Benson

Benson may refer to:

Animals

Places

Geography

Canada

United Kingdom

United States

Schools

Structures

Regular Show

Regular Show is an American animated television series created by J. G. Quintel for Cartoon Network that premiered on September 6, 2010. The series revolves around the lives of two friends, a blue jay named Mordecai and a raccoon named Rigby—both employed as groundskeepers at a local park. Their regular attempts to slack off usually lead to surreal, extreme, and often supernatural misadventures. During these misadventures, they interact with the show's other main characters: Benson, Pops, Muscle Man, Hi-Five Ghost, Skips, Thomas, Margaret, Eileen and CJ.

Many of Regular Show's characters are loosely based on those developed for Quintel's student films at California Institute of the Arts: The Naïve Man from Lolliland and 2 in the AM PM. Quintel pitched Regular Show for Cartoon Network's Cartoonstitute project, in which the network allowed young artists to create pilots with no notes, which would possibly be optioned as shows. The project was green-lit and it premiered on September 6, 2010.

Benson (surname)

Benson is a common patronymic surname of English origin meaning "son of Ben" (Benedict, Benjamin, Bennett). Benson is uncommon as a first name, but quite common as a surname in English speaking countries.

Notable people with the name Benson include:

Joey (Concrete Blonde song)

"Joey" is the ninth track from Concrete Blonde's third and most successful album Bloodletting. The song was released in 1990 and was sung by Johnette Napolitano. One interpretation is that the song is about a man who is in love with alcohol. Johnette Napolitano mentioned in her book, Rough Mix, that the song was written about her relationship with Marc Moreland of the band Wall of Voodoo (who would eventually die of liver failure).

It became the group's biggest hit, spending four weeks atop the Billboard Modern Rock Tracks chart, and crossing over to pop radio, reaching #19 on the Billboard Hot 100 chart; it remains their only charting song on the latter chart.

The song was written in the cab on the way to the studio; it was the last vocal recorded on the album due to Napolitano's reluctance to record the lyrics, which were hard for her to deal with.

See also

References

External links

Joey (1985 film)

Joey, also known as Making Contact, is a 1985 West German/American fantasy film from Centropolis Film Productions (now Centropolis Entertainment). The film was co-written and directed by Roland Emmerich. The plot concerns a boy (Joshua Morell) who loses his father, but makes contact with what he believes is his deceased parent via a small phone and is terrorized by a demonic ventriloquist dummy named Fletcher who is possessed by a demon and summons demons to threaten his friends as only the boy must go into the spirit world to destroy this evil in a battle of good vs. evil. The boy develops the power of telekinesis, which soon gets out of hand.

Release

Joey was released in North America as Making Contact. The North American version was heavily cut and ran 79 minutes. Since, Joey has been released as a 2 disc DVD set featuring the original 98 minutes version along with the edited North American cut.

References

External links

Joey (Bob Dylan song)

"Joey" is a song from Bob Dylan's 1976 album Desire. It was written by Dylan and Jacques Levy, who collaborated with Dylan on most of the songs on the album. In a 2009 interview with Bill Flanagan, Dylan claimed that Levy wrote all the words to this song. Like another long song on the album, "Hurricane", "Joey" is biographical. The song is about the life and death of mobster Joey Gallo, who had been killed on his birthday at Umberto's Clam House in Little Italy, on April 7, 1972.

Meaning

The song treats Gallo sympathetically, despite his violent history. Gallo had been accused of at least two murders and had been convicted of several felonies. But in the song he is given credit for distrusting guns, being reluctant to kill hostages and for shielding his family when he was being killed, and makes him appear to be an unwilling participant in the crimes of his henchmen, thus not deserving his fate. As a result of the sympathetic treatment, critics such as Lester Bangs harshly criticized Dylan and the song. Bangs described it as "repellent romanticist bullshit." However, Dylan claims that he always thought of Gallo as a kind of hero and an underdog fighting against the elements. Besides his status as an outsider, Dylan was likely also drawn to the fact that Gallo's best friends in prison were black men. In addition Gallo was able to gain sympathy in artistic circles by passing himself off as a cultured person victimized by the "system".