The Chicago Sun-Times is a daily newspaper published in Chicago, United States. It is the flagship paper of the Sun-Times Media Group, with the biggest circulation in Chicago and the 9th overall in the US; the Chicago Sun-Times claims to be the oldest continuously published daily newspaper in the city. That claim is based on the 1844 founding of the Chicago Daily Journal, the first newspaper to publish the rumor, now believed false, that a cow owned by Catherine O'Leary was responsible for the Chicago fire; the Evening Journal, whose West Side building at 17–19 S. Canal was undamaged, gave the Chicago Tribune a temporary home until it could rebuild. Though the assets of the Journal were sold to the Chicago Daily News in 1929, its last owner Samuel Emory Thomason immediately launched the tabloid Chicago Daily Illustrated Times; the modern paper grew out of the 1948 merger of the Chicago Sun, founded December 4, 1941 by Marshall Field III, the Chicago Daily Times. The newspaper was owned by Field Enterprises, controlled by the Marshall Field family, which acquired the afternoon Chicago Daily News in 1959 and launched WFLD television in 1966.
When the Daily News ended its run in 1978, much of its staff, including Pulitzer Prize-winning columnist Mike Royko, were moved to the Sun-Times. During the Field period, the newspaper had a populist, progressive character that leaned Democratic but was independent of the city's Democratic establishment. Although the graphic style was urban tabloid, the paper was well regarded for journalistic quality and did not rely on sensational front-page stories, it ran articles from The Washington Post/Los Angeles Times wire service. Among the most prominent members of the newspaper's staff was cartoonist Jacob Burck, hired by the Chicago Times in 1938, won a Pulitzer Prize in 1941 and continued with the paper after it became the Sun-Times, drawing nearly 10,000 cartoons over a 44-year career; the advice column "Ask Ann Landers" debuted in 1943. Ann Landers was the pseudonym of staff writer Ruth Crowley, who answered readers' letters until 1955. Eppie Lederer, sister of "Dear Abby" columnist Abigail van Buren, assumed the role thereafter as Ann Landers.
"Kup's Column", written by Irv Kupcinet made its first appearance in 1943. Jack Olsen joined the Sun-Times as editor-in-chief in 1954, before moving on to Time and Sports Illustrated magazines and authoring true-crime books. Hired as literary editor in 1955 was Hoke Norris, who covered the civil-rights movement for the Sun-Times. Jerome Holtzman became a member of the Chicago Sun sports department after first being a copy boy for the Daily News in the 1940s, he and Edgar Munzel, another longtime sportswriter for the paper, both would end up honored by the Baseball Hall of Fame. Famed for his World War II exploits, two-time Pulitzer Prize-winning cartoonist Bill Mauldin made the Sun-Times his home base in 1962; the following year, Mauldin drew one of his most renowned illustrations, depicting a mourning statue of Abraham Lincoln after the November 1963 assassination of John F. Kennedy. Two years out of college, Roger Ebert became a staff writer in 1966, a year was named Sun-Times's film critic.
He continued in this role for the remainder of his life. In 1975, a new sports editor at the Sun-Times, Lewis Grizzard, spiked some columns written by sportswriter Lacy J. Banks and took away a column Banks had been writing, prompting Banks to tell a friend at the Chicago Defender that Grizzard was a racist. After the friend wrote a story about it, Grizzard fired Banks. With that, the editorial employees union intervened, a federal arbitrator ruled for Banks and 13 months he got his job back. A 25-part series on the Mirage Tavern, a saloon on Wells Street bought and operated by the Sun-Times in 1977, exposed a pattern of civic corruption and bribery, as city officials were investigated and photographed without their knowledge; the articles received considerable publicity and acclaim, but a nomination for the Pulitzer Prize met resistance from some who believed the Mirage series represented a form of entrapment. In March 1978, the venerable afternoon publication the Chicago Daily News, sister paper of the Sun-Times, went out of business.
The two newspapers shared the same office building. James F. Hoge, Jr. editor and publisher of the Daily News, assumed the same positions at the Sun-Times, which retained a number of the Daily News's editorial personnel. In 1980, the Sun-Times hired syndicated TV columnist Gary Deeb away from the rival Chicago Tribune. Deeb left the Sun-Times in the spring of 1983 to try his hand at TV, he joined Chicago's WLS-TV in September 1983. In July 1981, prominent Sun-Times investigative reporter Pam Zekman, part of a Pulitzer Prize-winning team with the Chicago Tribune in 1976, announced she was leaving the Sun-Times to join WBBM-TV in Chicago in August 1981 as chief of its new investigative unit. "Salary wasn't a factor," she told the Tribune. "The station showed a commitment to investigative journalism. It was something I wanted to try."Pete Souza left the Sun-Times in 1983 to become official White House photographer for President Ronald Reagan until his second term's end in 1989. Souza returned to that position to be the official photographer for President Barack Obama.
Baseball writer Jerome Holtzman defected from the Sun-Times to the Tribune in late 1981, while Mike Downey left Sun-Times sports in September 1981 to be a columnist at the Detroit Free Press. In January 1984, noted Sun-Times business reporter James Warren quit to join the rival Chicago Tribune, he became the Tribune's Washington bureau chief and its managing editor for features. In 1984, Field Enterprises co-owners, half-brothers Marshall Field
A film poster is a poster used to promote and advertise a film. Studios print several posters that vary in size and content for various domestic and international markets, they contain an image with text. Today's posters feature photographs of the main actors. Prior to the 1980s, illustrations instead of photos were far more common; the text on film posters contains the film title in large lettering and the names of the main actors. It may include a tagline, the name of the director, names of characters, the release date, etc. Film posters are displayed inside and on the outside of movie theaters, elsewhere on the street or in shops; the same images appear in the film exhibitor's pressbook and may be used on websites, DVD packaging, advertisements in newspapers and magazines, etc. Film posters have been used since the earliest public exhibitions of film, they began as outside placards listing the programme of films to be shown inside the hall or movie theater. By the early 1900s, they began to feature illustrations of a film scene or an array of overlaid images from several scenes.
Other posters have used artistic interpretations of a scene or the theme of the film, represented in a wide variety of artistic styles. The first film poster was based on an illustration by Marcellin Auzolle to promote the showing of the Lumiere Brothers film L'Arroseur arrosé at the Grand Café in Paris on December 26, 1895. Film posters were produced for the exclusive use by the theaters exhibiting the film the poster was created for, were required to be returned to the distributor after the film left the theater. In the United States, film posters were returned to a nationwide operation called the National Screen Service which printed and distributed most of the film posters for the studios between 1940 and 1984; as an economy measure, the NSS recycled posters that were returned, sending them back out to be used again at another theater. During this time, a film could stay in circulation for several years, so many old film posters were badly worn before being retired into storage at an NSS warehouse.
Those posters which were not returned were thrown away by the theater owner or damaged by being outside. Beginning in the 1980s, the American film studios began taking over direct production and distribution of their posters from the National Screen Service and the process of making and distributing film posters became decentralized in that country. After the National Screen Service ceased most of its printing and distribution operations in 1985, some of the posters which they had stored in warehouses around the United States ended up in the hands of private collectors and dealers. Today there is a thriving collectibles market in film posters; the first auction by a major auction house of film posters occurred on December 11, 1990, when proceeds of a sale of 271 vintage posters run by Bruce Hershenson at Christie's totaled US$935,000. The record price for a single poster was set on November 15, 2005 when $690,000 was paid for a poster of Fritz Lang's 1927 film Metropolis from the Reel Poster Gallery in London.
Other early horror and science fiction posters are known to bring high prices as well, with an example from The Mummy realizing $452,000 in a 1997 Sotheby's auction, posters from both Bride of Frankenstein and The Black Cat selling for $334,600 in Heritage auctions, in 2007 and 2009, respectively. Rare film posters have been found being used as insulation in attics and walls. In 2011, 33 film posters, including a Dracula Style F one-sheet, from 1930-1931 were discovered in an attic in Berwick and auctioned for $502,000 in March 2012 by Heritage Auctions. Over the years, old Bollywood posters with hand-painted art, have become collectors items; as a result of market demand, some of the more popular older film posters have been reproduced either under license or illegally. Although the artwork on reproductions is the same as originals, reproductions can be distinguished by size, printing quality, paper type. Several websites on the Internet offer "authentication" tests to distinguish originals from reproductions.
Original film posters distributed to theaters and other poster venues by the movie studios are never sold directly to the public. However, most modern posters are produced in large quantities and become available for purchase by collectors indirectly through various secondary markets such as eBay. Accordingly, most modern posters are not as valuable; however some recent posters, such as the Pulp Fiction "Lucky Strike" U. S. one sheet poster, are quite rare. Lobby cards are similar to posters but smaller 11 in × 14 in 8 in × 10 in before 1930. Lobby cards are collectible and values depend on their age and popularity. Issued in sets of eight, each featuring a different scene from the film. In unusual circumstances, some releases were promoted with smaller sets; the set for The Running Man, for example, had only six cards, whereas the set for The Italian Job had twelve. Films released by major production companies experiencing financial difficulties lacked lobby sets, such as Manhunter. A Jumbo Lobby Card is larger, 14 in x 17 in and issued in sets.
Prior to 1940 studios promoted major releases with the larger card sets. In addition to the larger size, the paper quality was better; the title card disp
United Artists Corporation doing business as United Artists Digital Studios, is an American film and television entertainment studio. Founded in 1919 by D. W. Griffith, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, the studio was premised on allowing actors to control their own interests, rather than being dependent upon commercial studios. UA was bought and restructured over the ensuing century; the current United Artists company exists as a successor to the original. Metro-Goldwyn-Mayer acquired the studio in 1981 for a reported $350 million. On September 22, 2014, MGM acquired a controlling interest in Mark Burnett and Roma Downey's entertainment companies One Three Media and Lightworkers Media merged them to revive United Artists' TV production unit as United Artists Media Group. However, on December 14 of the following year, MGM wholly acquired UAMG and folded it into MGM Television. UA was revived yet again in 2018 as United Artists Digital Studios. Mirror, the joint distribution venture between MGM and Annapurna Pictures was renamed as United Artists Releasing in early February 2019 just in time for UA's 100th anniversary.
Pickford, Chaplin and Griffith incorporated UA as a joint venture on February 5, 1919. Each held a 25 percent stake in the preferred shares and a 20 percent stake in the common shares of the joint venture, with the remaining 20 percent of common shares held by lawyer and advisor William Gibbs McAdoo; the idea for the venture originated with Fairbanks, Chaplin and cowboy star William S. Hart a year earlier. Hollywood veterans, the four stars talked of forming their own company to better control their own work, they were spurred on by established Hollywood producers and distributors who were tightening their control over actor salaries and creative decisions, a process that evolved into the studio system. With the addition of Griffith, planning began; when he heard about their scheme, Richard A. Rowland, head of Metro Pictures said, "The inmates are taking over the asylum." The four partners, with advice from McAdoo, formed their distribution company. Hiram Abrams was its first managing director, the company established its headquarters at 729 Seventh Avenue in New York City.
The original terms called for each star to produce five pictures a year. By the time the company was operational in 1921, feature films were becoming more expensive and polished, running times had settled at around ninety minutes; the original goal was thus abandoned. UA's first film, His Majesty, the American, written by and starring Fairbanks, was a success. Funding for movies was limited. Without selling stock to the public like other studios, all United had for finance was weekly prepayment installments from theater owners for upcoming movies; as a result, production was slow, the company distributed an average of only five films a year in its first five years. By 1924, Griffith had dropped out, the company was facing a crisis. Veteran producer Joseph Schenck was hired as president, he had produced pictures for a decade, brought commitments for films starring his wife, Norma Talmadge, his sister-in-law, Constance Talmadge, his brother-in-law, Buster Keaton. Contracts were signed with independent producers, including Samuel Goldwyn, Howard Hughes.
In 1933, Schenck organized a new company with Darryl F. Zanuck, called Twentieth Century Pictures, which soon provided four pictures a year, forming half of UA's schedule. Schenck formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name, they began international operations, first in Canada, in Mexico. By the end of the 1930s, United Artists was represented in over 40 countries; when he was denied an ownership share in 1935, Schenck resigned. He set up 20th Century Pictures' merger with Fox Film Corporation to form 20th Century Fox. Al Lichtman succeeded Schenck as company president. Other independent producers distributed through United Artists in the 1930s including Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, Walter Wanger; as the years passed, the dynamics of the business changed, these "producing partners" drifted away. Samuel Goldwyn Productions and Disney went to Wanger to Universal Pictures. In the late 1930s, UA turned a profit.
Goldwyn was providing most of the output for distribution. He sued United several times for disputed compensation leading him to leave. MGM's 1939 hit Gone with the Wind was supposed to be a UA release except that Selznick wanted Clark Gable, under contract to MGM, to play Rhett Butler; that year, Fairbanks died. UA became embroiled in lawsuits with Selznick over his distribution of some films through RKO. Selznick considered UA's operation sloppy, left to start his own distribution arm. In the 1940s, United Artists was losing money because of poorly received pictures. Cinema attendance continued to decline; the company sold its Mexican releasing division to Crédito Cinematográfico Mexicano, a local company. In 1941, Chaplin, Orson Welles, Selznick, Alexander Korda, Wanger—many of whom were members of United Artists--formed the Society of Independent Motion Picture Producers. Members included Hunt Stromberg, William Cagney, Sol L
Philip H. Lathrop
Philip H. Lathrop, A. S. C. was an American cinematographer noted for his skills with wide screen technology and detailed approach to lighting and camera placement. He spent most of his life in movie studios. Lathrop was known for such films as Touch of Evil, Lonely Are the Brave, The Americanization of Emily, The Cincinnati Kid, Point Blank, Finian's Rainbow, The Traveling Executioner, Portnoy's Complaint, Swashbuckler, The Driver, Moment by Moment, A Change of Seasons, Foolin' Around, Loving Couples, Deadly Friend, he was a long-time member of the ASC Board of Directors, as well as co-chairman of the ASC Awards committee. He participated in the affairs of the Academy of Motion Picture Arts and Sciences and the Academy of Television Arts and Sciences. Lathrop was born in Merced, California on October 22, 1912; as a child, the Universal Studios lot was his playground, where his mother was employed in the film lab. Lathrop became a member there in the camera department at 18-years old. There, he watched Gilbert Warrenton, ASC, photograph the first version of Show Boat in 1928-29.
On the 1936 version of the film, Lathrop loaded cameras from John Mescall, ASC. Lathrop had two marriages, to Molly Lathrop and Betty Jo Lathrop, three sons, Larry and Clark. Lathrop began his career as a film loader in Universal’s camera department in 1934 for Russell Metty, ASC, on the Irving Reis film, All My Sons. In 1938, he became assistant to Universal’s top-ranking cinematographer Joseph A. Valentine, ASC, worked on the Deanna Durbin pictures, The Wolf Man, two Alfred Hitchcock classics and Shadow of a Doubt, he once again worked as a camera operator with Russell Metty for nine years where he shot the opening of Orson Welles’ Touch of Evil, one of the most renowned boom shots in the history of cinema. Lathrop becomes director of photography at Universal in 1958, his first feature that year was The Perfect Furlough, shot in CinemaScope and Eastman Color, with director Blake Edwards who Lathrop worked with on Experiment in Terror, Days of Wine and Roses, The Pink Panther. In 1959, Lathrop and Edwards collaborated on Peter Gunn and Mr. Lucky.
Using the new Panavision lenses, Lathrop shot the 1962 black and white drama, Lonely Are the Brave, with director David Miller in New Mexico’s Sandia Mountains—this is an early example of the 2.35:1 aspect ratio. Lathrop’s particular visual style seems to epitomize the times, such as in Point Blank, directed by John Boorman in 1967, where a glossy, dense feel was utilized to a tough thriller. In this film, color charts were prepared for each scene—the colors were subdued and desaturated and no scene was too bright or showy. After Point Blank, Lathrop worked on Francis Ford Coppola’s Finian’s Rainbow, another unusual color film, he was inducted into the ASC Hall of Fame in 1974. During the 1980s, Lathrop worked on eight television movies-of-the-week as well as several mini-series, winning him several Emmys, he died of cancer on April 12, 1995 in Los Angeles, the same year he was honored with the 1992 ASC Lifetime Achievement Award. Services were held at the Forest Lawn Cemetery in Hollywood Hills where Stanley Cortez, ASC, delivered the eulogy.
In the 1974 disaster film Earthquake, Lathrop made director Mark Robson’s vision of the motion picture come true. Robson wanted a natural look for the film, without it being documentary-like, but instead of shooting in natural locations, Earthquake was filmed entirely on the Universal Studios sound stages and back-lot due to the extraordinary degree of control deemed necessary to execute the required special effects. To bring the earthquake scenes to life, a shaker mount. Lathrop said. You’d swear that the ground was going up and down and moving sideways, when, of course, it wasn’t moving at all.” Sets were built on shaker platforms, costly so “in the sets that were not on shaker platforms, was to get the actors to move as if they were responding to an earthquake, when there wasn’t one,” he added. A five-story section of what is supposed to be a 25-story building was made in Stage 12, the highest in the studio, where every floor was used to shoot the action. Lathrop shared that “it was necessary to dig down 20 feet into the floor of the stage in order to accommodate.”
He continued, “ photography of this sequence was difficult because of the way had to light the set” to avoid shadows from the hanging lights when the simulated earthquakes took place. So “in order to light it, went clear up above the grids with four arcs pointed down to simulate the angle of the sun. Matched each of the arcs on the way down and didn’t overlap them, nor did use any fill light at all.” To execute a film like Earthquake, natural sets would have been limiting. Shooting on set allows for control in the lighting and to “do things with the camera that would have been impossible in a natural set,” said Lathrop. Without a single day off of work after Earthquake, Lathrop began working on his next disaster film, Airport 1975 for Universal. • 1965 - Best Cinematography, Black-and-White - The Americanization of Emily • 1975 - Best Cinematography - Earthquake Primetime Emmy Awards• 1984 – Outstanding Cinematography for a Limited Series or a Special – Celebrity – nominated • 1985 – Outstanding Cinematography for a Limited Series or a Special – Malice in Wonderland – won • 1986 – Outstanding Cinematography for a Limited Miniseries or a Special – Picking Up the Pieces – nominated • 1987 – Outstanding Cinematography for a Limited Miniseries or a Sp
Tiana Alexandra-Silliphant is a Vietnamese-American actress and filmmaker. Her award-winning 1992 film From Hollywood to Hanoi was the first American documentary feature film shot in Vietnam by a Vietnamese-American, it was shown at film festivals and movie theaters across the U. S. and highlighted the plight of Amerasians, as well as the devastating effects of Agent Orange. Alexandra starred opposite actors Robert Duvall, James Caan and Rod Steiger in feature films such as Sam Peckinpah's The Killer Elite, Catch The Heat, she starred in the made-for-television features Pearl and Fly Away Home, written by her husband Stirling Silliphant. Alexandra was Associate Producer on David Cronenberg's 2011 feature film A Dangerous Method. Alexandra's film The General & Me focuses on her 25-year relationship with General Võ Nguyên Giáp, Ho Chi Minh's trusted military strategist during the Indochina and Vietnam Wars. Tiana Alexandra was born in Saigon, Vietnam in 1956, her father Dư Phước Long, was a South Vietnamese politician, serving as Director of Press in Saigon and Cultural Attaché in Washington D.
C. for the U. S. allied administration of President Ngô Đình Diệm. Alexandra's father moved the family to Fairfax, Virginia in 1966 after the assassination of President Diệm, he worked at the South Vietnamese Embassy in Washington D. C. and pursued studies at Georgetown University's Diplomatic School and Johns Hopkins University's Graduate School of Advanced International Studies. He adopted the name Patrick Du Long and became a scriptwriter and newscaster for the Voice of America, he authored a book entitled The Dream Shattered: Vietnamese Gangs in America, was a candidate for the California State Assembly in 1998. While attending Fairfax High School in Virginia, Alexandra honed her interest in both the performing and martial arts. At Master Jhoon Rhee's Nationals Tournament in Washington D. C. Alexandra became his protege. Bruce Lee introduced Alexandra to his martial arts student, close friend, Hollywood writer Stirling Silliphant. Silliphant had written Bruce Lee into numerous TV shows, including Longstreet, which he adapted for Lee from Raymond Chandler's movie Marlowe.
Silliphant had written most of the episodes for the acclaimed television series Route 66, won an Oscar for Best Screenplay on the feature film In the Heat of the Night. Alexandra and Stirling Silliphant were married in a ceremony at Chasen's Restaurant in West Hollywood on July 4, 1974; as reported by CBS News, the celebrity event included Robert Wagner, Natalie Wood, William Holden and Henry Mancini. Silliphant's popular blockbuster films, The Poseidon Adventure, The Towering Inferno, coupled with his newlywed status with Alexandra, led to their joint appearances on television talk and game shows such as The Mike Douglas Show, The Reed Ferrell Show and Tattletales during the mid-seventies. Alexandra made her film debut in Sam Peckinpah's martial-arts thriller The Killer Elite with Robert Duvall and James Caan, she was the first Vietnamese-American to join the Screen Actors Guild. In 1978, Alexandra starred with Angie Dickenson, Robert Wagner and Dennis Weaver as Holly Nagata in the ABC mini-series Pearl, which dramatized the events surrounding the Japanese attack on Pearl Harbor.
In 1981, Alexandra starred with Bruce Boxleitner and Brian Dennehy as Mai, a Vietnamese medic in the Warner Bros. made-for-television feature film Fly Away Home. The film critically examined the entanglement of politics and human suffering on the ground during the Vietnam War; as an Asian actress breaking through racial stereotypes, Alexandra was invited to speak out on the realities of Hollywood typecasting at venues such as the Philippine Film Festival, where she appeared with Robert Duvall in the Symposium on Film Acting.1987 saw Alexandra starring as reporter Jan Du Long in an Aaron Spelling produced made-for-TV movie entitled The Three Kings. That same year she starred opposite Rod Steiger as Checkers Goldberg in the Kung Fu feature sendup, Catch The Heat. With her martial arts finesse at top form in 1986, Alexandra produced a fitness program called Karatecize, combining elements of dance, combat art and original pop music. Martial arts champion. Between 1983 and 1985, Alexandra was managed by Bill Wyman of The Rolling Stones and created numerous pop songs and music videos for radio and MTV.
Her Dumped On, Lust In The Jungle, Free As I Want To Be music videos were shot on location in New Zealand, Hong Kong and Los Angeles. Alexandra's music video Bruce Lee, "Feel The Heat", was revamped in congruence with the Academy of Motion Picture Arts and Sciences 40th Anniversary Celebration of Bruce Lee's breakout film, Enter the Dragon. In 1988, Alexandra began pre-production From Hollywood to Hanoi. Stemming from a trip taken earlier that year with a delegation of Vietnam veterans and filmmakers, the feature-length documentary was written and directed by Alexandra, executive produced by Oliver Stone—who had himself taken part in the Vietnam trip and urged her to record the experience on film. From Hollywood to Hanoi was the first American film shot on location in Vietnam. From Hollywood To Hanoi went into theatrical release in 1995, was broadcast as part of the HBO Cinemax Vanguard Cinema series, it was well received by critics: Kevin Thomas of the LA Times lauded it as "moving and engrossing", Vincent Canby of The New York Times hailed it as "an intense, supremely self-confident feature."The film was named "Best of the Fes
Eugene Kal Siskel was an American film critic and journalist for the Chicago Tribune. Along with colleague Roger Ebert, he hosted a series of popular review shows on television from 1975 to 1999. Siskel was born in Chicago and was the son of Ida and Nathan William Siskel, his parents were Russian Jewish immigrants. Siskel was raised by his uncle after both his parents died when he was ten years old, he attended Culver Academies and graduated from Yale University with a degree in philosophy in 1967, where he studied writing under Pulitzer Prize-winning author John Hersey, who helped him land a job at the Chicago Tribune in 1969. His first print review was for the film Rascal, written one month before he became the paper's film critic. Siskel served in the US Army Reserve, graduating from basic officers training in early 1968 and serving as a military journalist and public affairs officer for the Defense Information School. In 1975, Siskel teamed up with Roger Ebert, film reviewer for the Chicago Sun-Times, to host a show on local Chicago PBS station WTTW which became Sneak Previews.
Their "thumbs-up, thumbs-down" system soon became an recognizable trademark, popular enough to be parodied on comedy shows such as Second City Television, In Living Color, in movies such as Hollywood Shuffle and Godzilla. Sneak Previews gained a nationwide audience in 1977 when WTTW offered it as a series to the PBS program system. Siskel and Ebert left PBS in 1982 for syndication, their new show, At the Movies, was produced and distributed by Tribune Broadcasting, the parent company of the Chicago Tribune and WGN-TV. Sneak Previews continued on PBS for 14 more years with other hosts. In 1986, Siskel and Ebert left Tribune Broadcasting to have their show produced by the syndication arm of The Walt Disney Company; the new incarnation of the show was titled Siskel & Ebert & the Movies, but shortened to Siskel & Ebert. At the Movies continued a few more years with other hosts. A early appearance of Siskel, taken from Coming Soon to a Theatre Near You, the predecessor to Sneak Previews, is included in For the Love of Movies: The Story of American Film Criticism.
In this 2009 documentary film, he is seen debating with Ebert over the merits of the film version of One Flew Over the Cuckoo's Nest. Siskel and Ebert would refuse to guest-star in movies or television series, except for talk shows, as they felt it would undermine their "responsibility to the public". However, they both "could not resist" appearing on an episode of the animated television series The Critic, the title character of, a film critic who hosted a television show. In the episode and Ebert split and each wants Jay Sherman, the eponymous critic, as his new partner, they once appeared in an episode of the children's television series Sesame Street. Siskel appeared as himself on an episode of The Larry Sanders Show. Siskel was diagnosed with a cancerous brain tumor on May 8, 1998, he underwent brain surgery three days later. He had announced on February 3, 1999 that he was taking a leave of absence but that he expected to be back by fall, stating: "I'm in a hurry to get well because I don't want Roger to get more screen time than I."Siskel died from complications of another surgery on February 20, at the age of 53.
The last film that Siskel reviewed on television with cohost Ebert was The Theory of Flight on January 23, 1999. The final film that he reviewed in print was the Freddie Prinze Jr. romantic comedy She's All That, which he gave a favorable review. Siskel was a diehard Chicago sports fan of his hometown basketball team, the Chicago Bulls, would cover locker-room celebrations for WBBM-TV news broadcasts following Bulls championships in the 1990s. Siskel was a member of the advisory committee of the Film Center at the School of the Art Institute of Chicago, a strong supporter of the Film Center mission, he wrote hundreds of articles applauding the Film Center's distinctive programming and lent the power of his position as a well-known film critic to urge public funding and audience support. In 2000, the Film Center was renamed The Gene Siskel Film Center in his honor. One of his favorite films was Saturday Night Fever. Another all-time favorite was Dr. Strangelove. and a favorite from childhood was Dumbo, which he mentioned as the first film that had an influence on him.
On the other hand, Siskel said that he walked out on three films during his professional career: the 1971 comedy The Million Dollar Duck starring Dean Jones, the 1980 horror film Maniac, the 1996 Penelope Spheeris film Black Sheep. Siskel compiled "best of the year" film lists from 1969 to 1998, which helped to provide an overview of his critical preferences, his top choices were: From 1969 until his death in early 1999, he and Ebert were in agreement on nine top selections: Z, The Godfather, The Right Stuff, Do the Right Thing, GoodFellas, Schindler's List, Hoop Dreams, Fargo. There would have been a tenth, but Ebert declined to rank the documentary Shoah as 1985's best film because he felt it was inappropriate to compare it to the rest of the year's candidates. Seven times, Siskel's #1 choice did not appear on Ebert's top ten list at all: Straight Time, Once Upon a Time in America, The Last Emperor, The Last Temptation of Christ, Hearts of Darkness, The Ice Storm. Six times, Ebert's top selection did not appear on Siskel's.
Only once during his long association with Ebert did Siskel change his vote on a movie dur
Takayuki Kubota is a Japanese American master of karate. He founded the Gosoku-ryu style of karate, is the founder and president of the International Karate Association. Kubota holds the title of Sōke for his development of the Gosoku-ryū style of karate, he is the inventor and holder of the trademark of the Kubotan self-defense key chain. Kubota was a self-defense instructor for the Tokyo Police department in the 1950s, where he was noted for his expertise in practical karate, he has devoted his life to learning and teaching the application of self-defense techniques to military, law enforcement, civilian personnel. He has earned black belt degrees in karate, aikido and iaido. Kubota was born on September 20, 1934, in Kumamoto, into the family of Denjiro and Semo Kubota, he had four brothers, of which one became a kendo master, one a jujitsu master, one the Japanese Olympic volleyball coach. In 1939, at the age of four, Kubota began studying martial arts under the direction of his father, a master of jujitsu and jukendo.
The training included bamboo yadi, keibo-jutsu, makiwara practice. During World War II, Kubota learned karate under the guidance of two Okinawans—Terada and Tokunaga—stationed in his village, they were teaching local people with basics in the martial art of te. At the age of 13, Kubota went to Tokyo to seek his fortune—against his father's will. Upon arrival, he discovered that there was no place to stay. While in a queue for food, Kubota helped the police to capture some criminals using his skill in taiho jutsu. One of the officers, Detective Karino, gave Kubota a place to stay and helped him finish his education. Karino brought him to the dojo of Chinese master Cai and, in return, he taught Karino the art of taiho jutsu; until he earned enough money for classes, Kubota watched techniques at one of the top karate schools from outside at night. When he earned enough money, he continued his formal training inside a dojo. In 1947, at age of 14, he was noticed by Tokyo Police and was soon teaching hand-to-hand and baton combat to officers of Kamata Police Department.
He tested his martial arts skills by working as an agent in dangerous districts of Tokyo and being used as a one-man riot control by police. It was in this era, he has complemented his martial arts training with studies in meditation and other non-combative aspects of the arts. Kubota opened his first karate dojo at the age of 17. From 1950–1959, he was an instructor for the US Army, Air Force, Marines in kendo, karate and giyokute-jitsu. Between 1960 and 1963, he taught pro-wrestling techniques at Haneda dojo; as he became more well known, the US military and government personnel at the American military bases stationed there invited him to teach self-defense and show demonstrations. From 1958 to 1960, he taught the US Military Police and other personnel at Camp Zama, Japan. In addition, from 1959 to 1964, he taught self-defense to the US Army personnel at Kishine Barracks in Yokohama. At the same, during 1961 to 1963, he was teaching the American personnel at Grand Heights Air Force Base in Tokyo and US Air Force Police at Fuchu Air Force Base.
He worked as a bodyguard to the US Ambassador to Japan. Through 1964, Kubota taught self-defense to other government personnel, including the CIA agents at the US military bases throughout Japan. On August 2, 1964, Kubota was invited by Ed Parker to give a demonstration at Parker's First Annual International Karate Tournament in Long Beach, California. In late 1964, he permanently relocated to America. Kubota taught self-defense at the Los Angeles Police Department Academy for several years. Kubota developed his own style of karate, naming it Gosoku-ryu, he holds the title Sōke, meaning founder or creator. Kubota became an American citizen in 1974. In 1990, Kubota was inducted into the Black Belt magazine's Hall of Fame as'Weapons Instructor of the Year.'In October 2010, Kubota performed at the Koyamada Foundation's United States Martial Arts Festival at the Redondo Beach Performing Arts Center in Redondo Beach, California. The five and a half inch plastic Kubotan key chain is Kubota's most important invention.
It was designed as a tool for female Los Angeles Police Department officers, registered as trademark in 1978. Kubota developed the Kubotai, another self-defense weapon, patented in 1991; the Kubotai is used to immobilize the opponent. Kubota has written several books on the martial arts: Kubota, Takayuki. Baton techniques and training. Thomas. ISBN 0-398-02338-7. Kubota, Takayuki; the art of karate. Haddington House. ISBN 0-672-52331-0. Kubota, Takayuki. Fighting Karate Gosoku Ryu Hard Fast Style. Unique Publications. ISBN 0-86568-010-8. Kubota, Takayuki. Gosoku ryu karate: kumite 1. Unique. Peters, John. Realistic defensive tactics. Reliapon Police Products. ISBN 0-935878-02-5. Kubota, Takayuki. Action Kubotan Keychain an Aid in Self Defense. Beckett Pubns. ISBN 0-86568-101-5. Kubota, Takayuki. Official Kubotan techniques. Kubotan Institute. Kubota, Takayuki. T-Hold Kubotan. Unique Publications. ISBN 0-86568-111-2. Kubota, Takayuki. Weapons Kumite: Fighting With Traditional Weapons. Unique Publications. ISBN 0-86568-042-6.
Kubota, Takayuki. Kubotan keychain: instrument of attitude adjustment (re