-globalization writers Category:Anti-poverty advocates Category:Brown University alumni Category:City College of New York alumni Category:Historians of the United States Category:International relations scholars Category:American people of Italian descent Category:Marxist historians Category:Marxist writers Category:Military-industrial complex Category:People from New York City Category:Yale University alumni Category:1933 births Category:Living people

de:Michael Parenti es:Michael Parenti eu:Michael Parenti it:Michael Parenti nl:Michael Parenti ru:Паренти, Майкл sv:Michael Parenti

Coordinates	55°45′06″N37°37′04″N
Name	Andy Serkis
Birth name	Andrew Clement G. Serkis
Birth date	April 20, 1964
Birth place	Ruislip Manor, London, UK
Occupation	Actor, director, author
Years active	1989–present
Spouse	Lorraine Ashbourne (22 July 2002 – present)
Website	http://www.serkis.com }}

Andrew Clement G. "Andy" Serkis (born 20 April 1964) is a British actor, director and author of Armenian descent. He is popularly known for playing (through motion capture), Gollum in ''The Lord of the Rings'' film trilogy, for which he earned several award nominations, including the Saturn Award for Best Supporting Actor for his performance in ''The Lord of the Rings: The Two Towers''. He also played the title role in the 2005 ''King Kong'' remake and earned a Golden Globe Award nomination for his portrayal of Ian Brady in the British television film ''Longford''.

Serkis plays Caesar in the 2011 film, ''Rise of the Planet of the Apes''. Serkis will also co-star as Captain Haddock in the upcoming ''The Adventures of Tintin: Secret of the Unicorn'' film. In 2012, he will reprise the role of Gollum for ''The Hobbit''.

Many of Serkis' most prominent roles, including those in ''Lord of the Rings'', ''King Kong'' and ''Rise of the Planet of the Apes'', have involved him being the subject of motion capture to animate and voice a computer generated character.

Early life

Serkis, one of five children, was born and brought up in Ruislip Manor in west London. His mother, Lylie (née Weech), was English and taught disabled children; his father, Clement Serkis, was an Iraqi-born gynaecologist of Armenian descent. His family's original surname had been "Sarkisian".

Serkis was educated at St Benedict's School, Ealing, and then started studying visual arts at Lancaster University, choosing theatre as a second subject so he could design posters. Serkis was a member of The County College, and part of the student radio station Bailrigg FM.

As part of the first year of his visual arts course at Lancaster University, Serkis had to choose a secondary subject as part of a broad-range based arts foundation. He choose to study theatre and joined the Nutfield Studio, getting involved designing and producing plays. Having agreed to act in a couple of productions, towards the end of his first year he played the lead role in Barrie Keeffe's play ''Gotcha,'' as a rebellious teenager holding a teacher hostage. As a result he changed his major subject in the subsequent two years to acting, constructing his modular Independent Studies Degree around acting, set design studying Stanislavski and Brecht, and minor modules in art and visual graphics.

Career

In his third year at college, Serkis joined the backstage team at the local Dukes Playhouse to earn his Equity card. On graduation, although advised to take a one year post-graduate acting course, he joined Dukes as an actor, and under director Jonathan Petherbridge who used workshops based upon the methods of Augusto Boal, spent 18 months acting in a broad range of productions from Brecht through Shakespeare to modern British playwrights.

After 18 months, and having gained his Equity card, Serkis joined a series of touring companies, including productions of: ''Bouncers'' opposite Hull Truck; Florizel in ''The Winter's Tale;'' and the fool in ''King Lear'' with Max Stafford-Clark. In the early 1990s he settled in London, and took roles in ''Dogboy,'' the Royal Court Theatre's production of ''Mojo,'' Bill Sykes in ''Oliver Twist,'' and Wilson Milam's 1997 production of ''Hurlyburly'' at the Queen's Theatre, Shaftesbury Avenue, opposite Rupert Graves and David Tennant.

Like many British actors, Serkis made the move to television through the BBC, appearing in the joint BBC/HBO production of ''Einstein and Eddington.'' Serkis played Albert Einstein, following the development of his theory of relativity, while David Tennant played British scientist Sir Arthur Eddington, who became the first person to understand the scientist's work. Serkis joined director Mike Leigh's ensemble for two film productions, and appeared in the 1999 romantic comedy ''Loop'' alongside Susannah York.

Serkis's most critically acclaimed roles have been Sméagol/Gollum, in ''The Lord of the Rings'' movie trilogy (2001–03), the title character in the 2005 version of ''King Kong'', in which he provided both the voice and movements for the CGI character as well as the ship's cook, and as 1970s new wave star Ian Dury in ''Sex & Drugs & Rock & Roll'' (2010).

His work on ''The Lord of the Rings'' started a debate on the legitimacy of CGI-assisted acting. Some critics felt Serkis should have been nominated for the Academy Award for Best Supporting Actor, since his voice, body language, and facial expressions were used. There is the argument that his CGI actions were partially, or in some cases fully, animated without his movements, but the same is true for actors in a traditional movie with CGI (uncredited, Serkis also voices the Witch King of Angmar, as well as several orc characters).

Serkis worked with game developers Ninja Theory on the 2007 release ''Heavenly Sword'', providing the motion capture and voice for King Bohan (the game's main villain), as well as acting as Dramatic Director for the game. He has played 30 roles in film and television productions. One of his earliest feature film appearances was alongside Sacha Baron Cohen in ''The Jolly Boys' Last Stand''.

Serkis was cast as serial killer Ian Brady in the BAFTA-nominated ''Longford'', co-starring Samantha Morton as Myra Hindley and Jim Broadbent as Lord Longford. The film was attacked by relatives of Brady's and Hindley's victims. The mother of Keith Bennett, whose body has never been found, publicly criticized Serkis for requesting a meeting with Brady in preparation for the role. Serkis only portrayed Brady in two scenes in the film – both while he was in prison and meeting with Longford, urging him not to support Hindley as she is a manipulative woman who will "destroy" him.

In 2006, Serkis appeared in the role of Mr Grin in the film rendition of Anthony Horowitz's Alex Rider novel ''Stormbreaker''. In 2006, he was in the film ''The Prestige'' as Mr. Alley, assistant to Nikola Tesla, and as the voice of Spike, one of the henchrats in the Aardman Animations film ''Flushed Away''. In 2006 Serkis appeared in Jim Threapleton's improvised feature film, ''Extraordinary Rendition'', which premiered in 2007.

Serkis appeared in ''Sugarhouse'', a low-budget independently made film, playing local crime lord Hoodwink, who terrorises an east London housing estate. For the role, Serkis shaved his head and had sessions lasting 20 hours each to have temporary tattoos stencilled onto his body. The film premiered at the 2007 Edinburgh Festival and released in the UK on 24 August 2007.

In 2007, Serkis provided the voice over for ''Monkey Business'', Five broadcast for three weeks from 13–31 August 2007. This series is about Monkey World, the popular ape and monkey sanctuary and zoo near Wool, Dorset. Serkis will reunite with Peter Jackson as a cast member in Jackson's and Steven Spielberg's ''Tintin'' trilogy, based on ''The Adventures of Tintin: Secret of the Unicorn''. Filming began in January 2009. Filming was due to begin in September 2008 but was delayed due to Universal pulling out of backing the project. In 2008, Serkis appeared as Rigaud in the BBC Television adaptation ''Little Dorrit''.

In 2009, Serkis voiced the role of the demon Screwtape in Focus on the Family's Radio Theatre audio drama of ''The Screwtape Letters''.

In 2010, Serkis was cast as William Burke for the John Landis film ''Burke and Hare''.

In 2010, Serkis features in the TV series ''The Accused'', in "Liam's Story", written by Danny Brocklehurst and Jimmy McGovern. He plays "Caesar" in the 20th Century Fox science-fiction film ''Rise of the Planet of the Apes''.

In January 2011, it was confirmed that Serkis would reprise the role of Gollum in the two-part ''The Hobbit'' films which will be released in 2012 and 2013.

Personal life

Serkis lives in Crouch End, North London with his wife, actress Lorraine Ashbourne, and their three children: Ruby (b. 1998), Sonny (b. 2000) and Louis (b. 2004).

Serkis was a vegetarian but started to eat fish during the filming of ''The Lord of the Rings'' film trilogy. He writes about it in his book ''Gollum: How We Made Movie Magic,'' published in 2004.

Serkis was born to Catholic parents and though he has been described as an atheist since his teenage years, he is drawn to the karmic possibilities of energy transference, specifically ''"the idea that your energy lives on after you"''.

Awards and nominations

Won

Evening Standard British Film Awards 2010 Best Actor – ''Sex & Drugs & Rock & Roll''. Empire Inspiration Award 2010

Nominations

Golden Globe 2008 Best Performance by an Actor in a Supporting Role in a Series, Mini Series or Motion Picture Made for Television – ''Longford''

Primetime Emmy Award 2009 Best Supporting Actor in a TV Movie or Mini Series - "Longford"

BAFTA 2010 Leading Actor – ''Sex & Drugs & Rock & Roll''

Filmography

''The Near Room'' ''Stella Does Tricks'' ''Mojo'' ''The Tale of Sweety Barrett'' ''Topsy-Turvy'' ''Jump (2000 film) ''The Lord of the Rings: The Fellowship of the Ring'' ''The Lord of the Rings: The Two Towers'' ''The Lord of the Rings: The Return of the King'' ''[[Blessed (2004 film) ''[[Blessed (2004 film) ''King Kong (2005 film) ''Extraordinary Rendition (2007 film, UK) ''Muybridge (film) ''The Cottage (film) ''Sex & Drugs & Rock & Roll (film) ''Burke and Hare (film) ''Brighton Rock (2011 film) ''The Hobbit (2012 film) ''The Hobbit (2012 film)

Year	! Film	! Role	! Notes
1994	''Prince of Jutland''	Torsten
1995	|	Bunny
1996	|	Fitz
rowspan="3"	1997	|	Potts
''Career Girls''	Nick Evans
''Loop (film)	Loop''	Bill
rowspan="4"	1998	|	Leo King
''Among Giants''	Bob
''Clueless (1998 film)	Clueless''	David
''Insomnia''	Harry
rowspan="2"	1999	|	John D'Auban
''Five Seconds to Spare''	Chester
rowspan="4"	2000	Jump'' ||	Shaun
''Shiner (2000 film)	Shiner''	Mel
''Pandaemonium (film)	Pandaemonium''	John Thelwall
''The Jolly Boys' Last Stand	Spider
rowspan="2"	2001	|	Gollum>Smeagól/Gollum	Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture>SAG Award for Outstanding Performance by a Cast in a Motion Picture
''The Escapist (2001 film)	The Escapist''	Ricky Barnes
rowspan="3"	2002	|	Gollum>Smeagól/Gollum	Saturn Award for Best Supporting ActorMTV Movie Award for Best Virtual PerformanceNominated – Online Film Critics Society Award for Best Supporting Actor
''[[Deathwatch''	Pvt. Thomas Quinn
''24 Hour Party People''	Martin Hannett
2003	|	Gollum>Smeagól/Gollum	Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture>SAG Award for Outstanding Performance by a Cast in a Motion PictureNominated – Saturn Award for Best Supporting ActorNominated – 2004	Blessed">Chicago Film Critics Association Award for Best Supporting Actor
rowspan="3"	2004	Blessed'' ||	Father Carlo
''13 Going on 30''	Richard Kneeland
''Standing Room Only (2004 film)	Standing Room Only''	Granny, Rastafarian and Hunter Jackson
rowspan="2"	2005	King Kong'' ||	King Kong and Lumpy the Cook
''Stories of Lost Souls (film)	Stories of Lost Souls''	Granny, Rastafarian and Hunter Jackson
rowspan="5"	2006	Extraordinary Rendition'' ||	Lead Interrogator
''Longford (film)	Longford''	Ian Brady >
''Stormbreaker (film)	Stormbreaker''	Mr. Grin
''The Prestige (film)	The Prestige''	Mr. Alley
''Flushed Away''	Spike
rowspan="2"	2007	Muybridge'' ||	Erickson
''Sugarhouse (film)	Sugarhouse''	Hoodwink
rowspan="2"	2008	The Cottage'' ||	David
''Inkheart (film)	Inkheart''	Capricorn (Inkworld)>Capricorn
	2009	Sex & Drugs & Rock & Roll'' ||	Ian Dury	Nominated – BAFTA Award for Best Actor in a Leading Role
rowspan="2"	2010	Burke and Hare'' ||	Burke and Hare murders>William Hare
	''Death Of A Superhero''	Dr Adrian King
rowspan="3"	2011	Brighton Rock'' ||	Mr. Colleoni
''Rise of the Planet of the Apes''	Caesar (Planet of the Apes)>Caesar
''The Adventures of Tintin: Secret of the Unicorn''	Captain Haddock/Sir Francis Haddock
2012	The Hobbit: An Unexpected Journey'' ||	Gollum>Sméagol/Gollum	Filming.2nd unit Director.
2013	The Hobbit: There And Back Again'' ||	Gollum>Sméagol/Gollum	Filming.2nd unit Director.

Television work

''The Darling Buds of May'' ''Pie in the Sky (TV series) ''Finney (TV series) ''The Pale Horse'' ''The Jump'' ''Oliver Twist (TV miniseries) ''Arabian Nights (miniseries) ''Spooks'' ''Simon Schama ''Einstein and Eddington'' ''The Screwtape Letters#Audio drama ''Accused (TV series)

Year	! Film	! Role	! Notes
rowspan="2"	1989	''Morris Minor and his Marvellous Motors''	Sparky Plugg
''Streetwise (1989 film)	Streetwise''	Owen
1992	|	Greville	TV series – Episode ''Le Grande Weekend''
1993	Pie in the Sky'' ||	Maxwell	TV series – Episode ''Passion Fruit Fool''
rowspan="2"	1994	Finney'' ||	Tom	TV series
''Grushko''	Pyotr
1997	|	Sergeant Corrigan	TV drama
1998	|	Steven Brunos	TV drama
rowspan="3"	1999	Oliver Twist'' ||	Bill Sikes	TV serial
''Shooting the Past''	Styeman
''Touching Evil III''	Michael Lawler
2000	Arabian Nights'' ||	Kasim	TV mini-series
rowspan=2	2004	|	Riff	TV series – Episode ''Celebrity''
''The Simpsons''	Cleanie
2006	Simon Schama's Power of Art'' ||	Vincent Van Gogh	TV series – Episode ''Van Gogh: Wheat Field with Crows''
rowspan="2"	2008	|	Albert Einstein	TV drama
''Little Dorrit (TV serial)	Little Dorrit''	Rigaud
2009	The Screwtape Letters'' ||	Screwtape	Audio drama
2010	Accused'' ||	Liam	written by Danny Brocklehurst

Video game

''Risen (video game) ''Enslaved (video game)

Year	! Film	! Role	! Notes
2007	''Heavenly Sword''	King Bohan
2009	Risen'' ||	The Inquisitor	Game voice
2010	Enslaved'' ||	Monkey, The Pyramid	Game voice, Director, Motion capture, Writer

Other works

His book ''Gollum: How We Made Movie Magic'' (published 2004) explains how he created Gollum, which was originally a three-week voiceover job.

He played an abusive boyfriend in the music video for Neneh Cherry's "Woman".

References

External links

Official homepage

Andy Serkis on Inkheart and Tintin at AMCtv.com

Andy Serkis Interview

Official Sugarhouse Lane website

The Jolly Boys Last Stand

Category:1964 births Category:Alumni of Lancaster University Category:British expatriates in New Zealand Category:British people of Armenian descent Category:English film actors Category:English musical theatre actors Category:English non-fiction writers Category:English stage actors Category:English television actors Category:English theatre directors Category:English voice actors Category:Living people Category:Old Priorians Category:Outstanding Performance by a Cast in a Motion Picture Screen Actors Guild Award winners Category:People from Crouch End Category:People from Ruislip Category:Pescetarians Category:Shakespearean actors

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