Tom Allen
Member of the U.S. House of Representatives from Maine's 1st district
In office January 3, 1997 – January 3, 2009
Preceded by	Jim Longley
Succeeded by	Chellie Pingree
Personal details
Born	(1945-04-16) April 16, 1945 (age 67) Portland, Maine
Political party	Democratic
Spouse(s)	Diana Allen
Residence	Portland, Maine
Alma mater	Bowdoin College (B.A.) Oxford University (B.Phil.) Harvard Law School (J.D.)
Profession	attorney, political assistant
Religion	Non-denominational Protestant

Thomas Hodge "Tom" Allen (born April 16, 1945) is a former member of the United States House of Representatives representing Maine's 1st congressional district, and the Democratic nominee for the U.S. Senate in 2008 against Republican incumbent Senator Susan Collins. Allen lost to Collins (61.5% to 38.5%).

Allen was first elected in 1996, defeating Republican incumbent James Longley, Jr. with 55 percent of votes cast to Longley's 45 percent. Allen was re-elected five times, receiving over 55 percent of the vote each time in his district, until his defeat in his 2008 run for the U.S. Senate. After, Allen was appointed president and CEO of the Association of American Publishers [1] and began his term on May 1, 2009.

Early life[link]

Tom Allen and his wife, Diane Allen.

Allen was born in Portland, Maine to Genevieve (“Sukey”) Lahee and Charles W. Allen.^[1] He graduated from Deering High School. He went on to Bowdoin College in Brunswick, Maine before winning a Rhodes Scholarship to Wadham College in the University of Oxford. During this time he became friends with fellow Rhodes scholar Bill Clinton. After Oxford he went on to Harvard Law School and practiced as a lawyer.

Early political career[link]

He entered the field of politics when he became a staff member for Governor Kenneth M. Curtis and later for Senator Edmund S. Muskie. Allen was elected to the city council of Portland, Maine in 1989 and served as the city's mayor between 1991-1992 before winning election to the House.

U.S. House[link]

Tenure[link]

Allen fought Republican efforts to weaken environmental rollbacks between 1996 and 2007^{[citation needed]}. Allen called for a pay-as-you-go system that would require offsets to pay for new tax cuts and new spending while on the Budget Committee, much like the system Democrats enacted in their first 100 hours of Congressional control in the 110th Congress.

Allen has made health care, campaign finance reform, and small business his legislative priorities.

Committees[link]

• House Energy and Commerce Committee
  • Subcommittee on Health
  • Energy and Air Quality Subcommittee
  • Environment and Hazardous Materials Subcommittee
• House Budget Committee
• House Affordable Medicines Task Force (Co-Chairman)
• House Oceans Caucus

Election history[link]

Footnotes[link]

External links[link]

• Biography at the Biographical Directory of the United States Congress
• Voting record maintained by The Washington Post
• Biography, voting record, and interest group ratings at Project Vote Smart
• Congressional profile at GovTrack
• Issue positions and quotes at On the Issues
• Current Bills Sponsored at StateSurge.com
• Financial information at OpenSecrets.org
• Staff salaries, trips and personal finance at LegiStorm.com
• Campaign finance reports and data at the Federal Election Commission
• Profile at SourceWatch Congresspedia
• Rep. Tom Allen at PoliticalBase.com

This article is about the character from the Harriet Beecher Stowe novel, Uncle Tom's Cabin, and the resulting epithet. For the P. G. Wodehouse character, see Tom Travers.

A 1901 stage adaptation of Uncle Tom's Cabin containing mixed elements of Harriet Beecher Stowe's original Christian martyr and the stock minstrel character of later adaptations.

Uncle Tom is the title character of Harriet Beecher Stowe's 1852 novel, Uncle Tom's Cabin.

The phrase "Uncle Tom" has also become an epithet for a person who is slavish and excessively subservient to perceived authority figures, particularly a black person who behaves in a subservient manner to white people; or any person perceived to be a participant in the oppression of their own group.^[1][2]

Original characterization and critical evaluations[link]

Detail of an illustration from the first book edition of Uncle Tom's Cabin. Depicts Uncle Tom as young and muscular

At the time of the novel's initial publication in 1851 Uncle Tom was a rejection of the existing stereotypes of minstrel shows; Stowe's melodramatic story humanized the suffering of slavery for White audiences by portraying Tom as a Christlike figure who is ultimately martyred, beaten to death by a cruel master because Tom refuses to betray the whereabouts of two women who escape from slavery.^[3][4] Stowe reversed the gender conventions of slave narratives by juxtaposing Uncle Tom's passivity against the daring of three African American women who escape from slavery.^[3]

The novel was both influential and commercially successful, published as a serial from 1851-1852 and as a book from 1852 onward.^[3][4] An estimated 500,000 copies had sold worldwide by 1853, including unauthorized reprints.^[5] Senator Charles Sumner credited Uncle Tom's Cabin for the election of Abraham Lincoln and Lincoln himself reportedly quipped that Stowe had triggered the American Civil War.^[3] Frederick Douglass praised the novel as "a flash to light a million camp fires in front of the embattled hosts of slavery".^[3] Despite Douglass's enthusiasm, an anonymous 1852 reviewer for William Lloyd Garrison's publication The Liberator suspected a racial double standard in the idealization of Uncle Tom:

Uncle Tom’s character is sketched with great power and rare religious perception. It triumphantly exemplifies the nature, tendency, and results of CHRISTIAN NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the duty of non-resistance for the White man, under all possible outrage and peril, as for the Black man… [For whites in parallel circumstances, it is often said] Talk not of overcoming evil with good—it is madness! Talk not of peacefully submitting to chains and stripes—it is base servility! Talk not of servants being obedient to their masters—let the blood of tyrants flow! How is this to be explained or reconciled? Is there one law of submission and non-resistance for the Black man, and another of rebellion and conflict for the white man? When it is the whites who are trodden in the dust, does Christ justify them in taking up arms to vindicate their rights? And when it is the blacks who are thus treated, does Christ require them to be patient, harmless, long-suffering, and forgiving? Are there two Christs?^[6]

James Weldon Johnson, a prominent figure of the Harlem Renaissance, expresses an ambivalent opinion in his autobiography:

For my part, I was never an admirer of Uncle Tom, nor of his type of goodness; but I believe that there were lots of old Negroes as foolishly good as he; the proof of which is that they knowingly stayed and worked on the plantations that furnished sinews for the army which was fighting to keep them enslaved.”^[7]

In 1949 American writer James Baldwin rejected the emasculation of the title character "robbed of his humanity and divested of his sex" as the price of spiritual salvation for a dark-skinned man in a fiction whose African-American characters, in Baldwin's view, were invariably two dimensional stereotypes.^[3][8] To Baldwin, Stowe was closer to a pamphleteer than a novelist and her artistic vision was fatally marred by polemics and racism that manifested especially in her handling of the title character.^[8] Stowe had stated that her sons had wept when she first read them the scene of Uncle Tom's death, but after Baldwin's essay it ceased being respectable to accept the melodrama of the Uncle Tom story.^[3] Uncle Tom became what critic Linda Williams describes as "an epithet of servility" and the novel's reputation plummeted until feminist critics led by Jane Tompkins reassessed the tale's female characters.^[3] According to Debra J. Rosenthal in an introduction to a collection of critical appraisals for the Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin, overall reactions have been mixed with some critics praising the novel for affirming the humanity of the African American characters and for the risks Stowe assumed in taking a very public stand against slavery before abolitionism had become a socially acceptable cause, and others criticizing the very limited terms upon which those characters' humanity was affirmed and the artistic shortcomings of political melodrama.^[9]

Inspiration[link]

A specific impetus for the novel was the Fugitive Slave Act of 1850, which imposed heavy fines upon law enforcement personnel in Northern states if they refused to assist the return of people who escaped from slavery.^[4][10] The new law also stripped African Americans of the right to request a jury trial or to testify on their own behalf, even if they were legally free, whenever a single claimant presented a sworn affidavit of ownership.^[10] The same law authorized a $1000 fine and six months imprisonment for anyone who knowingly harbored or assisted a fugitive slave.^[10] These terms infuriated Stowe, so the novel was written, read, and debated as a political abolitionist tract.^[4]

Stowe drew inspiration for the Uncle Tom character from several sources. The best-known of these was Josiah Henson, whose autobiography was originally published in 1849 and later republished in extensively revised editions after the publication of Uncle Tom's Cabin.^[11] Henson was enslaved at birth in 1789.^[11] He became a Christian at age eighteen and took up preaching.^[11] Henson attempted to purchase his freedom for $450, but after selling his personal assets to raise $350 and signing a promissory note for the remainder Henson's owner raised the price to $1000; Henson was unable to prove that the original agreement had been for a lesser amount.^[11] Shortly afterward Henson was ordered on a trip south to New Orleans, and when he learned that he was to be sold there he obtained a weapon and contemplated murdering his white companions, but decided against violence because his Christian morals forbade it.^[11] A sudden illness in one of his companions forced their return to Kentucky, and shortly afterward Henson escaped north with his family, settling in Canada where he became a civic leader.^[11]

Stowe read the first edition of Henson's narrative and later confirmed that she had incorporated elements from it into Uncle Tom's Cabin.^[11] Kentucky and New Orleans figure in both Henson's narrative and the novel's settings, and some other story elements are similar.^[11]

In the public imagination, however, Henson became synonymous with Uncle Tom.^[11] After Stowe's death her son and grandson claimed she and Henson had met before Uncle Tom's Cabin was written, but the chronology does not hold up to scrutiny and she probably drew material only from his published autobiography.^[11]

Epithet[link]

Uncle Tom, from an 1885 magic lantern series.

The term "Uncle Tom" is used as a derogatory epithet for an excessively subservient person, particularly when that person perceives their own lower-class status based on race. It is similarly used to negatively describe a person who betrays their own group by participating in its oppression, whether or not they do so willingly.^[12][13]

The popular negative connotation of "Uncle Tom" has largely been attributed to numerous derivative works inspired by Uncle Tom's Cabin in the decade after its release, rather than the original novel itself, whose title character is a more positive figure.^[3] These works lampooned and distorted the portrayal of Uncle Tom with politically loaded overtones.^[5]

History[link]

American copyright law before 1856 did not give novel authors any control over derivative stage adaptations, so Stowe neither approved the adaptations nor profited from them.^[14] Minstrel show retellings in particular, usually performed by white men in blackface, tended to be derisive and pro-slavery, transforming Uncle Tom from Christian martyr to a fool or an apologist for slavery.^[5]

Adapted theatrical performances of the novel remained in continual production in the United States for at least eighty years.^[14] These representations had a lasting cultural impact and influenced the pejorative nature of the term Uncle Tom in later popular use.^[5]

Although not all minstrel depictions of Uncle Tom were negative, the dominant version developed into a stock character very different from Stowe's hero.^[5][15] Stowe's Uncle Tom was a muscular and virile man who refused to obey when ordered to beat other slaves; the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair.^[15] To Jo-Ann Morgan, author of Uncle Tom's Cabin as Visual Culture, these shifting representations undermined the subversive layers of Stowe's original characterization by redefining Uncle Tom until he fit within prevailing racist norms.^[14] Particularly after the Civil War, as the political thrust of the novel which had arguably helped to precipitate that war became obsolete to actual political discourse, popular depictions of the title character recast him within the apologetics of the Lost Cause of the Confederacy.^[14] The virile father of the abolitionist serial and first book edition degenerated into a decrepit old man, and with that transformation the character lost the capacity for resistance that had originally given meaning to his choices.^[14][15] Stowe never meant Uncle Tom to be a derided name, but the term as a pejorative has developed based on how later versions of the character, stripped of his strength, were depicted on stage.^[16]

Claire Parfait, author of The Publishing History of Uncle Tom's Cabin, 1852-2002, opines that "the many alterations in retellings of the Uncle Tom story demonstrate an impulse to correct the retellers' perceptions of its flaws and "the capacity of the novel to irritate and rankle, even a century and a half after its first publication."^[4]

See also[link]

• Acting white
• House Negro
• Jump Jim Crow
• List of ethnic slurs
• Tom Shows
• Uncle Tom syndrome

References[link]

Notes[link]

• Osofsky, Gilbert, ed. (1969). Puttin' On Ole Massa: The Slave Narratives of Henry Bibb, William Wells Brown, and Solomon Northup. Harper & Row. ISBN 978-0-06-131432-2. 
• Mohammad Ali (2009). Thrilla in Manilla (Documentary). USA: HBO. 

External links[link]

• An article on the Uncle Tom caricature
• An article from EveryGirls 1931 by Olive Burns Kirby

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Ted Nugent
Nugent in concert in Naples, Italy, June 1, 2004
Background information
Also known as	The Nuge, Motor City Madman, Uncle Ted
Born	(1948-12-13) December 13, 1948 (age 63) Redford, Michigan, U.S.
Genres	Rock, hard rock
Occupations	Musician
Instruments	Guitar, vocals, bass guitar
Years active	1958–present
Associated acts	The Amboy Dukes, Damn Yankees, Damnocracy
Website	www.tednugent.com
Notable instruments
Gibson Byrdland

Theodore Anthony "Ted" Nugent ( /tɛd ˈnuːdʒɨnt/; born December 13, 1948) is an American musician. From Detroit, Michigan, he gained fame as the lead guitarist of The Amboy Dukes before embarking on a solo career. He is noted for his conservative political views and his defense of hunting and gun ownership rights.

Early life[link]

Nugent was born and raised in Detroit, Michigan, the son of Marion Dorothy (née Johnson) and Warren Henry Nugent.^[1][2] Nugent's father was an Army staff sergeant, and he was raised in a very strict household.^[3] He moved to Palatine, Illinois, as a teenager, and has two brothers: John and Jeffrey. Raised Catholic, Nugent has mentioned his ties with the Christian faith many times during interviews, and has stated that he regularly attends church. He attended St. Viator High School in Arlington Heights, IL.

Career[link]

Nugent has released more than 34 albums and has sold a career total of 30 million records. He was known throughout his early career in the 1970s for using Fender amps, a large part of his signature sound, and for playing the hollow-body Gibson Byrdland guitar.

Nugent in concert with his signature Gibson Byrdland guitar

Performing since 1958,^[4] Nugent has been touring annually since 1967, averaging more than 300 shows per year (1967–73), 200 per year (1974–80), 150 (1981–89), 127 concerts in 1990, 162 concerts in 1991, 150 concerts in 1993, 180 in 1994, 166 in 1995, 81 in 1996, Summer Blitz '97, '98, Rock Never Stops '99, 133 concerts with KISS 2K. Nugent's 2005 plans involved a tour with country music singer-songwriter Toby Keith, whom Nugent met in Iraq while they were both performing in USO-sponsored shows for the coalition troops.^{[citation needed]} Nugent toured with local Detroit musician Alex Winston during the summers of 2007 and 2008.^[5]

On July 4, 2008, at the DTE Energy Music Theater in Clarkston, Michigan, Ted Nugent played his 6,000th concert.^[4] Derek St. Holmes (original singer for the Ted Nugent band), Johnny Bee Badanjek (drummer for Mitch Ryder and The Detroit Wheels), and Nugent's guitar teacher from 1958 Joe Podorsek all jammed on stage with Nugent for various tunes.

Amboy Dukes[link]

His first edition of The Amboy Dukes played at The Cellar, a teen dance club outside of Chicago in Arlington Heights, Illinois, starting in late 1965, while Nugent was a student at St. Viator High School. The Cellar's "house band" at the time had been the Shadows of Knight, although the Amboy Dukes eventually became a staple until the club's closing.^[6]

The Amboy Dukes' second single was "Journey to the Center of the Mind", which featured lyrics written by the Dukes' second guitarist Steve Farmer. Nugent, an ardent anti-drug campaigner, has always claimed that he had no idea that this song was about drug use.^[7] The Amboy Dukes (1967), Journey to the Center of the Mind (1968) and Migration (1969) — all recorded on the Mainstream label — sold moderately well. On April 4, 1968, Nugent along with a group of musicians paid tribute to Martin Luther King by having a folk, rock and blues jam session. Joni Mitchell played first, followed by Buddy Guy and Jimi Hendrix. Other musicians who participated were BB King and Al Kooper.^[8]

After settling down on a ranch in Michigan in 1973, Nugent signed a record deal with Frank Zappa's DiscReet Records label and recorded Call of the Wild. The following year, Tooth Fang & Claw (which contained the song "Great White Buffalo") established a fan base for Nugent and the other Amboy Dukes. Personnel changes nearly wrecked the band, which became known as Ted Nugent & the Amboy Dukes. Nugent reunited with the other members of the Amboy Dukes at the 2009 Detroit Music Awards, which took place April 17, 2009. The psychedelic band received a distinguished achievement honor at the event. The Dukes also played together at the ceremony, marking their first public performance in more than 30 years.^[7] The Amboy Dukes were voted into the Michigan Rock and Roll Legends online Hall of Fame in 2008.^[9]

Solo career[link]

Nugent dropped the Amboy Dukes band name for good in 1975, and signed to Epic Records. Derek St. Holmes (guitar, vocals), Rob Grange (bass) and Clifford Davies (drums) were the primary additional band members for his 1970s multi-platinum^[10] albums: Ted Nugent (1975), Free-for-All (1976) and Cat Scratch Fever (1977). These albums produced the popular radio anthems "Hey Baby", "Stranglehold", "Dog Eat Dog", and "Cat Scratch Fever". It was during these three years that Nugent emerged as a guitar hero to hard rock fans, many of whom were unaware of his lengthy apprenticeship with the Amboy Dukes.^[11] This band lineup toured extensively, also releasing the multi-platinum live album Double Live Gonzo!, until its breakup in 1978 when St. Holmes and Grange departed. St. Holmes was replaced by Charlie Huhn and Grange by Dave Kiswiney. Davies left around 1982 after staying on to record Weekend Warriors (1978), State of Shock (1979), Scream Dream (1980) and Intensities in 10 Cities (1981).

On July 8, 1979, Ted was on the rock radio program King Biscuit Flower Hour. This was the original broadcast of Ted's performance of Live at Hammersmith '79 which had been recorded during the second set of a night at London's Hammersmith Odeon in 1979. An album of this program was released in 1997.

During this era, Nugent was notable for his declarations that he did not drink alcoholic beverages or smoke tobacco or marijuana. In an interview for VH1's Behind The Music, Nugent said this was due to his father's having reprimanded him when he came home smelling of alcohol after a night of drinking. Nugent has been cited as an influence on the straight edge movement, which disavows drinking and recreational drug use.^[12]

Influences[link]

Nugent has been praised for his playing style, and is cited as an influence by many other hard rock and heavy metal musicians. Nugent has cited his own musical influences as Vanilla Fudge, Jeff Beck, Chuck Berry, The Kinks, Jimmy Page, The Rolling Stones, The Beatles, The Yardbirds, Bo Diddley, Eric Clapton, Jimi Hendrix, Steppenwolf, Mitch Ryder & the Detroit Wheels, The Animals, Little Richard, MC5, Frank Zappa, and Muddy Waters.

Damn Yankees[link]

During the period of 1982-89, Nugent released a series of moderately successful solo albums. In 1989, he formed the supergroup Damn Yankees, with Jack Blades (bass/vocals, formerly of Night Ranger), Tommy Shaw (guitar/vocals, formerly of Styx) and Michael Cartellone (drums). Damn Yankees (1990) was a hit, going multi-platinum in the U.S., thanks in no small part to the smash hit power ballad "High Enough". The video for this song featured Nugent in a priest's collar, and later in a zebra-striped cape during the guitar solo. It also saw the first appearance of his 'WhackMaster' hat.

Back to solo[link]

Returning to a solo career, Nugent released Spirit of the Wild in 1995, his best-reviewed album in quite some time. The album also marked the return of Derek St. Holmes to Nugent's studio band. A series of archival releases also came out in the 1990s, keeping Nugent's name in the national consciousness. He also began hosting a radio show in Detroit on WWBR-FM ("102.7 The Bear, Detroit's Rock Animal") and took ownership in several hunting-related businesses. He created TV shows for several networks; Wanted: Ted or Alive on Versus, Ted Nugent Spirit of the Wild on PBS and The Outdoor Channel, as well as Surviving Nugent and Supergroup-Damnocracy on VH1. In 2006, Nugent was inducted into the Michigan Rock and Roll Legends Hall of Fame as a solo artist.^[13]

Ted Nugent appears on David Crowder Band's 2007 release, Remedy, playing guitar on the song "We Won't Be Quiet".^[14] He announced his "Trample the Weak, Hurdle the Dead" tour on April 21, 2010.^[15]

On March 14, 2011, Nugent released a new song, "I Still Believe", as a free download via his website to subscribers to his news letter. Nugent says of the song: "America is a target-rich environment for an independent man addicted to logic, truth and The American Way. 'I Still Believe' throttles the animal spirit of rugged individualism in pure MotorCity ultra high-energy rhythm and blues and rock and roll."^[16][17] In April 2011 Nugent announced that former frontman Derek St. Holmes would be joining his band for Nugent's I Still Believe Tour.^[18]

Media appearances[link]

Reality programming[link]

Nugent starred in his own outdoors television show named after his popular song "Spirit of the Wild". The song was the theme music to the TV series in which Nugent took viewers on a variety of wild game hunts using his bow. In the series he teaches and advises hunters and "hands-on" conservationists around the world on the different aspects of hunting and politics, and informs the public on the importance of getting children away from the TV and video games and getting them out beyond the pavement in order to better their lives.^[19]

In 2003, he was host of the VH1 reality television program Surviving Nugent in which city dwellers such as model Tila Tequila moved to Nugent's Michigan ranch in order to survive such "backwoods" activities as building an outhouse and skinning a boar. The success of the two-hour show spawned a four-part miniseries in 2004 entitled Surviving Nugent: The Ted Commandments. This time it was filmed on Nugent's ranch in China Spring, Texas. During filming, Nugent injured himself with a chainsaw, requiring 44 stitches and a leg brace.

In 2003, Nugent also guested on the VH1 program Forever Wild, hosted by Sebastian Bach (former lead vocalist for the band Skid Row). They shot some firearms and walked around Nugent's cabin in the woods. Two years later he hosted a reality-type show, Wanted: Ted or Alive on OLN (now the sports channel 'Versus') where contestants competed for money as well as for opportunities to go hunting with "Uncle Ted." The contestants had to kill and clean their own food to survive.

In 2006, he appeared on VH1's reality show SuperGroup, with Scott Ian (Anthrax, guitar), Evan Seinfeld (Biohazard, bass), Sebastian Bach (ex-Skid Row, vocals) and Jason Bonham (Bonham, UFO, Foreigner, drums). The name of the supergroup was originally FIST but later was changed to Damnocracy. Bach had lobbied for the name Savage Animal. Captured on film by VH1 was a rare Nugent duet with guitarist Joe Bonamassa at the Sand Dollar Blues Room for a 45-minute blues jam. He starred in another reality show for CMT in August 2009. The show, entitled Runnin' Wild ... From Ted Nugent, featured Nugent instructing competitors in the art of survival; the competitors had to use those skills in challenges in which they were hunted down by Nugent.^[20]

In 2008, Ted Nugent was on the episode Southwest Road Trip Special of Anthony Bourdain: No Reservations, where he spoke against obesity and public health care.^[21][22]

Also in 2009, he played guitar at The Alamo for a Tax Day Tea Party hosted by Glenn Beck and Fox News. Most notable in his set was a version of "The Star-Spangled Banner" in which he used alternate picking and whammy bar effects. The clip and sound bite of this is played extensively on Fox News as well as on The Glenn Beck Program.

Acting[link]

In 1976 Nugent was in the documentary Demon Lover Diary, about the making of the John Dods' horror/comedy movie My Demon Lover. He is shown supplying real guns for the making of My Demon Lover, as the crew films at Nugent's house.

In 1986, he guest starred in an episode of the hit television show Miami Vice entitled "Definitely Miami". Nugent played a villain. His song "Angry Young Man" was featured in the episode. His song "Little Miss Dangerous" was also featured on a Miami Vice episode of the same name, although he did not appear in the episode.

In 2001, Nugent appeared as himself in a third season episode of That '70s Show entitled "Backstage Pass". Donna Pinciotti (Laura Prepon), who works for radio station WFPP, obtains tickets to the upcoming Ted Nugent concert for the entire gang. Following the concert, her boss Max (Howard Hesseman) gives Donna a backstage pass to meet Nugent, where he volunteers to sit for an interview. Meanwhile, Steven Hyde (Danny Masterson) and Fez (Wilmer Valderama) try to sell unauthorized concert t-shirts accidentally spelled Tad Nugent.

Also in 2001, Nugent appeared as himself in the second episode of the short-lived university campus FOX comedy series, Undeclared. In the episode "Full Bluntal Nugety", Nugent is a guest at the university, there to speak on his favorite topics, mainly hunting and gun control. This is where new student Steven Karp (Jay Baruchel) takes his love interest Lizzie (Carla Gallo) on their first date. Karp tries to heckle Nugent during his speech in an attempt to impress Lizzie, with disastrous results. FOX didn't like the idea of Nugent and his political views appearing on this show, so the episode was re-shot and re-edited as "Oh, So You Have a Boyfriend?" which aired without any Ted Nugent content whatsoever. The complete "Full Bluntal Nugety (Director's Cut)" episode is available in its entirety, in the Undeclared DVD box set, including some extra Ted Nugent scenes that had been deleted.

He made a guest appearance on the cult television series Aqua Teen Hunger Force, in the episode "Gee Whiz", on Adult Swim. Locals believe to have seen the face of Jesus in a billboard, and they mention how it looks like Ted Nugent. Throughout the episode they think it's Jesus' face, but at the end they discover it was in fact Nugent's. He proceeds to shoot a flaming explosive arrow at Carl (mistaking him for a "varmint"). Ted also appeared on Seth MacFarlane's Cavalcade of Cartoon Comedy when he kills the Ghost of Christmas Past and serves him to guests for dinner.

In 2007, Nugent appeared in the music video for Nickelback's "Rockstar", and in 2008 he played a key role in the Toby Keith movie Beer For My Horses as the quiet deputy named Skunk.

In 2007, Nugent debated The Simpsons producer Sam Simon on the Howard Stern Show about the ethics of hunting animals. Coincidentally, he would later lend his voice to an over-the-phone appearance in the season 19 episode of The Simpsons, "I Don't Wanna Know Why the Caged Bird Sings", where, in a humorous jab at his political stance, inmate Dwight picks up his call for voting no to the fictional Proposition 87, which bans crossbows in public schools. As part of his pre-recorded message, Nugent asks "If we outlaw crossbows in our public schools, who's going to protect our children from charging elk?".^[23]

In 2012, Nugent appeared on the January 8th Episode of The Simpsons as himself.

Other media appearances[link]

Attracting attention for his outspoken statements on issues ranging from guns to biodiversity, Nugent has been a regular guest on such programs as Larry King Live, The Howard Stern Show, and Politically Incorrect.

In 1978 Ted Nugent appeared on the Midnight Special as host and a performer. Season 7, Episode 8, Aired Nov 24, 1978

In 1980 Ted Nugent appeared on Fridays as the musical guest. He performed "Paralyzed" and "Scream Dream"' Oct. 24, 1980.

In 1991, he guest-starred on the PBS science show Newton's Apple in a short comedic feature called Science of the Rich and Famous in which he demonstrates and explains the phenomenon of electric guitar feedback. On March 13, 2007, Nugent was interviewed on ABC's Jimmy Kimmel Live and performed the songs "Cat Scratch Fever" and "Rawdogs and Warhogs".

On April 15, 2009, Nugent appeared onstage with his guitar in San Antonio as part of Glenn Beck's coverage of the Tax Day Tea Party protests on the Fox News Channel. He hosted the show with Glenn Beck, and played music for the protestors at the Alamo. He made an appearance in Guitar Hero: World Tour As part of the solo guitar career, the player engages in a guitar duel with Nugent, after which the song "Stranglehold" is unlocked and Dirty Nuge becomes available as a playable character.

Nugent was interviewed on the The Alex Jones Show July 30, 2008 about his new book "Ted, White, and Blue: The Nugent Manifesto" (2008).^[24][25] On July 9, 2010 Ted was again interviewed by Alex Jones and he criticized the latest policies issued by the Obama Administration and the Supreme Court concerning gun policy. He claimed that rejecting the idea of the right to self-defense being expressed in the Second Amendment to the United States Constitution, which Nugent called "gun control" policies, are most likely to destroy the American society. Nugent also claimed similar policies were the cause of the downfall of every society in human history.^[26]

Nugent appeared on Penn and Teller's BS episode on P.E.T.A

Nugent was portrayed on the January 8, 2012 episode of The Simpsons entitled "Politically Inept, with Homer Simpson."

Personal life[link]

In the late 1990s, Nugent began writing for various magazines. He has written for more than 20 publications and is the author of New York Times Best Seller God, Guns and Rock 'n' Roll (July 2000), Kill It and Grill It (2002) (co-authored with his wife, Shemane), BloodTrails II: The Truth About Bowhunting (2004), and "Ted, White, and Blue: The Nugent Manifesto" (2008).

In 1996 Nugent joined the WWBR-FM air staff. The Ted Nugent Morning Show on 102.7 FM in Detroit was a success. He and co-host Steve Black (now host of the syndicated radio show Chop Shop and Chop Shop Classic) often shocked Detroit with their opinions.

Nugent is a fan of the Detroit Pistons. He wore a Pistons shirt in the Damn Yankees music video for "Come Again". He is also a fan of the Dallas Cowboys and attends many games with his children and grandchildren.

Family[link]

He has had two wives and has eight children, including three out of wedlock in two liaisons almost 30 years apart. In the late 1960s, prior to his first marriage, Nugent fathered a boy, Ted (Mann) and a girl, whom he gave up for adoption in infancy. This did not become public knowledge until 2010. The siblings were adopted separately and had no contact with one another. The son learned the identity of his birth father in 2010 through the daughter's quest to make contact with him and their birth parents. According to a news report, Nugent over the years had discussed the existence of these children with his other children.^[27]

In 2005 Nugent was involved in a legal battle for not paying enough child support for a child he had out of wedlock in 1995.^[28] It was finally resolved when Nugent was ordered to pay $3,500 in child support.^[29]

He was married to his first wife, Sandra Jezowski, from 1970 to 1979. They had three children, son Theodore Tobias "Toby" Nugent, and daughters Sasha and Starr Nugent. Sandra died in a car crash in 1982. His second marriage was to Shemane Deziel, whom he met while a guest on Detroit's WLLZ-FM, where she was a member of the news staff. They married on January 21, 1989. Together they have two children, son Rocco Winchester Nugent, and daughter Chantal Nugent.

In 1978, Nugent began a relationship with seventeen-year-old Hawaii native Pele Massa. Due to the age difference they could not marry so Nugent joined Massa's parents in signing documents to make himself her legal guardian, an arrangement that Spin magazine ranked in October 2000 as #63 on their list of the "100 Sleaziest Moments in Rock".^[30][31]