“Doc” Holliday in the Cinema. Hour of the Gun (1967) and “Doc” (1971)
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Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
2013-2014 Program Guide.Pub
Community Performance & Art Center Foundation BOARD OF DIRECTORS Chairman Harry Paxton Vice Chair Eloise Fredrickson Secretary Marie Cory Mary Lou Catania Richard Ducote Mike Finkelstein Eugene Friesen Nancy Karsh David Urbaniak Susan Voorhees Mary Wehmeyer STAFF Executive Director Chris Ashcraft Director of Development Al Saterbak Office Manager Amanda Urbaniak Facilities Supervisor George Cantu Sound & Lighting Technicians Phil Wenstrand Mark Marlatt Welcome to CPAC Welcome to the 2013-2014 season at CPAC! This year will feature more than 75 performances including some of the region’s most tal- ented performers such as Arizona’s Official State Balladeer Dolan Ellis, the Larry Redhouse Trio and critically acclaimed western singer Bill Ganz. CPAC will welcome international touring ragtime pianist, Mimi Blais, from Montreal, Canada and the Tucson Arizona Boys Chorus who have performed in dozens of countries throughout the world. CPAC also welcomes back many audience favorites in- cluding magician Rodney Housley, Jack Lasseter, Forever Young, Arthur Migliazza, Lisa Otey, a Tribute to Simon and Garfunkel and much more! Shoestring Theater Company will feature four produc- tions this season including a summer show entitled “Charlie and the Chocolate Factory.” I hope to see you at many of our performances, art shows, classes and events over the coming year. Once again, thank you for your ongoing support of the Community Performance and Art Center. None of this would be possible without your sup- port. Christopher Ashcraft Executive Director Support CPAC Today! Membership and individual donations help fund CPAC’s wide array of diverse arts programs for our community. The arts entertain and educate audiences, bring people of all ages and backgrounds to- gether, promote economic vitality and enrich quality of life. -
“Willie Or Billy” Claiborne, A.K.A
OLD WEST STORUES William Floyd “Willie or Billy” Claiborne, a.k.a. “The Kid” Or was his name Calyborne? Clayborn? Or was it Claborn? Or did Billy even know. There are copies of his signature in at least two of these versions. All his trial documents list him as Clayborne. Viola Slaughter, wife of the noted Arizona lawman John Horton Slaughter, knew him well and spelled it as Claibourne. Well, we do know for sure that he was born in Mississippi. Or was it Louisiana? But more than likely it was in Alabama. The 1870 census shows records that would fit all three states. The record for Mississippi spells the name as Claborn, but the census takers were not the best for spelling. But this one seems to best fit the bill for Billy (Photo at right) and it shows that he was born in Alabama. He stated in court that he was born on October 21, 1860, and was from Mississippi. So we accept the date and the fact that he probably meant that he was raised in Mississippi. He migrated to the Devil’s River area of west Texas where some accounts say he killed two men. He became a cowboy and went to work for John Horton Slaughter. He was part of a crew that drove a Slaughter herd of cattle from Texas to Arizona and stayed. On October 1, 1881, in Charleston, Arizona Territory (now a ghost town), he shot and killed a blacksmith named James Hickey at Harry Queen’s Saloon. Exactly why he did it is not known. -
Anti Trafficking
anti reviewtrafficking GUEST EDITOR DR ANNE GALLAGHER EDITORIAL TEAM CAROLINE ROBINSON REBECCA NAPIER-MOORE ALFIE GORDO The ANTI-TRAFFICKING REVIEW is published by the Global Alliance Against Traffic in Women (GAATW), an alliance of over 100 NGOs worldwide focused on advancing the human rights of migrants and trafficked persons. The Anti-Trafficking Review promotes a human rights-based approach to human trafficking. It explores trafficking in its broader context including gender analyses and intersections with labour and migrant rights. It offers an outlet and space for dialogue between academics, practitioners and advocates seeking to communicate new ideas and findings to those working for and with trafficked persons. The Review is primarily an e-journal, published annually. The journal presents rigorously considered, peer-reviewed material in clear English. Each issue relates to an emerging or overlooked theme in the field of human trafficking. Articles contained in the Review represent the views of the respective authors and not necessarily those of the GAATW network or its members. The editorial team reserves the right to edit all articles before publication. All rights reserved. No part of this publication may be reproduced in any form without prior permission of the publisher. Copyright 2012 by the GLOBAL ALLIANCE AGAINST TRAFFIC IN WOMEN P.O. Box 36, Bangkok Noi Post Office 10700 Bangkok, Thailand Website: www.antitraffickingreview.org ANTI-TRAFFICKING REVIEW Issue 1, June 2012 2 Editorial 10 Measuring the Success of Counter-Trafficking -
10-17-18 Newsletter.Docx
First RV Trip - Fall 2018 Day 22 Wednesday October 17th .. Great American Adventures Wyatt Earp Vendetta Ride Tombstone, AZ Our location for breakfast this week. They also pack our lunches. Weather 70’s Hello to Family & Friends Sunny Perfect Today starts out on sort of downer but was pretty cool. On the movie ride I carpooled with Doc Crabbe and Omaha. We rod e drag and I remember stating in these newsletters how hilarious it was to drive with them. I even took a video which I may still have. Anyways, Doc Crabbe was also on the Durango/Silverton ride last As a tribute to Doc, Troy September. A week after he returned home from Durango he had led a horse with an a heart attack and passed away. empty saddle and Doc’s Do c was a veteran of about 8-10 rides with GAA. Doc never met a boots placed backwards stra nger. Everyone instantly fell in love with Doc and he always kept in the stirrups, according his cooler in the back of his pickup stocked with beer for anyone to tradition, up and wh o wanted one at the end of the day. The tailgate of his pickup down Allen Street. The wa s a popular gathering spot. Vendetta ride was one Dead Eye Jake, after only joining Doc on the movie ride, felt of Doc’s favorites. impelled to put his image of Doc Crabbe on canvas in oils. The We all followed behind in result is seen below. silence as Tombstone and the Vendetta Riders On this day Doc’s widow, daughter and granddaughter were honored the passing of pre sent for breakfast and presented with the oil painting. -
November 2015
November 2015 8:00 PM ET/5:00 PM PT 4:45 PM ET/1:45 PM PT 3:30 PM ET/12:30 PM PT 7:00 PM CT/6:00 PM MT 3:45 PM CT/2:45 PM MT 2:30 PM CT/1:30 PM MT Tears of the Sun For Love of the Game Down Periscope 10:05 PM ET/7:05 PM PT 7:15 PM ET/4:15 PM PT 5:05 PM ET/2:05 PM PT SUNDAY, NOVEMBER 1 9:05 PM CT/8:05 PM MT 6:15 PM CT/5:15 PM MT 4:05 PM CT/3:05 PM MT 12:15 AM ET/9:15 PM PT Man On Fire Blue Crush Biloxi Blues 11:15 PM CT/10:15 PM MT 9:00 PM ET/6:00 PM PT 7:00 PM ET/4:00 PM PT Scream MONDAY, NOVEMBER 2 8:00 PM CT/7:00 PM MT 6:00 PM CT/5:00 PM MT 1:15 AM ET/11:15 PM PT 12:35 AM ET/9:35 PM PT Wimbledon Primary Colors 1:15 AM CT/12:15 AM MT 11:35 PM CT/10:35 PM MT 10:45 PM ET/7:45 PM PT 9:30 PM ET/6:30 PM PT The Sixth Sense Tears of the Sun 9:45 PM CT/8:45 PM MT 8:30 PM CT/7:30 PM MT 3:15 AM ET/1:15 AM PT 2:45 AM ET/11:45 PM PT Blue Crush The Birdcage 2:15 AM CT/1:15 AM MT 1:45 AM CT/12:45 AM MT 11:30 PM ET/8:30 PM PT Hollywood’s Best Directors - M. -
Police Abuse and Misconduct Against Lesbian, Gay, Bisexual and Transgender People in the U.S
United States of America Stonewalled : Police abuse and misconduct against lesbian, gay, bisexual and transgender people in the U.S. 1. Introduction In August 2002, Kelly McAllister, a white transgender woman, was arrested in Sacramento, California. Sacramento County Sheriff’s deputies ordered McAllister from her truck and when she refused, she was pulled from the truck and thrown to the ground. Then, the deputies allegedly began beating her. McAllister reports that the deputies pepper-sprayed her, hog-tied her with handcuffs on her wrists and ankles, and dragged her across the hot pavement. Still hog-tied, McAllister was then placed in the back seat of the Sheriff’s patrol car. McAllister made multiple requests to use the restroom, which deputies refused, responding by stating, “That’s why we have the plastic seats in the back of the police car.” McAllister was left in the back seat until she defecated in her clothing. While being held in detention at the Sacramento County Main Jail, officers placed McAllister in a bare basement holding cell. When McAllister complained about the freezing conditions, guards reportedly threatened to strip her naked and strap her into the “restraint chair”1 as a punitive measure. Later, guards placed McAllister in a cell with a male inmate. McAllister reports that he repeatedly struck, choked and bit her, and proceeded to rape her. McAllister sought medical treatment for injuries received from the rape, including a bleeding anus. After a medical examination, she was transported back to the main jail where she was again reportedly subjected to threats of further attacks by male inmates and taunted by the Sheriff’s staff with accusations that she enjoyed being the victim of a sexual assault.2 Reportedly, McAllister attempted to commit suicide twice. -
The Director's Idea
The Director’s Idea This Page is Intentionally Left Blank The Director’s Idea The Path to Great Directing Ken Dancyger New York University Tisch School of the Arts New York, New York AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Elinor Actipis Project Manager: Paul Gottehrer Associate Editor: Becky Golden-Harrell Marketing Manager: Christine Degon Veroulis Cover Design: Alisa Andreola Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2006, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ44) 1865 843830, fax: (ϩ44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication -
The Wit & Wisdom of Doc Holliday
® Cowboy Action Shooting Stages & Scenarios 26 August 2012 The Wit & Wisdom Of Doc Holliday The Ten CAS Commandments 1. Thou shalt not allow thy muzzle to point at any person! Thou shalt keep thy muzzle pointed downrange when drawing or holstering from a Cross-Draw holster. Thou shalt not sweep thy neighbor, nor thy neighbor's wife, nor thy neighbor's ass (nor any other portion of his anatomy!) Safety! First, Last, and Always. 2. Thou shalt abide by all SASS Safety Rules, and thou shalt have FUN! 3. Protect thine eyes and ears at all times. Spectators shall do the same. 4. Except when shooting, loading, or unloading, thou shalt keep thy pistols holstered. 5. Thou shalt not close the action of thy rifle until thou loadest it at the Load Station. Thou shalt open thy rifle's action immediately after completing the rifle portion of the stage. Thou shalt not close thy shotgun except while holding it in thy hands at the firing line. 6. Suffer not thy gun to fall upon the ground, for a dropped gun is “Dead”. A loaded dropped gun is dead, and shall not rise again this day. Only the Range Officer may retrieve or pick up a dropped gun. NOTE: An empty long gun carefully staged against a barricade, wall, or other prop that subsequently slips and falls shall not result in any penalty. 7. There is no Rule #7. 8. Suffer not thine ammunition to fall upon the ground. Dropped ammo is "Dead", and may only be retrieved by the brass pickers, after the shooter has completed the stage. -
Tombstone, Arizona Shippensburg University
Trent Otis © 2011 Applied GIS with Dr. Drzyzga Tombstone, Arizona Shippensburg University Photo © dailyventure.com. Photographer unknown. Tombstone and the Old West The People Wyatt Earp Virgil and Morgan Earp Tombstone established itself as a boomtown after The tragedy that occurred at Tombstone, Arizona involved Wyatt has been most often Virgil and Morgan Earp are the silver was discovered in a local mine in 1877. It quickly characters who were as interesting as the time period. From characterized as a strict, no nonsense brothers of Wyatt. Virgil held various became a prospering community which attracted all lawmen turned silver prospectors, dentists turned gam- person who prefered to settle disputes law enforcement positions throughout walks of life. blers, outlaws and worse, these men all had their stakes in with words rather than confrontation. his life and was appointed as a Deputy the events at Tombstone. Following are short descriptions U.S Marshal before moving to of these men. Wyatt is arguably one of the most Tombstone. Later on, he was The American Old West has captured the minds and inuential individuals in the Old West. appointed as acting marshal for the imaginations of the American people since the West He encoutered some initial hardship in town after the current marshal was became more civilized in the late 1800s to early 1900s. his life when his rst wife died. accidentally slain by one of the Earp In the early 1880s, a specic event occurred that would Eventually, his sutuation improved and antagonists. capture the essence of the old west in one story. -
Wyatt Earp by Robert Hilliard
Wyatt Earp By Robert Hilliard One of the greatest legends of the American West, Wyatt Berry Stapp Earp was born on March 19, 1848, in Monmouth, Illinois, the third of five sons born to Nicholas and Virginia Ann Earp. The Civil War broke out when Wyatt was 13 years old. Desperate to leave the family farm in Illinois and find adventure, Earp tried several times to join his two older brothers, Virgil and James, in the Union army. But each time, Wyatt was caught before he ever reached the battlefield, and was returned home. At the age of 17 he finally left his family, now living in California, for a new life along the frontier. He worked hauling freight, and then later was hired to grade track for the Union Pacific Railroad. In his downtime he learned to box and became a respectable gambler. In 1869, Earp returned to the fold of his family, who had made a home in Lamar, Missouri. A new, more settled life seemed to await Earp. After his father resigned as constable of the township, Earp replaced him. By 1870 Wyatt married Urilla Sutherland, the daughter of the local hotel owner, built a house in town and was an expecting father. Suddenly, everything changed. Within a year of their marriage Urilla contracted typhus and died, along with her unborn child. Broken and devastated by his wife's death, Wyatt left Lamar, Missouri and set off on a new life devoid of any kind of discipline. In Arkansas, he was arrested for stealing a horse, but managed to avoid punishment by escaping from his jail cell. -
Masculinity, Aging, Illness, and Death in Tombstone and Logan
ORIGINAL SCIENTIFIC PAPER 791-51 DOI:10.5937/ ZRFFP48-18623 DANIJELA L J. P ETKOVIĆ1 UNIVERSITY OF N IŠ FACULTY OF P HILOSOPHY ENGLISH D EPARTMENT (IM)POSSIBLE MARTYRDOM: MASCULINITY, AGING, ILLNESS, AND DEATH IN TOMBSTONE AND LOGAN ABSTRACT. The title of this paper alludes to Hannah Arendt’s famous claim that in Nazi concentration camps martyrdom was made impossible, for the first time in Western history, by the utter anonymity and meaninglessness of inmates’ deaths (Arendt, 2000, p. 133): the paper, in contrast, examines two contem- porary films which, while intersecting normative/heroic masculinity with debilitating illness and death, allow for the possibility of martyrdom. Tomb- stone and Logan , directed by George P. Cosmatos and James Mangold respectively, depict the last days of such pop culture icons of masculinity as John Henry “Doc” Holliday and James Howlett, aka Logan/Wolverine. The films’ thematic focus on the (protracted) ending of life, which is evident not only in the storylines and dialogues but also in the numerous close-ups of emaciated, bleeding, scarred and prostrate male bodies, afflicted with tuberculosis and cancer-like adamantium poisoning, invites, first, a discus- sion of the relationship between the cinematic representations of normative and disabled masculinities. Specifically, since normative masculinity, as opposed to femininity, is synonymous with physical and mental strength, power and domination – including the control of one’s own body – the focus of this discussion is if, and how, the films depict Doc Holliday and Wolverine as feminized by their failing/disobedient bodies, thus contribut- ing to the cultural construction of gender. Secondly, the paper discusses the halo of martyrdom with which the films’ dying men are rewarded as emo- tionally deeply satisfying to the viewer: in Logan and Tombstone , death is not averted but hastened for the sake of friendship, family, and the protec- tion of the vulnerable and the marginalized.