Read Ebook {PDF EPUB} A Flash in the Pan by Lilian Kendrick How Much Time Is Needed to Declare a Rap Album “Classic”? The release of Kendrick Lamar's new album, and the questions it raises about today's fast-paced, hyperbolic cycle of criticism. Written by Ernest Baker (@newbornrodeo) and Noah Callahan-Bever (@N_C_B) This week saw the official release of Kendrick Lamar 's major label debut, good kid, m.A.A.d city . It's the best-reviewed rap album since Kanye W est 's My Beautiful Dark Twisted Fantasy , lauded and slobbed by everyone from us to Pitchfork to everyone on Twitter and beyond (except Shyne , of course). The question isn't whether or not the album's of quality—that's universally acknowledged. The question is whether or not it’s a “classic.” It's especially significant because—in the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. In the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. Classic is defined by the Oxford English Dictionary as something that's "judged over a period of time to be of the highest quality and outstanding of its kind." Classic albums are more than just "great." They're game changers, inflection points in creativity. And it's a truth that can only unfold over time. How many fine artists died in obscurity, their work achieving acclaim in their absence? F. Scott Fitzgerald ’s The Great Gatsby took two reprints and nearly 30 years to receive acknowledgement as a Great American Novel, long after his death. But we’re talking about hip-hop, where “wait and see” has never been a popular mantra. Consider albums recently deemed “classic(s)” prior to their release, by publications like XXL and The Sour ce : Nas ’s Stillmatic, Clipse ’s Hel l Hath No Fury , and Common ’s Be . The latter two are clearly perfect albums, absent of any discernible flaws, but years later, do they stand up—in terms of sheer impact, specifically —to records like Ready To Die or Illmatic ? Be honest. Stillmatic is far from a perfect album, but it did manage to successfully ride a wave of anti-Jiggaman sentiment to an inflated reception. It was a moment of triumph for Nas, sure. But not for hip-hop. Or in a broader sense: for culture. Is the designation of "classic" more about impact and influence, or is it a pure measure of overall quality? Albums like All Eyez On Me , It's Dark and Hell Is Hot , and The Marshall Mathers LP were critically lauded as “pretty good” to “very good” albums, but as the years passed, each earned its own mythology, and eventually became calcified in the pantheon of essential rap recordings. When considering the canon of rap classics, what seems to differentiate hyped, flash-in-the-pan albums from classics is: Were they were quality outliers, or genre-shifting pace-setters? Lil Wayne ’s Tha Car ter III is a classic for similar reasons—a million-plus units moved in the first week, a Grammy, etc.—but with one crucial difference: It didn't have five records to get rid of, it had five records worth keeping . Believe it or not, readers under 30, even Jay-Z ’s Reasonable Doubt was touted as just “surprisingly good” when it dropped. No one was screaming about its immortality. Yet years later, having had the opportunity to absorb the album’s nuance and observe its ripples of influence on just about every person to put out a rap album since—and grow in value as a crucial piece in understanding the origin legend of Jay-Z, today—to call Reasonable Doubt anything other than a classic is absurd. When considering the canon of rap classics, what seems to differentiate hyped, flash-in-the-pan albums from classics is: Were they were quality outliers, or genre-shifting pace-setters? Were they good albums in a shit year, or did they go from good, to great, to absolutely necessary over time? It’s that long-tail influence that affirmed an album like Raekwon’s Only Built 4 Cuban Linx ’s standing. The quality was always there, but it wasn’t until its lush stylings and mafioso narratives unfolded in la ter releases—not from Rae, but from Jay-Z, Nas , and The Notorious B.I.G.— that we realize how its influence was seeded. Which brings us back to Kendrick Lamar, and good kid, m.A.A.d city . Is it a great album? Definitely. Is it a perfect album? Quite possibly. But is it a classic? The level of conversation that the album inspired this week is perhaps what’s most indicative of its potential to be considered one down the line. [Incidentally enough, it was Dr. Dre ’s last prominent protégé, 50 Cent , whose Get Rich Or Die Tryin’ is cemented in classic status by way of conversation just as much as by content. Upon release, and for many months after, Get Rich Or Die Tryin’ was impossible to avoid.] Give it a decade. Are storyline-driven albums part of a regular rap repertoire? Has the range of off-kilter cadences narrowed or broadened? Even Lamar himself is aware that classic standing doesn't come overnight. When asked about the response to good kid, m.A.A.d city in an interview Complex ran with him today, he replied: "It's classic worthy. Once it gets a few years behind it, they'll be looking back, saying: 'Yeah, Kendrick Lamar made a classic his first album.'" Whether or not that's the case, we'll eventually know—not in a few days, or a few weeks, but in time—beyond a reasonable doubt. Top 15 WWE Superstars Who Perform Under Their Real Name. WWE Superstars become globally recognizable athletes when they are signed to the company. This means that WWE likes to ensure that they keep all of the copyrights to the wrestlers name so that they ca. WWE Superstars become globally recognizable athletes when they are signed to the company. This means that WWE likes to ensure that they keep all of the copyrights to the wrestlers name so that they can't move on to another company and use something belonging to WWE. CM Punk is a fantastic example. Phil Brooks has been known by that name his entire wrestling career and when he came to WWE they allowed him to keep the name as part of his contract. Punk has now walked away from the company and continues to be known as CM Punk in UFC which must annoy WWE slightly. The company has recently allowed the same thing with AJ Styles, but mostly because he was already a well known star under that name. Wrestlers often choose their own ring name so that it makes sense that they are a completely different person compared to their in-ring persona. Wrestlers like to maintain a private life as much as they can so they attempt to keep their own names private from the WWE Universe. Many stars do now follow these rules. There are some wrestlers who have preferred to keep their real name as their ring name, which must become confusing when they have to sign for anything and are trying to be inconspicuous. This also gives WWE a headache when it comes to copyrighting their names, since the likes of John Cena and Mickie James performed under their real name and so own the copyright to it. That being said, many current WWE Superstars continue to do this. Here is a list of the top 15 Superstars who have been allowed to wrestle under their given names. 15 Jerry Lawler. The commentary desk wouldn't be the same without the addition of the King of Wrestling himself Jerry Lawler. The legendary wrestler and Hall of Famer has been a part of the business for well over three decades. Despite the fact that Lawler retired from wrestling almost 16 years ago, he still manages to play a key part in storylines when called upon. Lawler suffered a heart attack at ringside on a live episode of Monday night Raw back in 2012. Lawler returned to the announce desk just two months later. Being the legend that he already was in Memphis, it makes sense that both WWF and WWE allowed Jerry to keep his real name and continue to wrestle whilst using it for so many years. 14 Mickie James. The former five time WWE Women's Champion and one time Divas Champion is still considered to be one of the greatest female wrestlers of all time. Mickie burst on the WWE scene in 2005 as Trish Stratus' crazy stalker and rode that gimmick all the way to her first Women's title the following year. Mickie and Melina then began on a new generation of women's wrestling before she was released from the company in 2010. Mickie is the only woman to have held the Women's, Divas, and Knockouts Championships and had a lengthy career in TNA following her WWE release. It is unknown why Mickie was allowed to keep her real name in the ring since she was known as Alexis Laree for much of her Independent career before she was signed to WWE. 13 Brian Kendrick. Known as Spanky during his early career, the former Tag Team Champion has always been known by his given name while he has been in WWE's spotlight. The former WWE Cruiserweight has returned to WWE a few times since his departure in 2004. His best run with the company being his partnership with Paul London. The duo became the longest reigning WWE Tag Team Champions, a record that was only recently broken by The New Day. Following their split a few years later Kendrick went it alone and failed to be as successful, and so left to pursue the Independent Circuit and ROH. Kendrick then returned to the WWE spotlight in 2015 when it was revealed that he was training Eva Marie ahead of her WWE re-debut. Kendrick himself then had a one-off match on NXT before he took his place in the 2016 Cruiserweight Classic. 12 Johnny Gargano. John Gargano is a relativity unknown entity to many fans of WWE's current product, but he is well known to fans of the NXT brand. Along with Tomasso Chiampa the duo have tested the boundaries of the tag team division over the past few months after a mildly successful singles run from the former Chikara star. Gargano had an incredible wrestling career before he made his mark in WWE back in 2015. This could be the reason why he is only one of a few members of the NXT locker room who has been allowed to keep his given name on WWE's main stage. The company has changed the names of many of the biggest stars who have decided to join their roster, but it seems Gargano has been allowed to keep the name he has gained fame under. 11 Shinsuke Nakamura. One of the biggest NXT signings of the brand's short life, Shinsuke Nakamura's unveiling was one of the most memorable moments in NXT history. It is unclear as to why WWE allowed the Japanese star to keep his family name when making his debut on the roster. Nakamura had made a name for himself under the name in New Japan Pro Wrestling, and the "King of Strong Style" was one of the most anticipated additions to the company after many fans saw all that he had achieved in Japan. Nakamura is already one of the biggest stars in the company after merely months on the roster and was one of the rumoured picks for the 2016 WWE Draft. However, he narrowly missed out on a call up to the main roster. 10 Mick Foley. The Hardcore Legend and newly named General Manager of Monday Night Raw is one of the most recognizable and well respected Superstars in WWE history. Mick Foley is considered to have been one of the bravest and reckless WWE Superstars in WWE's Attitude Era. This is mainly due to the fact that it seemed Foley raised the bar when it came to Hardcore, Hell in a Cell, and even Extreme Rules matches. Foley has stepped away from the ring in recent years and instead realized that he now has a family and can't continue wrestling the way he used to. Foley has now taken the on-screen position as Raw General Manager as well as being a part of his own show on the WWE Network entitled Holy Foley. 9 JBL. John Bradshaw Layfield or JBL as he is more commonly known has become one of the biggest characters in WWE over the past few decades. With an impressive WWE career that saw him win the WWE, United States, Intercontinental, and Tag Team Championship before announcing his retirement from WWE in 2010. JBL has returned to the ring a few times since this announcement and has since become one of the greatest colour commentators that WWE has ever had. JBL manages to retain the character he portrayed in the ring as a part of the commentary desk and was even switched to the SmackDown brand alongside David Otunga and Mauro Ranallo during the historic 2016 WWE Draft. 8 Cathy Kelley. One of WWE's newest acquisitions and one of the women that WWE have big plans for. Cathy burst onto the scene in WWE in 2015 and has since become a huge hit with the WWE Universe. She is a well known Journalist, actress, TV host and ring announcer which is why it makes sense that she has been able to keep her own name despite the fact that it has been shortened down from Catherine. She is currently hosting WWE's AfterBuzz following Monday Night Raw as well as being a part of WWE's social media presence. Having only been with the company for a few months there is only a matter of time before WWE offer Cathy a bigger position within the company. 7 Lilian Garcia. Lilian Garcia has been part of WWE since 1999. During her first tenure with WWE she was the first "Diva" to be a part of the promotion for more than ten years. Lilian has been classed as a Diva for many years and has been allowed to appear on many DVD's with the females of the company. Even though Lilian is only considered to be a ring announcer, she is also a talented singer and has played many roles in different storylines over the better part of 20 years. Lilian often sings the national anthem on holiday and special episodes of Monday Night Raw. Many ring announcers have come and gone over the past few years but Lilian has been a main stay on the brand and despite many announcers changing their names when they joined the company, Lilian has been allowed to keep her real name throughout her career. 6 Shelton Benjamin. WWE rumoured for many weeks that following the historic 2016 draft they would be bringing back some recognizable Superstars from past eras. It seems that Shelton Benjamin is the first name on that list. A name that is a former Intercontinental, United States, and Tag Team Champion in WWE. Since he left WWE in 2010 The Gold Standard has continued to make a name for himself under his given name as part of the Ring of Honor roster with his best friend Charlie Haas as The World's Greatest Tag Team. Since Haas stepped away from wrestling it has seemed that Shelton has been missing something and hopefully he will regain it when he returns to WWE in the coming weeks. 5 Mark Henry. The World's Strongest Man has made an incredible career for himself since joining WWE and given the fact that he had an amazing Olympic career could have been one of the main reasons why WWE decided to allow him to keep his real name. Mark Henry is a former World, ECW and European Champion in his career and has managed to remain with WWE for 20 years despite a constant lack of direction in his storylines. Most recently, Mark Henry has been away from WWE TV for the past few months after he failed to win the Andre The Giant Memorial Battle Royal in the match at WrestleMania. However, Henry was still part of the WWE Draft and took his rightful place on Monday Night Raw. 4 Maryse. The former Diva Search contestant and wife of current Intercontinental Champion The Miz, Maryse was able to hold onto her given name after she was unveiled as part of the WWE Diva Search. Many other women who WWE signed including Ashley Massaro, Candice Michelle, and Michelle McCool were all also given the same opportunity. Maryse left the company for a few years and only returned the night after WrestleMania this year to help her husband win the Championship that he had been denied the night before. Since then Maryse has been ever present at his side and despite the fact that she was once the longest reigning Divas Champion in her own right, it seems she has been relegated to The Miz' valet for the time being. 3 Randy Orton. The Viper, The Legend Killer, and one of the biggest stars of WWE's current era entered WWE as a third generation generation Superstar. Like many other Superstars that have been brought up in the company, many thought Orton was a flash in the pan. However, after becoming the youngest World Heavyweight Champion in WWE history merely years after his debut and going on to become a 12 time World Champion, it's safe to say that Orton has proved his doubters wrong. Orton was the last person to hold the World Heavyweight Championship and was considered one of the greatest ring technicians and all around characters of WWE's PG Era. Finding fame under his given name doesn't seem to have phased the current SmackDown Live Superstar. Following the success of his father and grandfather before him WWE decided to allow Orton to keep his own name and follow in their footsteps. 2 Brock Lesnar. The Beast Incarnate, the legend of Suplex City, and the only man to ever defeat The Undertaker at WrestleMania, Brock Lesnar has made quite a mark on WWE since he made his return in 2012. Having left the company in 2004 to pursue what was a World Championship calibre UFC career, Brock made his return the night after WrestleMania XXVIII and targeted John Cena. Since then Lesnar along with his "Advocate" Paul Heyman has become one of the most feared stars in WWE after not being pinned in a WWE match since 2013. Given that Lesnar was already a huge star on the wrestling scene when he signed for WWE (having become a well known amateur wrestler), it makes since that WWE allowed him to keep the name he found fame under and has continued to do so. 1 John Cena. "The face that runs the place," the 15 time WWE World Champion, and one of the biggest names in the history of the company. John Cena has excelled anyone's expectations of him following what was a rocky few years with WWE, and has even managed to branch out to making films, albums, and even presenting at some of the biggest awards shows in sports and entertainment. John Cena is considered the New Era's version of The Rock, a star that now owns the rights to his own name having acquired them when he reached the peak of his fame. Cena is obviously wresting under his real name and has been doing so since his debut in 2002,. This obviously means that WWE would hit a few problems if they tried to stop John Cena using his own name if he ever moved to other companies, but since WWE made Cena the star he is today, it is highly unlikely he is moving anywhere. Kendal, Madge (1849–1935) English actress who was enormously famous in her day. Name variations: Dame Madge Kendal; Mrs. Kendal; Margaret Brunton Robertson. Born Margaret Shafto (also seen as Sholto) Robertson on March 15, 1849 (some sources cite 1848) in Grimsby, Lincolnshire, England; died on September 14, 1935, in Hertfordshire, England; the 22nd child and last daughter of William Robertson (an actor and theatrical manager) and Margherita (also seen as Margaretta) Elisabetta (Marinus) Robertson (an actress-comedian); sister of dramatist T(homas) W(illiam) Robertson (1829–71); married W(illiam) H(unter) Kendal (an actor), on August 7, 1869 (died 1917); four children. Selected theater: made stage debut as Marie in The Orphan of the Frozen Sea (Marylebone Theater, February 20, 1854); made adult London debut as Ophelia in Hamlet (Haymarket Theater, July 29, 1865); appeared as Blanche of Spain in King John, Desdemona in Othello, Cupid in Exion, Jessica in The Merchant of Venice (all at Haymarket Theater, 1865); Anne Carew in A Sheep in Wolf's Clothing, Julie in Richelieu, Lady Macbeth in Macbeth (all at Theater Royal, 1866); toured as Juliet in Romeo and Juliet, Peg Woffington in Masks and Faces, and Pauline Deschappelles in The Lady of Lyons (1866); Edith Fairlam in The Great City (Drury Lane Theater, 1867); Georgina in Our American Cousin (Haymarket Theater, 1867); Alice in Brother Sam, Ada Ingor in David Garrick, Blanche Dumont in A Hero of Romance, Marguerite in A Wife Well Won, Hippolyta in She Would and She Would Not (all at Haymarket, 1887); Florence in On the Cards and Lady Clara Vere de Vere in Dreams (both at Gaiety Theater, 1868); toured in As You Like It, Twelfth Night, She Stoops to Conquer, The School for Scandal, The Rivals, The Heir-in-Law, and The Country Girl (with Haymarket Company, 1868); appeared as Charlotte in The Hypocrite, Lilian Vavasour in New Men and Old Acres, Florence Marigold in Uncle's Will, Princess Zeolida in The Palace of Truth, Queen Selene in The Wicked World, Mrs. Van Brugh in Charity, Ellen Petworth in Barwise's Book, Lydia Languish in The Rivals, Lady Teazle in The School for Scandal, Rosalind in As You Like It, Kate Hardcastle in She Stoops to Conquer, Miranda in The Busy Body, Ada in Faded Flowers, Ethel in A Little Change, Mrs. Whymper in His Own Enemy, Mrs. Sebright in The Overland Route, Lady Gay Spanker in London Assurance, Jessie Meadows in Single Life, Elinor Vane in A Madcap Prince, and Mrs. Honeyton in A Happy Pair (all with the Haymarket Company, 1869–74); title role in Lady Flora, Mrs. Fitzroy in A Nine Days' Wonder, Lady Hilda in Broken Hearts, Susan Hartley in A Scrap of Paper (all at Court Theater, 1875); Lady Ormond in Peril, Clara Douglas in Money, Dora in Diplomacy (all at Prince of Wales Theater, 1876); Countess d'Autreval in The Ladies' Battle and Kate Greville in The Queen's Shilling (both at the Court Theater, 1879); Lady Giocanna in The Falcon, Mrs. Sternhold in Still Waters Run Deep, Isobel Ransome in Good Fortune, Millicent Boycott in The Money Spinner, Anne Carew in A Sheep in Wolf's Clothing, Mrs. Pinchbeck in Home, Mrs. Frank Preston in The Cape Mail, Kate Verity in The Squire, Mrs. Beresford in Impulse, Nora Desmond in Young Folks' Ways, Clair de Beaupre in The Iron Master, Lilian Selkirk in The Castaways, Agnes Roydant in Mayfair, title role in Antoinette Rigaud, Countess in The Wife's Sacrifice, Mrs. Spencer Jermyn in The Hobby Horse, title role in Lady Clancarty, Lady Amyot in The Wife's Secret (all at the St. James Theater, 1879–87); Lady Vivash in The Weaker Sex, Kate Desmond in A White Lie (Court Theater, 1889); American debut as Susan in A Scrap of Paper (Fifth Avenue Theater, New York City, October 7, 1889), followed by four American tours 1890–92; toured as Paula in The Second Mrs. Tanqueray (Provincial tour, England, 1893); fifth tour of America, 1894–95; Mrs. Armitage in The Greatest of These (Garrick Theater, London, 1896); Sara Leaster in A Flash in the Pan, Dorothy Blossom in The Elder Miss Blossom, and Mrs. Grantham in Not Wisely But Too Well (tour of the Provinces, 1896–98); Margaret Hulestone in The Poverty of Riches, Mildred Archerson in The Likeness of the Night, and the Duchess of Cluny in The Secret Orchard (tour, 1899); Mistress Ford in The Merry Wives of Windsor (His Majesty's Theater, June 1902); Anne McLeod in One People (tour, and Coronet Theater, London, May 1903); Marjorie Lyall in Dick Hope (tour and Coronet Theater, December 1903); Audrey Whitby in The Housekeeper and Nora in The Bird at the Neck (both at the St. James Theater, fall 1905); Mrs. Hyacinth in A Tight Corner, Constance Livingstone in The Whirlpool, Madame Armières in The House of Clay (all at Coronet Theater, 1907–08). Born into one of England's oldest theatrical families in 1848, Madge Kendal was the daughter of William Robertson, an actor and theater manager, and Margherita Marinus Robertson , a Scandinavian-born actress who also distinguished herself by giving birth to 22 children, Madge being the last. Others of the Robertson clan (E. Shafto Robertson and Fanny Robertson ) also aspired to the stage, although only brother T.W. Robertson, a playwright and creator of the "cup-and-saucer dramas" (so called because of their realistic domestic settings), achieved any notoriety. Kendal's father, in partnership with J.W. Wallack, managed the Marylebone Theater in London, and it was there that young Madge made her acting debut just short of her sixth birthday, playing Marie in The Orphan of the Frozen Sea (1854). She made her adult London debut at age 17, playing Ophelia to Walter Montgomery's Hamlet. By the time of her marriage to actor William Hunter Kendal, known as W.H. Kendal, at age 21, she was the veteran of over 50 parts. On her wedding night, she appeared with her new husband in As You Like It, and from then on their careers were inseparable. Although Mrs. Kendal always professed that William was the superior actor (often citing his remarkable ability to turn pale at will), it was she who was the box-office draw. Indeed, Madge Kendal was considered the greatest comedian of her generation. "I defy any other actress, living or dead, to get a laugh out of some of the poor lines with which Mrs. Kendal simply rocked the house," said Mary Jerrold , who acted with the Kendals for over three years. "And what control she had! One moment she would have her audience roaring with laughter and in a flash she could have them quiet as mice." Kendal was also adept at playing darker emotions. As one critic noted: "Nor is she much less at home in the more pathetic portions of her part." The Kendals performed with the Haymarket Company until 1874, during which time Madge played in all the classics as well as new plays. Her biographer, T. Edgar Pemberton, vividly remembered her early triumph as Charlotte in The Hypocrite : "I can conscientiously say that I have never seen anything so perfect on the stage. The sweet, vivacious, graceful and altogether winsome Charlotte of that evening will ever linger in the memories of those who were fortunate enough to witness the impersonation." After the Haymarket Company broke up, the Kendals toured on their own, then joined John Hare at the Court Theater in 1875, where Madge was first seen as Susan Hartley in an adaptation of a Sardou comedy, A Scrap of Paper, a role she would repeat many times. In 1879, William Kendal went into partnership with John Hare at the St. James's Theater. The Kendals remained at the St. James's until 1888, playing leading roles in numerous productions, although many of the plays of their later years did not survive. In February 1887, they gave a command performance of the comedy Sweethearts for Queen Victoria at Osborne House, after which Madge received a brooch shaped like a royal crown and encrusted with precious stones. In the autumn of 1889, the Kendals set out for their first American tour, making their New York debut at the Fifth Avenue Theater on October 7 in A Scrap of Paper . The New York Dramatic Mirror reported that Mrs. Kendal's "skills as a comedienne were not exaggerated. Her art is as fine as old point lace, and yet it is laid upon a temperament so genuinely sympathetic and so pliant and transitional that there is no sign of effort, no direct exhibition of method in anything she does." The Kendals would make four subsequent tours of America, the last one covering 40 cities. Upon Kendal's return to the London stage in June 1896, in the role of Mrs. Armitage in The Greatest of These, George Bernard Shaw wrote: "Mrs. Kendal, forgetting that London Playgoers have been starved for years in the matter of acting, inconsiderately gave them more in the first ten minutes than they have had in the last five years, with the result that the poor wretches became hysterical and vented their applause in sobs and shrieks." Kendal was highly disciplined about her art and demanded the same from others. "The actor must give his best performance and the public value for their money," she contended. According to Jerrold, she ruled her company with an iron hand, instructing young women to part their hair in the middle, wash daily without fail, and avoid even a hint of flirtation in the workplace. Kendal could hardly be faulted for taking the moral high ground, for in her day women of the theater came under close scrutiny. Kendal also set the standard for respectable "stage business." An actor never touched an actress above the elbow. "Never let an actor take you by the upper arm," she advised a young actress. "It looks so ugly." The Kendals had their own special technique for playing love scenes. She would stand with her arms crossed and he would lean against her, giving the feeling of intimacy without breaching the code of conduct. In light of today's unrestrained acting, it is hard to imagine that intimate "lean," but the Kendals maintained a particularly high degree of respectability; many who went to see them wouldn't think of going to see any other actors. Mrs. Kendal's reputation, in fact, was called into question only once, during her American tour in The Second Mrs. Tanqueray . One critic called her portrayal of Paula "crude, noisy, and vulgar," and another queried, "Why should she pain her admirers, and risk her popularity after all these good years, by devoting her talents to the exemplification of how an abandoned woman would behave under certain distasteful circumstances?" The very mention of impropriety, of course, drew Americans to the theater in record numbers. The Kendals continued to play in London and tour the provinces, consistently playing to full houses. "I am always called a lucky woman," Mrs. Kendal wrote later in her career, "but I don't think it's all luck. I am vain enough to think that some of it is hard work—very hard work—constant and everlasting work. You must never cease to study. As you get older, you must fill up the wrinkles with intelligence." The Kendals retired in 1908 with little fanfare. Their last performance was in The House of Clay at the Coronet Theater in London in October of that year. "Like the Arab," said Mrs. Kendal, "we folded our tents and stole away." The lack of fuss attending the Kendals' retirement was not surprising, as their stage popularity did not spill over into their private life. By some accounts, they were insufferable snobs and had few friends. Even the couple's four children, two of whom went on the stage, were alienated from them. Madge Kendal attributed her husband's death in 1917 to a broken heart caused by the loss of his children's affection. In retirement, she grew formidable in appearance and denunciatory in her statements to the press. Eric John, author of Dames of the Theatre, describes his first sighting of Kendal at the lounge at Claridges, when she was well into her 80s. "Dressed in funereal black from head to foot, she might have been a despotic dowager Empress in Exile. With a forbidding and hostile expression on her face she looked, as Queen Victoria so often did, as if she had never laughed in her life." Kendal became harsh in her opinions of the young, criticizing them for their lack of morals and manners. She denounced the increasing use of makeup, on and off-stage, and what she referred to as "curtailed clothing." She decried the ingratitude of young actors. "I have taught many actors and actresses the early part of their business—what is called the ground work—but I have never been thanked by anyone except Seymour Hicks." She also dismissed critics as simply criticizing what they could not do themselves. "I maintain that a man must have some practical and not merely a theoretical knowledge of an art before he can write understandingly of it and its technique," she said. Given her immense talent and her contribution to the theater, Kendal can probably be forgiven the crankiness of her later years. Perhaps she simply felt bereft, having lost the profession that had been her life for over 50 years and the man who had shared most of it with her. Most who saw her perform describe her as simply the best of her time. Marie Lohr , who worked with the Kendal company for two years as a teenager, called the actress "the greatest of them all. No other artist, not even Duse, could so firmly hold an audience in the hollow of her hand. She could break your heart in her tragic roles, not with a display of flamboyant histrionics, but by the sheer depth and sincerity of her acting." Dame Madge, who was awarded the DBE in 1926 and the Grand Cross of the Order the following year, died on September 14, 1935, at the age of 87. sources: Hartnoll, Phyllis, and Peter Found, eds. The Concise Oxford Companion to the Theater. Oxford and NY: Oxford University Press, 1993. John, Eric. Dames of the Theatre. New Rochelle, NY: Arlington House, 1974. Morley, Sheridan. The Great Stage Stars. London: Angus & Robertson, 1986. ‘Twilight’ and Its Legacy: Team Kristen or Team Anna? Eight years ago the first film of the “Twilight” franchise was released three years after the origina l young adult novel , helping to grow the series’ notoriety and craze. The two actors chosen to play the leads Bella Swan and Edward Cullen were Kristen Stewart, at the time famous for playing Jodie Foster’s daughter in “ Panic Room” (2002), and Robert Pattinson of “ Harry Potter and the Goblet of Fire” (2005) popularity. The supporting cast included heartthrobs and starlets, Taylor Lautner , Jackson Rathbone, Ashley Greene, Nikki Reed and Anna Kendrick. For the next four years, the young cast would attempt to develop legitimate leading man or leading lady careers, but few would reach the top. Pattinson quickly embraced the art house scene with director David Cronenberg , after five years of being every teen girl’s favorite vampire. Lautner , Rathbone, Greene and Reed all continue to have supporting roles in random movie and TV appearances. The only up-and-comers to break through would turn out to be Stewart and Kendrick. At the time of the first film’s release, most over the age of 18 made fun of Pattinson and Stewart for “selling out, “ and predicted their relevancy would be a flash in the pan. Kendrick on the other hand, ca me from Broadway experience when she was 12, had indie cred with “ Rocket Science” (2007), as well as a Best Supporting Actress Oscar nomination for “ Up in the Air” in 2009 , and was constantly singled out as the one “Twilight” actor too good for the franchise. But with the exception of “ 50/50″ (2011), “ End of Watch” (2012) and “ Into the Woods” ( 2014) , Kendrick’s movies since her Oscar nomination have been underwhelming critically even if financially successful . Though she did luck out with the college comedy “ Pitch Perfect” (2012) finding a big following. St ewart meanwhile has become box-office poison in studio films like “ Zathura” (2005), “ Jumper” (2008), “ Snow White & the Huntsman” (2012), “ On the Road” (2012), “ American Ultra” (2015) and “ Equals” (2015). Even “ Café Society” this year, starr ing Stewart and Jesse Eisenberg, became the first Woody Allen film to not make back its small budget in over a decade despite the decent reviews. W here she is aware of her success is in independent cinema, with “ Speak” (2004), “ Into the Wild” (2007), “ Adventureland” (2009), The Runaways (2010), “ Camp X-ray” (2014), and “ Still Alice” (2014) gaining support from critics . Stewart even surprised everyone by becoming the first American actoress to win France’s coveted C é sar Award for Best Supporting Actress with “ Clouds of Sils Maria” (2014) . So for the last few years, Kendrick has been winning the audiences, while Stewart keeps hold of the critics. In 2016, Kendrick has had critical duds like “ The Hollars ,” “ Get a Job ,” “ Mike & Dave Need Wedding Dates” and “ The Accountant ,” but the last two made a profit all the same. Stewart has “ Café Society ,” “ Certain Women ,” “ Personal Shopper” and “ Billy Lynn’s Long Halftime Walk .” The first two have acclaim, with “ Shopper” raising eyebrows at Cannes for its sexual context, and Stewart is still being singled out as a highlight. But a new turn of events has occurred with the animated family musical “ Trolls ,” featuring Anna’ s voice as the female lead has been ge tting a lot of hype, and the epic visual spectacle “ Billy Lynn “ with Kristen getting unexpected boos during early screenings. Some actresses’ main aim is for respect from their peers and the media, while others are happy just to get work regularly. There’s n othing wrong wit h either preference, though each career direction can shape a public image. Kendrick and Stewart are on the opposite end of the spectrum and appear to be happy doing their own thing at the moment. Both have different goals and interest s film- wise , and it will be interesting to see where their careers and personas go in a decade after moving on from the ingénue type and into the real twilight years. Megan Bianco is a Southern California-based movie reviewer and content writer with a degree from California State University Northridge. Support Times of San Diego. With the generous support of readers like you, Times of San Diego publishes timely and accurate news coverage for a better-informed community. Helps us grow with a monthly contribution. Rich Swann vs. Brian Kendrick: WWE 205 Live Cruiserweight Match Winner, Reaction. One week after beating Brian Kendrick for the Cruiserweight Championship on the debut episode of 205 Live, Rich Swann successfully defended his title against Kendrick Tuesday night. Right after the loss, Kendrick proceeded to attack TJ Perkins, who was at the announcing table, via 205Live on Twitter: 205Live @ WWE205Live .@mrbriankendrick has barely come to terms with his loss before LUNGING at @MegaTJP! #205Live https://t.co/N2wplqO2jZ. As the show ended, there were Superstars laid out all over the place, via 205Live: 205Live @ WWE205Live And this edition of #205Live ends with. BODIES. EVERYWHERE!! @MegaTJP @GottaGetSwann @mrbriankendrick https://t.co/Ylu1E5tUBk. Swann entered 205 Live on a massive roll with a number of huge victories under his belt as part of WWE's cruiserweight division. In the weeks leading up to his title shot against Kendrick, Swann defeated the veteran on two occasions. After Kendrick retained the cruiserweight strap against Kalisto at Survivor Series due to interference from Baron Corbin, it set the stage for Swann's opportunity. The so-called outlandish Superstar and Kendrick main-evented 205 Live in a match that hearkened back to the excitement and intensity of the Cruiserweight Classic. It was a back-and-forth affair that featured several near falls, but Swann managed to prevail, which made for an emotional scene due to the culmination of what was a long and arduous journey for Swann. While that was a huge win, Swann proved on Raw that he wasn't simply a flash in the pan by beating CWC winner and former cruiserweight champion Perkins in an entertaining bout. That triumph gave Swann a ton of momentum going into his first title defense, but it was far from enough for him to feel totally comfortable going up against a competitor as crafty as Kendrick. The 37-year-old Man With a Plan has nearly two decades of experience to his credit, and that has been on full display throughout his return to WWE. Not only did Kendrick pull out all the stops in a strong CWC showing, but he continued to do so as part of the cruiserweight division, and it is a big reason why he was able to beat TJP for the cruiserweight title. Kendrick feigned an injury and suckered Perkins in to take the belt, and although he dropped it to Swann, there was little doubt that Kendrick would go to almost any length to win it back. That put the risk-taking Swann on high alert, and it made for an interesting dichotomy that helped tell a great story throughout. Although Kendrick nearly recaptured the title on several occasions, the red-hot Swann managed to retain, which creates some question marks for what comes next for him, Kendrick and the Cruiserweight Championship. A new No. 1 contender is needed with Roadblock: End of the Line on the horizon, and while that has yet to be determined, there is little doubt that Swann has what it takes to put on a great show with whoever emerges. Listen to Ring Rust Radio for all of the hot wrestling topics. Catch the latest episode in the player below ( warning: some language NSFW ).