#1989 is Apollo coded
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AEW Roster Organized By Age (& events, for context)
Source: Smackdown Hotel
Jan 3 1952 - Jim Ross
Feb 8 1952 - Elizabeth II crowned
May 30 1955 - Jake Roberts
Nov 3 1957 - Laika becomes first animal in space
Nov 7 1957 - Tony Schiavone
May 13 1958 - Velcro is patented
Sep 20 1958 - Arn Anderson
Mar 20 1959 - Sting
Jun 12 1963 - Jerry Lynn
Jul 1 1963 - ZIP codes are introduced in the US
Oct 13 1963 - Don Callis
Nov 11 1963 - Daddy Ass
Apr 14 1967 - Jeff Jarrett
May 9 1967 - Kevin Kelly
Oct 11 1967 - Taz
Dec 6 1967 - First successful heart transplant
May 10 1968 - William Regal
Oct 30 1968 - Luther
Apr 10 1969 - Dustin Rhodes
Jul 16 1969 - Apollo 11 lands the first people on the moon
Mar 24 1970 - Christopher Daniels
Nov 9 1970 - Chris Jericho
Dec 18 1970 - Rob Van Dam
Apr 3 1971 - Alex Marvez
Jun 12 1971 - Mark Henry
Feb 8 1972 - Paul Wight
Oct 12 1972 - Karen Jarrett
Nov 29 1972 - Atari releases Pong
Oct 30 1973 - Adam Copeland
Nov 30 1973 - Christian Cage
Jan 1 1974 - Jim Ross starts his career in wrestling
Sep 23 1974 - Matt Hardy
Oct 8 1975 - Michael Nakazawa
Jan 23 1976 - Nigel McGuinness
May 8 1976 - First roller coaster with a loop in it opens
Oct 4 1976 - Emi Sakura
Feb 28 1977 - Lance Archer
Aug 31 1977 - Jeff Hardy
Nov 9 1977 - Alex Abrahantes
Dec 12 1977 - The Butcher
Mar 17 1979 - Samoa Joe
Aug 1 1979 - Prince Nana
Oct 3 1979 - Johnny TV
Dec 29 1979 - Justin Roberts
May 6 1980 - Colt Cabana
Jun 2 1980 - The Blade
Jul 16 1980 - Excalibur
Nov 17 1980 - Mercedes Martinez
Dec 27 1980 - Claudio Castagnoli
Feb 19 1981 - Shawn Spears
May 22 1981 - Bryan Danielson
Aug 1 1981 - MTV debuts
Dec 12 1981 - Eddie Kingston
Apr 7 1982 - Sonjay Dutt
May 21 1982 - Kota Ibushi
Aug 3 1982 - Nyla Rose
Oct 10 1982 - Tony Khan
Dec 3 1982 - Jake Hager
Mar 1 1983 - Mark Sterling
Mar 19 1983 - Matt Sydal
Apr 1 1983 - Scorpio Sky
Jul 26 1983 - Roderick Strong
Oct 16 1983 - Kenny Omega
Dec 7 1983 - Matt Menard
Jan 26 1984 - JD Drake
Feb 2 1984 - Brian Cage
Feb 17 1984 - Jimmy Jacobs
Feb 23 1984 - Serpentico
Mar 20 1984 - Angelo Parker
May 4 1984 - Orange Cassidy
Jun 30 1984 - Dax Harwood
Jul 1 1984 - PG13 rating is invented
Sep 19 1984 - Renee Paquette
Nov 4 1984 - Ryan Nemeth
Nov 8 1984 - Keith Lee
Dec 26 1984 - Pat Buck
Dec 29 1984 - Anthony Henry
Jan 17 1985 - Mark Briscoe
Feb 13 1985 - Truth Magnum
Feb 26 1985 - Penta El Zero Miedo
Mar 13 1985 - Matt Jackson
Mar 19 1985 - Luchasaurus
Mar 20 1985 - Matt Taven
Mar 23 1985 - CJ
Mar 31 1985 - First Wrestlemania
May 16 1985 - Mike Bennett
May 19 1985 - Malakai Black
Apr 20 1985 - Jay Lethal
Jul 15 1985 - QT Marshall
Aug 6 1985 - Tony Nese
Sep 9 1985 - The Bunny
Dec 7 1985 - Jon Moxley
Dec 25 1985 - Miro
Jan 24 1986 - Vincent
Feb 5 1986 - Madison Rayne
Feb 19 1986 - Shawn Dean
Feb 21 1986 - The first Zelda game is released
Mar 2 1986 - Bishop Kaun
Mar 4 1986 - Dalton Castle
Apr 8 1986 - Big Bill
Apr 22 1986 - Chuck Taylor
Jun 15 1986 - Cezar Bononi
Jun 29 1986 - Serena Deeb
Jul 22 1986 - Thunder Rosa
Aug 21 1986 - Pac
Oct 22 1986 - Taya Valkyrie
Jan 13 1987 - Ian Riccaboni
Feb 4 1987 - Aaron Solo
Mar 1 1987 - Kyle O'Reilly
Mar 7 1987 - Angelico
Mar 10 1987 - Alex Reynolds
Mar 17 1987 - Brody King
Mar 30 1987 - Trent Beretta
May 17 1987 - Cash Wheeler
Apr 21 1987 - Dutch
Jun 18 1987 - Brandon Cutler
Jul 20 1987 - Evil Uno
Sep 5 1987 - AR Fox
Jan 19 1988 - Wardlow
Mar 20 1988 - Josh Woods
Apr 14 1988 - Marina Shafir
Apr 17 1988 - Dasha Gonzalez
Jun 11 1988 - Hikaru Shida
Jul 18 1988 - RJ City
Aug 23 1988 - Metalik
Aug 28 1988 - EJ Nduka
Aug 31 1988 - Athena
Sep 26 1988 - Buddy Matthews
Sep 29 1988 - Rush
Nov 24 1988 - Anthony Ogogo
Jan 25 1989 - Stu Grayson
Apr 10 1989 - Juice Robinson
Apr 11 1989 - Ari Daivari
Jun 14 1989 - Peter Avalon
Jul 5 1989 - Adam Cole
Jul 27 1989 - Nick Jackson
Jul 31 1989 - Max Caster
Sep 20 1989 - Ethan Page
Nov 3 1989 - Andrade El Idolo
Dec 17 1989 - The Simpsons premiers
Aug 17 1990 - Danhausen
Aug 20 1990 - Mark Davis
Sep 30 1990 - Swerve Strickland
Nov 12 1990 - Stokely Hathaway
Dec 18 1990 - Anthony Bowens
Dec 30 1990 - Rey Fenix
Jan 9 1991 - Ruby Soho
Jan 23 1991 - Powerhouse Hobbs
Jan 30 1991 - Toa Liona
Feb 4 1991 - Mike Santana
Apr 22 1991 - Nick Comoroto
Apr 23 1991 - Dr Britt Baker DMD
May 18 1991 - Colten Gunn
Jun 4 1991 - John Silver
Jul 14 1991 - Diamante
Jul 21 1991 - Adam Page
Aug 23 1991 - World Wide Web starts up
Sep 27 1991 - Ortiz
Nov 22 1991 - Brandon
Nov 22 1991 - Brent
Jan 15 1992 - Preston Vance
Apr 7 1992 - Abadon
May 19 1992 - Kip Sabian
Jun 3 1992 - Red Velvet
Aug 17 1992 - Saraya
Sep 14 1992 - Penelope Ford
Sep 15 1992 - Dralistico
Oct 9 1992 - Jay White
Dec 27 1992 - Yuka Sakazaki
Jan 7 1993 - Darby Allin
Jul 28 1993 - Sammy Guevara
Jan 25 1994 - Willow Nightingale
Feb 21 1994 - Ricky Starks
Mar 26 1994 - Paige Vanzant
Apr 12 1994 - Marq Quen
Jun 6 1994 - Lee Moriarty
Aug 26 1994 - Austin Gunn
Sep 16 1994 - Kiera Hogan
Apr 17 1995 - Bandido
Apr 23 1995 - Jamie Hayter
May 29 1995 - Konosuka Takeshita
Jun 6 1995 - Tay Melo
Aug 7 1995 - Kris Statlander
Oct 19 1995 - Toni Storm
Nov 13 1995 - Boulder
Nov 13 1995 - Bronson
Nov 22 1995 - Toy Story is released
Dec 10 1995 - Satnam Singh
Mar 15 1996 - MJF
Aug 11 1996 - Lexy Nair
Oct 26 1996 - Wheeler Yuta
Apr 29 1997 - El Hijo Del Vikingo
Jun 4 1997 - Riho
Jun 15 1997 - Jack Perry
Jul 10 1997 - Isiah Kassidy
Oct 27 1997 - Leyla Hirsch
Dec 13 1997 - Lee Johnson
Mar 9 1998 - Parker Boudreaux
Jul 15 1998 - Anna Jay
Aug 4 1998 - Mariah May
Sep 7 1998 - Daniel Garcia
Dec 15 1998 - Komander
Dec 24 1998 - Kyle Fletcher
May 4 1999 - Hook
Sep 20 1999 - Darius Martin
Oct 2 1999 - Skye Blue
Mar 3 2001 - Dante Martin
Mar 23 2001 - WWF buys WCW
Nov 8 2001 - Julia Hart
Oct 13 2004 - Billie Starkz
Jul 10 2005 - Nick Wayne
Jan 17 2012 - Negative One
#it is now law that whoever's name is higher gets to call whoever's name is lower an infant#or a child#or a baby#as is law whenever you're older than anyone#also if anyone is missing SDH didn't have their birthday#i think I just wanted to roast JR for being old as fuck#AEW#please appreciate this it took days and now I have like 90 tabs open#of wikipedia articles that I want to read after doing the research here
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New filmmaker page! ^_^
#film#filmmaker#ron howard#director#oscar winner#apollo 13#happy days#da vinci code#willow#willow 1988#cocoon 1985#cocoon#a beautiful mind#parenthood#parenthood 1989#geek#film geek
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Every movie I have seen (as of August 2018)
Here’s every movie I have ever seen, at least the ones I’ve remembered, I know I’m missing some.
Moneyball
Harold Lloyd – Safety last
Marx Brothers: A night at the Opera
Marx Brothers: A day at the races
Marx Brothers: a day at the circus
October Sky
Monty Python’s Holy Grail
Monty Python’s Meaning of Life
Monty Python’s Life of Brian
The Fugitive
Field of dreams
Major league
2001 a space odyssey
Willy Wonka and the chocolate factory
Galaxy Quest
Star Trek The Motion Picture
Star Trek the Wrath of Khan
Star Trek the Search for Spock
Star Trek the Voyage Home
Star Trek the Final Frontier
Star Trek The Final Frontier
Star Trek Generations
Star Trek First Contact
Star Trek Insurrection
Star Trek Nemesis
Star Trek (Reboot)
Star Trek Into Darkness
Star Trek Beyond
Spaceballs
Blazing Saddles
Young Frankenstein
The Treasure of the Sierra Madre
Invictus
Shrek
The great escape
Big
Ferris Bueller’s Day Off
Home Alone
Where eagles dare
Rocky
Happy Gilmore
E.T.
War of the worlds (2005)
The Avengers
Captain America
Ed Wood
Plan 9 from Outer Space
The Sidehackers [MST3K]
Manos: the Hands of Fate [MST3K]
Juno
Indiana Jones Raiders of the Lost Arc
Indiana Jones The Temple of Doom
Indiana Jones Last Crusade
Indiana Jones The Kingdom of the Crystal Skull
Raiders of the Lost Ark: The Adaptation (1989)
The Hobbit (animated)
The Lord of the rings pt . 1 (animated)
The Lord of the rings pt . 2 (animated)
The Hobbit 1
The Hobbit 2
The Hobbit 3
TLOTR Fellowship
TLOTR Two Towers
TLOTR ROTK
Star Wars IV
Star Wars V
Star Wars VI
Star Wars I
Star Wars II
Star Wars III
Star Wars VII
Star Wars VIII
Harry Potter 1
Harry Potter 2
Harry Potter 3
Harry Potter 4
Harry Potter 5
Harry Potter 7-1
Harry Potter 7-2
Ben Hur (original)
Ben Hur (1959)
Fantasia
Fantasia 2000
Spy Kids
Spy Kids 2
Spy Kids 3
Pirates of the Caribbean
Pirates of the Caribbean 2
Pirates of the Caribbean 3
Blues Brothers
Anchorman
The Big Lewbowski
Mad Max Fury Road
Mad Max (Original)
Interstellar
The Martian
Finding Nemo
Toy Story
Toy Story 2
Toy Story 3
Monsters Inc.
Up
A Bug’s Life
The Incredibles
Frozen
Ratatouille
Wall-E
Dunkirk
National Lampoon’s Family Vacation
National Lampoon’s Christmas Vacation
The Santa Clause
The Santa Clause 2
It’s A Wonderful Life
Miracle on 34th Street
Gideon’s Trumpet
V for Vendetta
Napoleon Dynamite
Elf
Olive the Other Reindeer
Superman
Superman 2
Man of Steel
Spiderman 3: Edgelord Peter Chronicles
To Kill a Mockingbird
Ocean’s 11
Men in Black
Men in Black 2
Slumdog Millionaire
My Cousin Vinnie
Transformers
Shawn of the dead
Jurassic Park
The Lost World
Jurassic Park 3
Jurassic World
Mrs Brisbee and the Rats of Nimh
High School Musical
Midnight in Paris
Godzilla vs Mothra or some shit like that, it had GZ and Mothra in it, ok?
(American) Godzilla
Back to the Future
Back to the Future 2
The Dark Knight
The Dark Knight Rises
Tootsie
Alien vs Predator
Casablanca
The Prestige
The Terminal
12 Angry Men
Minority Report
James Bond Live and Let Die
James Bond Casino Royale
James Bond Skyfall
Airplane
Airplane 2
Naked Gun
Naked Gun 2 ½
Naked Gun 33 1/3
Pink Panther
Inception
King Kong (Peter Jackson)
Hotel Rwanda
Groundhog Day
Ghostbusters
Ghostbusters 2
Ghostbusters (female reboot)
Caddyshack
Pan’s Labyrinth
Night at the Museum
The 3 Musketeers
Paul Blart Mall Cop
Cloud Atlas
The Sandlot
Armageddon
The Road to El Dorado
Chicken Run
Wallace and Gromit: Curse of the Were-Rabbit
Madagascar
She’s the Man
101 Dalmatians
20,000 leagues under the sea
Zorro (original)
The Absent-minded professor
Mary Poppins
Herbie the Love Bug
Herbie 2
My Side of the Mountain
Race to Witch Mountain
The Wizard of Oz
The Wiz
Honey I shrunk the kids
Honey we shrunk ourselves
Honey I blew up the baby
Cool Runnings
Angels in the Outfield
Field of Dreams
The Lion King 1 ½
The Lion King 2: Simba’s Pride
Inspector Gadget
The Princess Bride
Treasure Planet
The Rookie
The Simpsons Movie
Pokemon the first movie: Mewtwo Strikes Back
Pokemon 2000
Pokemon 3 Spell of the Unown
Pokemon 4ever
Pokemon Heroes
Pokemon Mewtwo Returns (technically a special, not a movie)
Pokemon Jirachi Wish Maker
Pokemon the rise of Darkrai
Pokemon Giratina and the Sky Warrior
Pokemon Arceus and the Jewel of Life
Pokemon Black
Pokemon White (80% the same as Pokemon Black)
Pokemon Kyurem vs the Swords of Justice (and that’s the most recent one I’ve watched)
Ice Age
Ice Age 2
Ice Age 3
Prometheus
Iron Man 1
North by Northwest
Who Framed Roger Rabbit
Captain America
Ratatoulle
Love Live the School Idol Movie
Your Name (Kimi no Na Wa)
The Garden of Words
5 Centimeters per Second
The Place Promised in our Early Days
Voices of a Distant Star
Children who chase Lost Voices/Journey to Agartha (Hoshi o ou kodomo)
Nausicaa of the Valley of the Wind
Howl’s Moving Castle
Kiki’s Delivery Service
Princess Mononoke
A Silent Voice
Napping Princess [Ancien & the Magic Tablet]
Interstella 5555
Marie and the Witch’s Flower
The Sting
Apollo 13
Bill and Ted’s Excellent Adventure
Rear Window
The Birds
This is Spinal Tap
The Iron Giant
The Hunger Games
Supersize Me
Africa Screams
Office Space
Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb
Freaky Friday (remake verson)
National Treasure
National Treasure 2: Sean Bean dies this time
The Da Vinci Code
Angels and Demons
A Christmas carol (old version)
A Christmas carol (the one with Patrick Stewart)
A Christmas Story
Oz the Great and Powerful
The Wizard of Oz 3: Dorothy Goes to Hell (cinemassacre)
Taken
Kung Fu Panda
Super 8
Seeking a Friend for the End of the World
Talledega Nights
Crocodile Dundee
Crocodile Dundee 2
Romancing the Stone
Like Mike
Space Jam
Looney Toons Back in Action
Scooby Doo Ghoul School
Scooby Doo Reluctant Werewolf
Scooby Doo on Zombie Island
Scooby Doo and the Witch’s Ghost
Scooby Doo and the Alien Invaders
School of Rock
The Polar Express
The Bad News Bears (original)
The Dream Team
The Gods must be Crazy
The Gods must be Crazy 2
American Tale
The Dark Crystal
My Friend Martin (Animated MLK jr. history lesson thing)
Jakob the Liar (Holocaust story about a man in a ghetto claiming he has a radio, remake of a 70’s east german version of the same story)
The Devil’s Arithmetic
Man of Marble (1977) (Polish film)
Doctor Strange
Wonder Woman
U2 3D
A Hard Day’s Night
Help!
The Beatles: Eight Days A Week (touring documentary, 2016)
Yellow Submarine
UHF
Stop Making Sense
Mama Mia!
Valerian and the City of 1000 Planets
Il Boom
Lost in Translation
House of Flying Daggers
Edge of Tomorrow
Pacific Rim
The Post
Arrival
Evan Almighty
Bruce Almighty
Ace Ventura Animal Detective
Ace Venture Pet Detective
Despicable Me
Get Smart
Over the Hedge
March of Penguins
The African Queen
Girl, Interrupted
Gandhi
Around the World in 80 Days (Jackie Chan version)
Chicago (the musical)
Hugo
Journey to the Center of the Earth
Osmosis Jones
Cars
Les Miserables (2012)
Singing in the Rain
West Side Story
Mary Poppins
The General (Buster Keaton)
Little Big Man
Planes, Trains, and Automobiles
O Brother Where Art Thou
Beowulf (2007)
Crash
The Maltese Falcon
The African Queen
The Rocker
It’s a Mad Mad Mad Mad World
The Same Moon (La Misma Luna)
Airheads
The Secret of Roan Inish
Dave
Charlotte’s Web
Babe
The Three Musketeers
Dr. Doolittle
20,000 Leagues Under the Sea [I do not remember this at all]
Snow White and the Seven Dwarfs [I do not remember this at all, either]
101 Dalmatians
Aladdin and the King of thieves
Sweeny Todd
[That bad vampire movie I saw at a party in like 2012]
[That other MST3K sci-fi movie about the bodyswap]
Tekken: Blood Vengence
Jason Borne (2016)
Metropolis (2001, anime)
Pay It Forward
Sister Act 2
(some shitty bullying movie)
The Atomic Brain [MST3K]
Hairspray
Dallas Buyer’s Club
Seven Samurai
Magnificent 7 (1960)
A Funny Thing Happened On The Way To The Forum
Cinderella (Disney)
Ever After: A Cinderella Story (1998)
The Music Man
The King’s Speech
The Great Dictator
Oliver!
Kiss me Kate
Pirate Radio
Wrongfully Accused (Leslie Nielson)
(Huck Finn movie)
Bridesmaids
Modern Times
Abbot and Costello Meet Frankenstein
Metropolis (1927)
Funny Farm
The Black Stallion
National Velvet
Bionicle: Mask of Light
Arsenic and Old Lace
Unaccompanied Minors
Terminator
Isle of Dogs
A Quiet Place
Akira
Loving Vincent
Tangled
Hoodwinked
How to Train Your Dragon
The Nightmare Before Christmas
Ghost in the Shell (1995)
Fear and Loathing in Las Vegas
Samurai Cop (1991) [Rifftrax]
Birdemic: Shock and Terror [Rifftrax]
Solo: A Star Wars Story
Oh Lucy!
The Complete Works of William Shakespeare, Abridged
The Thief Lord
Breaking Away (1979)
Fright Night (2011)
Sharknado [Rifftrax]
The Incredibles 2
Mongolian Ping Pong
The Gold Rush (Charlie Chaplin)
City Lights (Charlie Chaplin)
City Slickers
(Escape to) Victory (1981)
The Phantom of the Opera
The Secret Life of Walter Mitty
Fireworks: Should we watch them from the bottom or the side? (2017)
Ed Edd and Eddy’s Big Picture Show
Jaws
The Color of Friendship (2000)
Flatland
The Wolverine (2013)
Codename: Kids Next Door – Operation Z.E.R.O.
Incredibles 2
Shawn the Sheep
Goodachari
Mutiny on the Bounty
Happy Death Day
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Celebration Picnic Month July 2021
When the weather gets warmer and the rains of spring have abated, the outdoors are beckoning all those adventurous families who are out to have fun in the sun. Local parks have finally come out from under the pall of cloud gray skies, and picnics can begin in earnest!
Sausage rolls and Fried Chicken, Fresh Fruit and Lemonade, these are the hallmarks of a great meal out of doors. National Picnic Month encourages you to get out and celebrate the warm summer days and find your love and wonder of the outdoors again while enjoying some great food!
History of Picnic Month
Throughout the recorded history of civilization, there has always been something special about leaving the stuffy confines of your home and eating a meal outdoors. We know there 19s a beautiful world out there waiting for us to come visit it, and when summer comes around we 19re reminded just how much time we 19ve been locked inside or being eager to come in from the cold. The word 18picnic 19 is thought to have first been used by Tony Willis in 1692, and from that point forward everyone from the working class to the upper crust have been fascinated with taking their repast outside under the sky.
Picnics have been used for many things throughout the centuries, from a simply family gathering spent enjoying the outdoors, to being used as a peaceful protest in the Pan-European Picnic, which was held on the Hungarian/Austrian border in 1989. The most notable, and largest, picnic ever held spanned 600 miles, crossing France from coast to coast and celebrated the millennium 19s first Bastille Day in 2000. Such a diverse resume for such a simple concept, don 19t you think? Picnic Month celebrates the history of this activity and the way it has been used to bring families, countries, and all humanity together.
How to celebrate Picnic Month
Picnic month is exceptionally easy to celebrate! You just have to get outside into the world and enjoy all the wonderful sights and smells it has to offer. Get your family and friends together at a favorite nearby park and bring your favorite foods that can be eaten cold for a traditional picnic, or bring a small grill and prepare warm delicious food on the spot!
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Olamide
Olamide biography
His stage name Olamide but popularly called Olamide Baddo or BaddoSneh, is a Nigerian hip hop recording artist. He records mostly in Yoruba, his native tongue.
Background information
Full Name: Olamide Adedeji
Born: 15 March 1989
Birth place: Bariga, Lagos State, Nigeria
Nationality: Nigerian
Also known as: Baddo or BaddoSneh
Genres: Hip hop
Famous as: Singer-songwriter rapper
Instruments: Vocals
Years active: 2011–present
Labels: YBNL Nation
Associated acts: Phyno, Pheelz, Lil Kesh, D'Banj, Wizkid, Davido, Wale, Reminisce
Biographical history
He was born in Bariga, Lagos State on the 15th of March, 1989. In 2000, he decided to pursue a career in music.
When asked why music, he said: "I found out I was gifted in it so I had to explore it. It's my life, my hustle, my world".
In 2010, Olamide released ‘Eni Duro’ under the Coded Tunes record label which he was signed unto at the time. The song received nationwide critical acclaim and instantly shot Olamide to fame
In 2010, Olamide performed at The Hip Hop World Awards. He studied at Tai Solarin University of Education. In 2011, he released his debut studio album titled Rapsodi..
Also Read About: OJB Jezreel
Music career
He was signed to ID Cabasa's Coded Tunes record label and was managed by Toni Payne. In 2012, he left Coded Tunes and started his own record label YBNL Nation.
2011:Rapsodi
Olamide's debut album Rapsodi was released in 2011. Its lead single "Eni Duro" charted on several radio stations in Lagos and across Nigeria. Olamide's debut offering led to collaborations with numerous artists, including Wizkid, ID Cabasa, 9ice, Reminisce and D'banj.
2012:YBNL
Olamide's second studio album YBNL
was released in November 2012. Its production was handled by Tyrone (producer), Samklef, 2 Kriss, Pheelz and ID Cabasa. The album features guest appearances from Davido, Tiwa Savage, Kayswitch, Dammy Krane, Reminisce, Samklef, Buckwylla, Minus 2 and Base One. It was supported by the singles "Ilefo Illuminati", "First of All", "Stupid Love" and "Voice of the Street".
Improbable record deal with DB records
In May 2013, it was reported that Olamide signed a record deal with DB Records. Olamide took to Twitter to debunk the reports. In an interview with Toolz on NdaniTV's The Juice, he said that it is too late for anyone to sign him..
Music by Olamide
Studio albums
Rapsodi (2011)
YBNL (2012)
Baddest Guy Ever Liveth (2013)
Street OT (2014)
Eyan Mayweather (2015)
The Glory (2016)
Lagos Nawa (2017)
YBNL Mafia Family (2018)
Achievements and legacy
On 17 July 2013, Olamide became the first Nigerian to sign an endorsement deal with Cîroc.
He has been nominated and won several music awards, including multiple Nigeria Entertainment Awards and The Headies Awards.
In 2014 Chiori Daniel Cole a rep of Achievas Entertainment Limited and Right Entertanment now known as TEC started the movement to see him hold his first ever concert, which is one of the biggest concerts OLIC (OLAMIDE LIVE IN CONCERT) he is the first person to sell out the Eko Convention Center four in the year 2014, 2015 ,2016 and 2018, in 2017 he sold out the Teslim Balogun Stadium holding over 12000 persons.
He has also sold out the Eventim Apollo of 5000 capacity, He also sold out his Culture Tour alongside Phyno at the building six The O2 Arena in 2017
Awards and nominations
Nominations
He has won 22 awards out of the 46 he has been nominated for till date.
In 2011, he was nominated for Next Rated at the Headies Award.
In 2012, at the Headies Awards, he was also nominated for Hip World Revelation of the Year and Best Rap Single.
His album “Rapsodi” was nominated for Best Rap Album. After missing out in 2011 and 2012.
Awards
He got his first set of awards at the 2013 Nigeria Entertainment Awards in the following categories:
1. Best Collabo (Ghost Mode by Phyno featuring Olamide);
2. Best Indigenous Artiste;
3. Best Album of the Year;
4. Best Rap Act of the Year;
5. Music Video of the Year.
At the Headies 2013, he won 3 out of the 7 categories he was nominated for. They included:
1. Best Rap Album;
2. Album of the Year Award;
3. Best Street Hip-Hop Artiste
Other categories he was nominated for include Lyricist on the Roll, Artiste of the Year, Best Rap Single and Song of the Year.
At the 2013 Nigeria Music Video Awards, Olamide’s music video “Durosoke” was nominated for Video of the Year and Best Afro Hip Hop Video. The video won just the Best Afro Hip Hop Video category.
2014 was not a great one in terms of awards received as Olamide won just 3 out of the 14 nominations he got that year. They were:
1. Channel O Music Video Award for Most Gifted West;
2. The Headies 2014 Award for Album of the Year;
3. The Headies 2014 Award for Best Rap Album.
In 2015, things were different. Olamide received 10 out of 12 nominations he got at different awards shows. They included:
TooXclusive Awards 2015, Album of the Year;
TooXclusive Awards 2015, Mixtape of The Year (2 kings, Olamide and Phyno);
TooXclusive Awards 2015, Best Hip-Hop Track (Local Rappers by Reminisce featuring Olamide and Phyno);
TooXclusive Awards 2015, Certified Banger of The Year;
TooXclusive Awards 2015, Video Wonder of The Year;
TooXclusive Awards 2015, Artiste of the Year;
TooXclusive Awards 2015, Male Artiste of The Year;
The Headies 2015, Artiste of The Year;
The Headies 2015, Best Street Hip Hop Artiste;
2015 City People Entertainment Awards, Rap Artist of the Year.
In 2016, at the Nigerian Entertainment Awards, Olamide won in two categories he was nominated for. The Album of the Year and Rap Act of the Year. We wish him more success and we hope he will add more awards to his collection.
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★ ·.·´¯`·.·★ [ Tom Hanks ] ★·.·´¯`·.·★ ✴ Weight: 171 lbs or 78 kg ✴ Height: 6 ft or 183 cm ✴ Hair Colour: Brown ✴ Eye Colour: Blue ✴ Birth Place: Concord, California, USA ✴ Date Of Birth: July 9, 1956 ✴ Occupation: Actor, filmmaker ✴ Notable Works: Splash (1984), Big (1988), Turner & Hooch (1989), A League of Their Own (1992), Sleepless in Seattle (1993), Philadelphia (1993), Forrest Gump (1994), Apollo 13 (1995), Saving Private Ryan (1998), You've Got Mail (1998), The Green Mile (1999), Cast Away (2000), Road to Perdition (2002), The Da Vinci Code (2006), The Polar Express (2004), Toy Story series
#tom hanks#male faceclaim#faceclaims#faceclaim#face claim#faceclaim help#fc help#brown hair#blue eyes#roleplay help#rp help
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Gregory Hines
Gregory Oliver Hines (February 14, 1946 – August 9, 2003) was an American dancer, actor, singer, and choreographer.
Early life
Hines was born in New York City, the son of Alma Iola (Lawless) and Maurice Robert Hines, a dancer, musician, and actor. Hines began tapping when he was two years old, and began dancing semi-professionally at the age of five. After that, he and his older brother Maurice performed together, studying with choreographer Henry LeTang. Gregory and Maurice also learned from veteran tap dancers such as Howard Sims and The Nicholas Brothers whenever they performed in the same venues.
The two brothers were known as "The Hines Kids", making nightclub appearances, and later as "The Hines Brothers". When their father joined the act as a drummer, the name changed again in 1963 to "Hines, Hines, and Dad".
Career
Hines performed as the lead singer and musician in a rock band called Severance in the year of 1975-1976 based in Venice, California. Severance was one of the house bands at an original music club called Honky Hoagies Handy Hangout, otherwise known as the 4H Club. Severance released their debut album on Largo Records (a subsidiary of GNP Crescendo) in 1976. In 1986, he sang a duet with Luther Vandross, entitled "There's Nothing Better Than Love", which reached the No. 1 position on the Billboard R&B charts.
Hines made his movie debut in Mel Brooks's History of the World, Part I. Critics took note of Hines's comedic charm, and he later appeared in such movies as The Cotton Club, White Nights, Running Scared alongside Billy Crystal, Tap and Waiting to Exhale. On television, he starred in his own series in 1997 called The Gregory Hines Show on CBS, as well as in the recurring role of Ben Doucette on Will & Grace. In 1999, he would return to voice Big Bill, in Nick Jr.'s television show Little Bill. In 2000, he starred in "The Tic Code."
Hines made his Broadway debut with his brother in The Girl in Pink Tights in 1954. He earned Tony Award nominations for Eubie!(1979), Comin' Uptown (1980) and Sophisticated Ladies (1981), and won the Tony Award and Drama Desk Award for Jelly's Last Jam(1992) and the Theatre World Award for Eubie!. In 1989, Gregory Hines created "Gregory Hines' Tap Dance in America," which he also hosted. The PBS special featured seasoned tap dancers such as Savion Glover and Bunny Briggs. He also co-hosted the Tony Awards ceremony in 1995 and 2002.
In 1990, Hines visited his idol, Sammy Davis, Jr., as he was dying of throat cancer, unable to speak. After Davis died, an emotional Hines spoke at Davis's funeral of how Sammy had made a gesture to him, "as if passing a basketball … and I caught it." Hines spoke of the honor that Sammy thought that Hines could carry on from where he left off.
Hines was an avid improviser. He did a lot of improvisation of tap steps, tap sounds, and tap rhythms alike. His improvisation was like that of a drummer, doing a solo and coming up with all sorts of rhythms. He also improvised the phrasing of a number of tap steps that he would come up with, mainly based on sound produced. A laid back dancer, he usually wore nice pants and a loose-fitting shirt. Although he inherited the roots and tradition of the black rhythmic tap, he also influenced the new black rhythmic tap, as a proponent. "'He purposely obliterated the tempos,' wrote tap historian Sally Sommer, 'throwing down a cascade of taps like pebbles tossed across the floor. In that moment, he aligned tap with the latest free-form experiments in jazz and new music and postmodern dance.'"
Throughout his career, Hines wanted to and continued to be an advocate for tap in America. In 1988, he successfully petitioned the creation of National Tap Dance Day, which is now celebrated in 40 cities in the United States. It is also celebrated in eight other nations. Gregory Hines was on the Board of Directors of Manhattan Tap, he was a member of the Jazz Tap Ensemble, and a member of the American Tap Foundation (formerly the American Tap Dance Orchestra). He was a good teacher, influencing tap dance artists Savion Glover, Dianne Walker, Ted Levy, and Jane Goldberg.
In an interview with The New York Times in 1988, Hines said that everything he did was influenced by his dancing: "my singing, my acting, my lovemaking, my being a parent."
Personal life
Hines' marriages to Patricia Panella and Pamela Koslow ended in divorce. He had two children—a son, Zach, and a daughter, Daria, as well as a stepdaughter, Jessica Koslow, and a grandson.
Death
Hines died of liver cancer on August 9, 2003, en route to hospital from his home in Los Angeles. He had been diagnosed with the disease more than a year earlier, but had informed only his closest friends. At the time of his death, production of the television showLittle Bill was ending, and he was engaged to Negrita Jayde. Hines is interred at Saint Volodymyr's Ukrainian Orthodox Cemetery in Oakville, Ontario, Canada, the country in which he met Jayde. Jayde, who died from cancer as well on August 28, 2009, is buried next to him.
Awards and nominations
Awards
1979 Theatre World Award—Eubie!
1992 Tony Award for Best Actor in a Musical—Jelly's Last Jam
1992 Drama Desk Award Outstanding Actor in a Musical—Jelly's Last Jam
1988 Image Awards Outstanding Lead Actor in a Motion Picture—Running Scared
1998 Flo-Bert Award—Lifetime Achievement in Tap Dance by the New York Committee To Celebrate National Tap Dance Day
2002 Image Awards Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special—Bojangles
2003 Emmy Award for Outstanding Performer In An Animated Program —Little Bill
Nominations
1979 Tony Award for Best Featured Actor in a Musical—Eubie!
1980 Tony Award for Best Actor in a Musical—Comin' Uptown
1981 Tony Award for Best Actor in a Musical—Sophisticated Ladies
1982 Emmy Award for Outstanding Individual Achievement—Special Class—I Love Liberty
1985 Emmy Award for Outstanding Individual Performance in a Variety or Music Program—Motown Returns to the Apollo
1989 Emmy Award for Outstanding Variety, Music or Comedy Program—Tap Dance in America
1992 Drama Desk Award Outstanding Choreography—Jelly's Last Jam
1992 Tony Award for Best Choreography—Jelly's Last Jam
1995 Image Awards Outstanding Lead Actor in a Motion Picture—Waiting to Exhale
1998 American Comedy Awards Funniest Male Guest Appearance in a TV Series—Will & Grace
1998 Image Awards Outstanding Lead Actor in a Comedy Series—The Gregory Hines Show
2001 Black Reel Awards Network/Cable Best Actor—Bojangles
2001 Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie—Bojangles
2001 Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Television Movie or Miniseries—Bojangles
2003 Emmy Award for Outstanding Performer in a Children's Special—The Red Sneakers
2003 Emmy Award for Outstanding Directing in a Children's Special—The Red Sneakers
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After the Accident: A Titanic Tragedy
A file photo of a Short Brothers Tucano Mk 2 turboprop single-engine fighter trainer. It was the model that famed Hollywood composer James Horner was flying when he crashed while maneuvering at low level around rising terrain in Southern California in 2015.
When a single-engine Short S312 Tucano disappeared from radar on June 22, 2015, it did so in more ways than one, even though the pilot who was killed happened to be a two-time Academy Award winner who was among filmdom’s most prolific and sought-after music composers, James Horner. He was 61 years old and was survived by his wife and two daughters. There were the initial news coverage and period of entertainment industry mourning, followed by what seemed to me to be a loss of interest in the accident except, perhaps, on the part of NTSB investigators, manufacturers of the aircraft and its components, and family members.
It was a little over two years before the NTSB published its final report on what happened. For many members of the general public, and even some in the aviation community, at first glance this may have been a case of “nothing much to see here, just another case of a wealthy man going overboard in playing with an expensive toy.” But, as sometimes happens, the NTSB’s report exposed a couple of recurring traps that could be waiting to ensnare far more aviators than just those fortunate enough to fly something exotic.
Horner was an aviation enthusiast and coupled that enthusiasm with his musical talents to write the score for a documentary about the P-51 Mustang as well as the score for National Geographic’s documentary “Living in the Age of Airplanes,” narrated by Harrison Ford. In all, Horner wrote more than 100 film scores, including those for the features “Titanic,” “Avatar,” “An American Tail,” “Apollo 13” and “Braveheart,” to name a few. He received an Oscar for the musical score of “Titanic” and, with co-writer Will Jennings, another Oscar for the song “My Heart Will Go On” from that same film.
Horner was a private pilot and had airplane single-engine land and rotorcraft ratings. He did not have an instrument rating. His second-class medical certificate was issued a few days before the accident, on June 19, 2015. The medical certificate required him to wear corrective lenses. During the medical examination, he weighed in at 145 pounds and measured 5 feet 7 inches tall. He advised the FAA that he had high cholesterol and had been prescribed rosuvastatin and fenofibrate to treat it. He reported having accumulated 1,500 flight hours. His logbooks as reviewed by the NTSB showed 891.2 total flight hours. They showed 76.9 hours in S312 aircraft, of which 27.8 had been flown in the 6 months before the accident. His most recent flight review was on June 14, 2015, in the accident airplane.
The accident occurred at about 9:30 in the morning. The airplane, a Short Brothers PLC S312 Tucano MK 1, went down about 16 miles south of Maricopa, California, in the Los Padres National Forest. The Ventura County Sheriff’s Department described it as a remote area near the border of Ventura and Santa Barbara counties. Horner was the only occupant. The crash touched off a fire that incinerated most of the airplane and consumed about two acres. The airplane had an FAA exhibition certificate in the experimental aircraft category.
The Short Tucano was built under license by Short Brothers in Northern Ireland from Brazilian manufacturer Embraer, which had put out the EMB-312 Tucano. Short was supplying the trainer with two tandem seats to Britain’s Royal Air Force (RAF), the Kenya Air Force and Kuwait Air Force. The accident airplane was manufactured in 1989. It was registered with the FAA by Tucano Flyer LCC on August 23, 2013. The turboprop was powered by a Garrett (now Honeywell) TPE-331-12B-703A engine rated at 1,100 shaft horsepower turning a Hartzell 4-bladed propeller. A reduction drive was used to connect the engine to the propeller shaft. According to the RAF’s Aircraft and Operating Data Manual for Tucano trainers like this one, the airplane could be flown by one or two crew members. If being flown solo, the pilot sits in the front where there is full control of all systems. The manual shows that the airplane has a wing span of 37 feet, a length of 32 feet 4 inches, and a height with the landing gear extended of 11 feet 2 inches. It has electrically operated Fowler single-slotted flaps on each wing. The manual contains numerous charts for figuring out the aircraft’s takeoff, landing, climb and cruise performance at various altitudes in various configurations with various atmospheric conditions. One of the graphs for plotting cruise performance indicated that at about 10,000 feet, the expected cruise speed would have been around 275 knots true with an expected stall speed of about 82 knots.
The accident airplane had 3,358 hours at its last annual inspection on October 20, 2014. Its certified maximum gross weight was 6,613 pounds.
According to the NTSB, Horner took off from the Camarillo Airport (KCMA), Camarillo, California, at 8:10 a.m. It was a Part 91 personal flight in VFR conditions. The NTSB report did not specify whether he had received a weather briefing prior to departure. Published data for the S312 indicated that it can climb at 3,510 feet per minute, so it’s no surprise that when Horner checked in with the Sector 14 controller at the Los Angeles Air Route Traffic Control Center at 8:17, he was level at 9,500 feet. Horner asked for VFR flight following services and advised that he was going to be maneuvering in the general area and the nearest airport was the New Cuyama Airport, New Cuyama, California.
The controller asked for details on what the pilot would be doing in the area, and he replied that it would be airwork and the altitude would be fluctuating between 10,000 feet and 2,500 feet. The controller said that at the lower altitude he’d probably lose radar contact, and Horner said he was aware of the terrain in the area. The controller then instructed him to contact another Los Angeles Center controller.
Horner checked in with the Sector 15 controller and advised of the altitudes at which he’d be maneuvering. The controller told him that when he got below 7,000 feet, radio coverage likely would be lost as would radar coverage. Horner said that he understood but wanted to remain on a discrete transponder code so that the controller would know who he was. When the controller asked how long he expected to be maneuvering in the area, Horner said that it would be about an hour. The controller then told him he’d keep an eye out and asked if he’d be returning to Camarillo. Horner confirmed that he would be going back there.
At about 8:25, a new controller took over the Sector 15 position and was briefed by the outgoing controller about Horner’s presence and intentions. At about 8:43, the controller made a radio call to Horner to advise him what he knew already, that he was in an area of high terrain and to verify that the pilot had the terrain in sight. Horner did not reply, so the controller repeated the transmission. Horner then reported the terrain in sight. The controller asked how much further south Horner was planning on flying, resulting in the pilot advising that he was planning to fly another 20 miles to the east, then turn. The controller asked if his destination was now New Cuyama, and Horner replied that it would be Camarillo.
Horner was leaving Sector 15’s airspace, so the controller arranged a handoff to the Sector 13 controller. When Horner came up on the new frequency, he reported level at 8,500 feet. The Sector 13 controller gave him the altimeter setting, which Horner read back. About 12 minutes later, the controller asked for the pilot’s intentions, and Horner replied that he would be in the area for about 45 minutes and then head for Camarillo. At about 9:01, the controller advised Horner of a Cirrus headed to Fresno at 8,500 feet and about a mile or two northwest of his position. Horner said that he had the traffic.
At about 9:21, the controller radioed the S312 to advise of unknown traffic at 11 o’clock and 4 miles, at 7,800 feet. There was no response. When the controller called again to report the traffic was now at 3 miles, Horner radioed that he’d be looking. About a minute later, the controller advised that the traffic was at 3 o’clock and 3 miles but should be no factor if the S312 was turning east. At about 9:24, Horner alerted the controller that he would be descending, the controller might lose him for a few minutes, and then he’d climb back up to 9,000 feet and return to the Camarillo airport. The controller acknowledged.
At 9:29, the controller radioed to see if the S312 was still on frequency. There was no response. Within the next minute, the controller asked another airplane to try to raise the Tucano. There was no contact. The controller asked the other pilot to keep trying. The other pilot then reported seeing a small fire in what looked like a river bed.
The controller asked the pilot of a Skywest flight to monitor for an emergency locator transmitter, but there was no ELT signal heard. The controller continued trying to raise the S312, asking the crew of a Gulfstream also to try. Nothing further was heard from Horner.
An analysis of FAA radar data showed that early in the maneuvering, the airplane’s speed reached 325 knots and it sometimes came within 100 feet of the peak of a mountain ridge line. During the last 6 minutes of flight, it was maneuvering at about 1,600 feet above the ground.
A witness living about 2-¾ miles from the crash site reported seeing the plane “...flying straight and normal, continuing to fly towards the east. I estimated the plane to be flying about 500-750 feet above the ground, and it appeared to be following the Quatal Canyon riverbed as it flew eastward.” This witness was a deputy with the Santa Barbara County Sheriff’s Department. He said that he received a phone call from his dispatch center advising there had been a plane crash in his area. They said another deputy was on the way and asked him to also respond to the scene. “I immediately recalled the plane I has observed a few minutes prior,” he said. He and the other deputy arrived on-scene at about the same time, immediately began securing the scene, and assisted the responding firefighters in putting out the fire.
A witness about a mile closer to the crash site reported that the airplane circled her house at about 500 to 800 feet AGL and shortly after that she saw dust and smoke rise up into the air.
The NTSB said the debris path was 641 feet long and 355 feet wide. The airplane was destroyed by the impact forces and the fire that broke out. The rear of the fuselage and tail section were partially intact. Investigators gathered numerous pieces of wreckage for detailed examination. No evidence was found of aircraft systems or engine problems before the crash. The engine had physical damage indicating it was operating during impact.
The FAA’s Biological Sciences Research Laboratory in Oklahoma City, Oklahoma, performed toxicological testing on specimens from the pilot. Some alcohol was detected, but this could have been the result of bacterial action after the pilot’s death. What the Safety Board said was significant, however, was the detection of the drugs butalbital and codeine. A report by the NTSB’s chief medical officer said, in part, “Butalbital and codeine may be found in combination with acetaminophen or aspirin and caffeine in prescription medications intended to be used to treat headaches...Butalbital is a barbiturate medication available as a Schedule III controlled substance. Codeine is available as a Schedule II controlled substance.” The medical report said both are considered impairing medications that may affect the mental and/or physical abilities required for performing potentially hazardous tasks such as driving a car or operating machinery. It said that the level of the drugs was high enough to likely have impaired Horner’s performance during the high-workload flight.
As far as traps waiting for pilots, how about flight trajectories that end in unplanned terrain contact, workloads that become excessive, and drugs that have insidious effects. In Horner’s case, the NTSB determined that the probable cause of the accident was the pilot’s failure to maintain clearance from terrain during low-level airwork, which resulted in uncontrolled collision with terrain. Contributing to the accident was the pilot’s impairment from the combined effects of butalbital and codeine. PP
Peter Katz is editor and publisher of NTSB Reporter, an independent monthly update on aircraft accident investigations and other news concerning the National Transportation Safety Board. To subscribe, visit www.ntsbreporter.us or write to: NTSB Reporter, Subscription Dept., P.O. Box 831, White Plains, NY 10602-0831.
The post After the Accident: A Titanic Tragedy appeared first on Plane & Pilot Magazine.
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Hermes and Apollo
Insights on Type DevelopmentA foundational concern of Jungian psychology is conscious integration of unconscious psychological content. This objective is so vital to the field that it can be suggested that the Jungian project is principally concerned with the relationship between ego consciousness and the unconscious. In 1921, C. G. Jung published Psychological Types in which he detailed a model that conceptualized consciousness as rooted in an ego-complex that interacts and orients itself using specific attitudes and functions. In this visionary text, Jung developed a hypothesis of personality structure designed to categorize attitudes and behavior patterns in regard to an individual’s inner and outer reality. This theoretical matrix, understood as typology, further advanced the manner in which Jungian psychology understands and approaches the ongoing relationship between conscious and unconscious psychological elements. Jungian thought, in collaboration with the broader field of depth psychology, claims the reality of the unconscious as its ontological foundation. Within the context of typology, taking the existence of the unconscious as a starting point requires examining the psychological implications of unconscious type functions. How might individuals integrate and craft an ongoing relationship with unconscious functions? John Beebe’s model of type addresses this issue. Beebe (2006) has developed classical Jungian typology to include not only an individual’s four conscious functions but also the unconscious shadow functions. This is important to the Jungian endeavor because if individuation is the goal of the analytical process, we need to come into conscious relationship with our four unconscious functions. This requires examining what behavioral perspectives—that is, styles or qualities of conscious behavior—might assist ego consciousness in the integration of unconscious type functions. (The term “functions” is used here as shorthand for what are now commonly referred to as “function-attitudes”: the four original Jungian functions of Sensation, Intuition, Thinking, and Feeling, engaged with either an extraverted or introverted orientation, as described by Jung in Chapter X of Psychological Types.) The Greek Hymn to Hermes, which recounts Hermes’ theft of Apollo’s cattle, mythically personifies two behavioral perspectives useful for conscious integration of unconscious functions: psychic movement as personified by Hermes, and stability as personified by Apollo. The Hermetic and Apollonian behavioral perspectives represent opposing and complementary psychological positions. From a Jungian perspective, tensions and reconciliation between two contrasting perspectives procure a third position, which Jung (1960/1970) aptly called the transcendent function. This third perspective is reached through the creation of a working relationship between innately oppositional elements. The Hymn can be used as a typological guide for building a conscious relationship with unconscious functions, in this case using a specific type code, ENTP, and its associated shadow functions. Myth as a narrative form is well-positioned to facilitate the integration of unconscious functions and illustrate how the tension between the two behavioral perspectives, psychic movement and stability, creates a third possibility: a working relationship. The Role of the Unconscious Functions For Jung (1921/1971), the typological objective is to have conscious access to and flexibility with all functions. This requires differentiating the varying functions so they do not remain undeveloped and unconscious. Identifying one’s type usefully distinguishes both the components of an individual’s preferred style of consciousness and orientation towards the inner and outer world. Samuels (1986), discussing the psychic role of unconscious functions, explained that unconscious functions possess “enormous potential for change” (p. 155). He asserted that potential for change can be realized through attempts to integrate unconscious functions. For Jung, integrating unconscious functions has the effect of resolving oppositional dysfunction because in the process of individuation, conflicting typological forces develop new collaborative relationships with each other. As a result, an individual’s conscious attitudes are augmented and enriched by exposure to the opposing attitudes of the unconscious functions. Anthony Storr (1983) regarded compensation and self-regulation as integral parts of typology (p. 18). He warned that if a conscious type preference becomes too one-sided and habitual, then unconscious functions in compensatory relationship might destabilize the conscious standpoint in service to psychic self-regulation. Samuels (1986), further drawing attention to the consequences of unattended unconscious functions, explained: “The excluded function will remain untrained, undeveloped, infantile or archaic, and possibly completely unconscious and not integrated into the ego” (p. 155). Psychological stability requires coming into conscious relationship with unconscious functions. Edward Whitmont (1969), reinforcing Samuels’ statement, argued that “inadequate functions are the doorway through which our difficulties, problems, frustrations, and suffering reach or overtake us” (p. 145), suggesting that our unconscious functions have the potential to either shipwreck the conscious attitude or, if integrated, correct ego one-sidedness. Jung (1921/1971), and later Marie-Louis von Franz (1971), emphasized the powerful and dangerous nature of unconscious functions by attributing shadow qualities to the inferior function. Beebe revised this aspect of the traditional Jungian model by distinguishing four conscious and four unconscious functions. In doing so, he suggested that the functions tend to be accompanied by specific archetypal energies and that the conscious preferences repress the less preferred, or unconscious, functions. As a result, he reasoned that the top four functions should be considered as only half of the overall psychic picture (p. 41). Jung (1921/1971), in a remark that reinforces Beebe’s treatment of shadow functions, wrote: “Each type of thinking senses the other as an encroachment on its own province, and hence a sort of shadow effect is produced, each revealing to the other its least favorable aspect” (¶ 581). This comment valuably supports the manner in which Beebe draws our attention to the necessity of coming into relationship with all four shadow functions. Mythology and the Unconscious Functions A possible way of coming into conscious relationship with shadow functions is provided by Jung’s treatment of mythology. Jung (1959/1969), discussing the psychological function of myth, explained that myth serves to reveal “the inner unconscious drama of the psyche” (¶ 7). Put another way, myth depicts to consciousness the unconscious and its archetypal forms. Jung argued that we need mythic intermediaries to symbolically courier unconscious content into consciousness. Jung believed that mythic narratives open the conscious standpoint to archetypal propensities, thereby linking inner and outer experience. Mythologist Robert Segal (1998), in his detailed examination of the Jungian handling of myth, explained: “Myth harmonizes the outer world with the inner one, the gods ‘out there’ with the gods within” (p. 94). If myth serves to expose inner and outer psychological life, then it follows that investigating the psychological movements personified in the Hymn is a fitting means to deepen conscious understanding of unconscious type dynamics. The Greek Hymn to Hermes tells of Hermes’ theft of Apollo’s sacred cattle, an evolving conflict, and a final reconciliation that creates a mutually beneficial relationship (Boer, 2001/2006, pp. 51-56). The character and movements of Apollo can be seen as psychologically representative of the established order, personifying the existent autocratic, hierarchical, and rational position of ego-consciousness. Put another way, Apollo, like the conscious or ego-syntonic functions, represents psychological configurations of judgment, the ego, clarity, stability, supremacy, and control. The Orphic Hymn to Hermes, supporting this parallel, describes Apollo as “the eyes that see all” (Boer, 2001/2006, p. 30). In a sense, the Apollonian is that which reinforces the structures of known reality and is, therefore, mirrored by conscious functions. In the Hymn, Hermes embodies a flux between the old and new. For example, the godling transforms a tortoise into a lyre (Boer, 2001/2006, p. 24). Hermes further personifies psychic movement by traveling: he jumps out of his cradle moments after his birth to voyage a great distance in order to steal Apollo’s cattle (p. 23). Hermes’ connection to psychic movement is underscored by how he, in an attempt to trick Apollo, reverses the hooves of the stolen cattle. Psychologically, what we see in the movements of Hermes is a personification of an energetic force capable of disturbing the habitual attitude of consciousness by creating new possibilities. In the Hymn, Hermes propagates psychic movement because he wants recognition. For instance, he declares: “As for honors, I’m going to get in on the same ones that are sacred to Apollo” (Boer, 2001/2006, p. 34). In his text Hermes and His Children, Jungian analyst Raphael López-Pedraza (1989) explained that Hermes represents commerce with the unknown borderlines of the psyche (p. 14). Essentially, López-Pedraza indicated that hermetic pathways are ambiguous, multiple, fast, and constantly seeking that which is unnoticed. Expanding this characterization, he suggested that the god’s “main concern is with psychic movement specifically from the literal and known to the symbolic and ambiguous” (p. 11). Here, Hermes is a personification of psychological movement from consciousness to the unconscious. The mythic relationship between Apollo and Hermes personifies a working relationship between two entirely different styles of being in the world. Apollo, lord of reason, light, and order, despite having been robbed and cheated, appears fascinated by Hermes—a figure associated with trickery, liminal spaces, and movement. Apollo describes Hermes’ trickery as “fantastic” (Boer, 2001/2006, p. 37) and later, laughing softly, calls Hermes “friend, trickster, sharpie” (p. 41). We see here the beginnings of a productive relationship between the two brothers. Apollo represents the center of consciousness and Hermes, in contrast, unconscious psychic movement. This distinction is important because, despite the two gods’ intrinsic tensions, they build a lasting relationship. Their relationship reflects Jung’s emphasis on wholeness as the fluid byproduct of the tension between opposites. The siblings seem to come into relationship because Hermes, notwithstanding his barefaced trickery, makes a constant effort to negotiate, seduce, and please Apollo. López-Pedraza (1989), exploring this aspect of the Hymn, wrote that it is as if Zeus “were telling his two sons to get to know each other, to learn more about each other’s nature” (p. 77). Zeus’s words suggest a style of consciousness that seeks a relationship with its unconscious counterpart. The Hymn further demonstrates that Hermes, despite his brazen guile, is not chastised but rewarded with a relationship with Apollo. For example, Hermes, seeking to soothe Apollo, takes out his newly invented lyre, sings for him, and then, at Apollo’s request, gifts his brother the lyre. In doing so, Hermes makes Apollo god of music. After this exchange, Apollo informs Hermes that now, “I think our differences can be settled peaceably” (Boer, 2001/2006, pp. 51-52). At this point in the Hymn, Apollo bestows on Hermes glory among the immortal gods by making him psychopomp, meaning “guide to the underworld,” and promises ever-lasting friendship. Cultivating a working relationship is not about conquering or deception but about intentional acceptance of differences. In regard to typology, if we want to consciously integrate opposing functions, the emphasis should be on accepting differences and aiming for fluidity, not control over the functions. Psychic Movement and Stability: Integrating Opposites John Hopcke (1989), discussing a common Jungian interpretation of Hermes, suggested that Hermes personifies transformation and change (p. 121). The hermetic emphasis on transfiguration is characterized by disruptive energy that serves to develop new perspectives. As a source of psychic movement, hermetic qualities reflect Jung’s hypothesis of the compensatory function of the unconscious, since Hermes represents the movement from one style of consciousness to another. Jung (1959/1969), for example, argued that Hermes is the archetype of the unconscious because he initiates the conscious ego perspective into the unconscious. For Jung, psychological initiation defines the process by which psychic energy is diverted from one acquired habit into novel and unaccustomed activity (Samuels, 1986, p. 82). All initiatory activity involves the death of one form of being and birth of a renewed and often more desirable condition. Initiation is a potent image of psychological transformation because it focuses on the movement from one style of consciousness to another. Psychic movement creates opportunity for integration of new behavioral perspectives. While conscious integration of unconscious functions may be an intellectual concept, it does not follow that it must be abstract. Integration derives from the Latin integratus, meaning “to make whole” (Chantrell, 2002). Integration is concerned with the process of making whole or replacing fragmented or incomplete parts with a unified whole. As a psychological practice, this can take a plethora of forms ranging from acceptance to merely noticing automatic responses. For example, the inferior function for ENTP, introverted sensation (Si), can cause an individual to make decisions based upon past memories and could prompt a host of complications. Samuels (1986), discussing the importance of consciously experiencing and integrating unconscious functions, explained that making conscious a previously unconscious function is a prime element in individuation because it causes a “rounding out of the personality” (p. 154). Hermetic psychic movement is about creating flexibility between opposing psychological conditions. It is this capacity for dexterity that triggers the necessary movement to transition from one behavioral perspective to another. Psychic Movement and Shadow Functions The two functions most commonly working together in an ENTP are the dominant function of extraverted intuition (Ne) and the auxiliary function of introverted thinking (Ti). In Personality Types, Daryl Sharp (1987) summarized the extraverted intuitive (Ne) type: “Extraverted intuition strives to apprehend the widest range of possibilities inherent in the objective situation” (p. 59). Essentially, dominant Ne types such as ENTP tend to prefer ideas and potential and often neglect the mundane details of life. McAlpine, Shumate, Evers, & Hughey (2009) explained that people with Ne preferences often shift plans, directions; continuously make remote associations; and, in a negative and inflated state, present as fast-paced and overwhelming. The ENTP tendency to rely on intuition often makes them skilled at quick assessments and adaptation. A predominant characteristic is the capacity to see and create seemingly endless possibilities, all glossed with addictive, exciting, and enthusiastic affect. A typical ENTP tends to be less interested in action, follow through, and concrete reality, instead, preferring to generate ideas and possibilities. However, Isabel Myers clarified Jung’s implicit proposal that the psyche needs both a rational and an irrational function for balance. Balancing the ENTP’s dominant perceiving, or irrational, function of Ne is the rational judging function of introverted thinking (Ti) held in the auxiliary position. Introverted thinking types have an inclination for precise language, efficiency, and making decisions “oriented primarily by the subjective factor” (Sharp, 1987, p. 70). People with this preference report enjoying problem solving, unpacking the mechanisms of how things function, and being skilled at complex analysis. Much has been written about the opposite-attitude polarities that are the foundation of Beebe’s model (Shumate, 2008, 2009), but other pairs of functions can also reflect the ego-shadow struggle. The possible combinations of rational and irrational functions are greater than previously documented. Functions in the unconscious may participate in working relationships, and functions in the same attitude may also combine. Ongoing research by McAlpine and Weed (2017) suggests: We are frequently pairing perceiving and judging functions in the same attitude, … a combination not normally mentioned in the functional pairs or function-couplings literature. The initial analysis is also indicating that we may have use of all of the function-attitude couplings to some extent, regardless of where the function-attitudes reside in our type dynamics framework.In exploring movement between contrasting functions, the difference between how introverted intuition (Ni) and introverted thinking (Ti) preferences influence adaptation lends a useful example. The first shadow function for ENTP, introverted intuition perceives grand patterns, themes, and systems designed to identify meaning and significance. For Ni, emphasis is placed on understanding through abstraction and essentialism. While both Ni and Ti show a proclivity for large systems and patterns, introverted intuition affects how one relates to one’s experience via unconscious perceptions whereas introverted thinking is focused on an inner rational locus of control. People with Ti preferences develop complex systems to explain how things work. New information is categorized within constantly reevaluated internal matrices. Essentially, each of these functions demonstrates a contrasting model of behavior, one emphasizing macro patterns and unknown sources of knowledge and the latter comprehensive and precise inner categories. If an Ni shadow function is unconscious and engaged in a process of integration, it quite possibly could negatively impact the organizational system of the auxiliary Ti. Similar to the Ni and Ti dynamic, there is a stark juxtaposition between extraverted thinking (Te), the second shadow function, and an ENTP’s dominant preference, extraverted intuition. Sharp (1987), describing Te qualities, wrote that this preference tends to be “conditioned by objective data transmitted by sense perceptions” (p. 44). Te types report a preference for establishing order, methods, and clarity. In addition, McAlpine et al. (2009) suggested that Te shadow functions can be overly disciplined. Consequently, the fluid and ever-seeking nature of the Ne could be destabilized by the Te’s focus on order and logic. However, it is also apparent that the Te’s capacity for organization and practical manifestation might act as counterpart to the omni-directionality of the Ne. In other words, Ne types, full of ideas and possibilities, might benefit from the competence in the objective world so intrinsic to the Te. Thus, it becomes possible to reason that an individual’s rigidity around the dominant Ne and auxiliary Ti might, if conscious expression of the Te function were permitted, be mitigated, enabling a wider sphere of effectiveness. We cannot make a case for psychic movement without recognizing the need for stabilization. In integrating unconscious functions, the object is not to annihilate the existing conscious typology but to find a middle ground—a stable, though evolving, conscious position. Treating psychic movement and stability as two opposing forces creates space for the emergence of a third possibility: the working relationship. Jung called this phenomenon the transcendent function—a new modality which can only be attained via engaging opposing functions and yet which “transcends” them. Jung described the transcendent function is the product of a process by which antithesis and thesis encounter each other and organically come into relationship. The notion of transcendence, specifically in theistic contexts, implies the capacity to rise above or transcend negative conditions. In regard to type, we can imagine that the conflict between opposing conscious and unconscious functions might spark the emergence of a new psychological system. In Mysterium Coniunctionis, Jung (1963/1970) asserted: “The opposites are the ineradicable and indispensable preconditions of all psychic life” (¶ 206). And so, for Jung, the unconscious is an essential counterpart to consciousness, even though it presents in our daily lives as a distinct psychological realm. Jung believed that even when opposites are integrated into consciousness, they still contain a spectrum of duality, implying that on an archetypal level, psychological life remains polarized. Although Jung made clear the importance of psychic duality, he argued that the goal is to bring consciousness and the unconscious into harmony. Thus, wholeness implies the fluid movement between a pair of opposites. Samuels (1986), summarizing this psychodynamic, explained that Jung maintained that during the collision between opposing forces, the unconscious often creates a third possibility (p. 102). It is the emergence of the third possibility that Jung argued shifts psychic energy. He warned that psychic synthesis is temporary, meaning individuals are always caught in the ebb and flow of opposites. The idea of constant movement between opposites has implications for typology because it implies an individual’s relationship with both conscious and unconscious functions moves along a scale. We can never arrive at compete integration. Instead, the most we can hope for is flexibility, acceptance, and cooperation. Here, the task of integrating functions to achieve a temporary and fluid state of wholeness should not be considered a finite goal but a practice of consciously observing and coming to terms with the psychological movement between oppositional functions. The Third Possibility: A Working Relationship The evolution of Apollo and Hermes’ relationships offers insight into how ego-dystonic functions might approach the established ego-attitude. For example, as mentioned above, in the ENTP type matrix, Ni stands in the fifth or opposing personality position according to the Beebe model. Ni types are deliberate in conversations, masters at synthesis, and intimate with the unconscious. In essence, Ni types seek the theoretical nature of all things and their complex interrelationships. Sharp (1987), discussing the negative tone of Ni preferences, warned that the introverted intuitive is often lacking in concrete manifestation. In this type we see a tendency to be “mystical daydreamers” (p. 85). Ni in the fifth position may cause an individual to “second-guess” his insights (McAlpine et al., 2009) while developed introverted thinking thrives on precision and strives to create grid-like systems of categorization that act as frameworks for structuring and guiding analysis (Haas & Hunziker, 2006, p. 84). Here we see the tension between the adversarial energy of Ni-5th, which “may not trust [its own] visions” (McAlpine et al.), and the auxiliary Ti’s initiative to organize systems in terms of “logical relationships” (pp. 64, 84). It appears that in this tension, the conscious attitude can take two standpoints: either the conscious Ti could be so threatened by the Ni that is banishes it into the unconscious or the auxiliary Ti could seek a relationship with Ni as Apollo does with Hermes. Conclusion Hermes’ theft of Apollo’s cattle mythically personifies two opposing behavioral perspectives: psychic movement and stability. Through the tension of these two energies there emerges a third possibility, a relationship moving towards wholeness. In the Hymn, the clash between Apollo and Hermes transforms both gods: Apollo is gifted with music, and Hermes is welcomed into the pantheon of immortals. Psychologically, this implies that each needs his counterpart in order to achieve transformation. The process of integrating unconscious functions is best approached by individuals who accept the tension between psychic movement and stability. Perhaps, conscious attention to both of these perspectives can help to create a new relationship with unconscious functions. --- References: Beebe, J. (2006). Evolving the eight-function model. Australian Psychological Type Review, 8(1), 39-43. Boer, C. (2001/2006). The Homeric hymns. (C. Boer, Trans.). Hubbardston, MA: Asphodel Press. Chantrell, G. (Ed.). (2002). The Oxford dictionary of word histories. Oxford, UK: Oxford University Press. Haas, L. & Hunziker, M. (2006). Building blocks of personality type: A guide to discovering the hidden secrets of the personality type code. United States. Eltanin Publications. Hopcke, R. (1989). A guided tour of the collected works of C. G. Jung. Boston, MA: Shambhala Publications. Jung, C. G. (1921/1971). Psychological types (CW 6). H. Read, M. Fordham, G. Adler, & W. McGuire (Eds.). (H. G. Baynes & R. F. C. Hull, Trans.) Princeton, NJ: Princeton University Press. Jung, C. G. (1959/1969). The archetypes and the collective unconscious (CW 9i). H. Read, M. Fordham, G. Adler, & W. McGuire (Eds.). (R. F. C. Hull, Trans.) Princeton, NJ: Princeton University Press. Jung, C. G. (1960/1970). The structure and dynamics of the psyche (CW 8). H. Read, M. Fordham, G. Adler, & W. McGuire (Eds.). (R. F. C. Hull, Trans.) Princeton, NJ: Princeton University Press. Jung, C. G. (1963/1970). Mysterium coniunctionis (CW 14). H. Read, M. Fordham, G. Adler, & W. McGuire (Eds.). (R. F. C. Hull, Trans.) Princeton, NJ: Princeton University Press. López-Pedraza, R. (1989). Hermes and his children. Einsiedeln, Switzerland: Daimon Verlag. McAlpine, R. & Weed, S. T. (2017, July). Exploring function coupling interactions. Personality Type in Depth. McAlpine, R., Shumate, C., Evers, A., & Hughey, D. (2009). The function-archetype decoder [Software program]. Louisville, KY: Type Resources. Samuels, A., Shorter, B. & Plaut, F. (1986). A critical dictionary of Jungian analysis. New York, NY: Routledge & Kegan Paul. Segal, R. A. (Ed.). (1998). The function of myth. In Jung on mythology (pp. 85-100). Princeton, NJ: Princeton University Press. Sharp, D. (1987). Personality types: Jung’s model of typology. Toronto, ON: Inner City Books. Shumate, C. (2008, 2009). The opposing personality: Recognizing the archetypal energy. Bulletin of Psychological Type, 31(4), 47-52 and 32(2), 36-41. Storr, A. (1983). The essential Jung. Princeton, NJ: Princeton University Press. von Franz, M.-L. (1971). The inferior function. In J. Hillman & M-L. von Franz, Lectures on Jung’s typology (pp. 1-54). Irving, TX: Spring Publications. Whitmont, E. (1969). The symbolic quest: Basic concepts of analytical psychology. Princeton, NJ: Princeton University Press. Images: Balla, G. (1912). Dynamism of a dog on a leash. Courtesy: Albright Knox Art Gallery, Buffalo, NY. Balla, G. (1914). Planet Mercury Passing in Front of the Sun. Courtesy: Georges Pompidou Center, Paris, France. Böcklin, A. (1873). Centaurs. Retrieved from common.wikimedia.org Chagall, M. (1914). Blue Lovers. Retrieved from wikiart.org Czobel, B. (1916). Boy holding a ball. Retrieved from wikiart.org Dufy, R. (1923). The Mediterranean. Retrieved from wikiart.org Hartley, M. (1917). Sextant. Retrieved from wikiart.org Hébuterne, J. (1916). Self-portrait. Retrieved from commons.wikimedia.org Hirémy-Hirschl, A. (n.d.) A male nude, leaning forward, holding a bar. Retrieved from wikiart.org Matisse, H. (1910). Dance II. Courtesy: Hermitage Museum, Saint Petersburg, Russia. Matisse, H. (1912). Dance. Retrieved from wikiart.org Miró, J. (1927). The circus house. Retrieved from wikiart.org Nolde, E. (1910). Dance around the golden calf. Retrieved from wikiart.org Sluyters, J. (1910). Sunrise. Retrieved from wikiart.org The post Hermes and Apollo appeared first on Personality Type in Depth. RSS Feed - Link To Personality Type In Depth Article http://www.typologycentral.com/forums/showthread.php?t=92135&goto=newpost&utm_source=dlvr.it&utm_medium=tumblr
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Luther Vandross, Gregory Hines - There's Nothing Better Than Love
Remembering yesterday's birthday Gregory Oliver Hines (February 14, 1946 – August 9, 2003) was an American dancer, actor, singer, and choreographer.
Early life
Hines was born in New York City, the son of Alma Iola (Lawless) and Maurice Robert Hines, a dancer, musician, and actor. Hines began tapping when he was two years old, and began dancing semi-professionally at the age of five. After that, he and his older brother Maurice performed together, studying with choreographer Henry LeTang. Gregory and Maurice also learned from veteran tap dancers such as Howard Sims and The Nicholas Brothers whenever they performed in the same venues.
The two brothers were known as “The Hines Kids”, making nightclub appearances, and later as “The Hines Brothers”. When their father joined the act as a drummer, the name changed again in 1963 to “Hines, Hines, and Dad”.
Career
Hines performed as the lead singer and musician in a rock band called Severance in the year of 1975-1976 based in Venice, California. Severance was one of the house bands at an original music club called Honky Hoagies Handy Hangout, otherwise known as the 4H Club. Severance released their debut album on Largo Records (a subsidiary of GNP Crescendo) in 1976. In 1986, he sang a duet with Luther Vandross, entitled “There’s Nothing Better Than Love”, which reached the No. 1 position on the Billboard R&B charts.
Hines made his movie debut in Mel Brooks's History of the World, Part I. Critics took note of Hines’s comedic charm, and he later appeared in such movies as The Cotton Club, White Nights, Running Scared alongside Billy Crystal, Tap and Waiting to Exhale. On television, he starred in his own series in 1997 called The Gregory Hines Show on CBS, as well as in the recurring role of Ben Doucette on Will & Grace. In 1999, he would return to voice Big Bill, in Nick Jr.’s television show Little Bill. In 2000, he starred in “The Tic Code.”
Hines made his Broadway debut with his brother in The Girl in Pink Tights in 1954. He earned Tony Award nominations for Eubie!(1979), Comin’ Uptown (1980) and Sophisticated Ladies (1981), and won the Tony Award and Drama Desk Award for Jelly’s Last Jam(1992) and the Theatre World Award for Eubie!. In 1989, Gregory Hines created “Gregory Hines’ Tap Dance in America,” which he also hosted. The PBS special featured seasoned tap dancers such as Savion Glover and Bunny Briggs. He also co-hosted the Tony Awards ceremony in 1995 and 2002.
In 1990, Hines visited his idol, Sammy Davis, Jr., as he was dying of throat cancer, unable to speak. After Davis died, an emotional Hines spoke at Davis’s funeral of how Sammy had made a gesture to him, “as if passing a basketball … and I caught it.” Hines spoke of the honor that Sammy thought that Hines could carry on from where he left off.
Hines was an avid improviser. He did a lot of improvisation of tap steps, tap sounds, and tap rhythms alike. His improvisation was like that of a drummer, doing a solo and coming up with all sorts of rhythms. He also improvised the phrasing of a number of tap steps that he would come up with, mainly based on sound produced. A laid back dancer, he usually wore nice pants and a loose-fitting shirt. Although he inherited the roots and tradition of the black rhythmic tap, he also influenced the new black rhythmic tap, as a proponent. “‘He purposely obliterated the tempos,’ wrote tap historian Sally Sommer, ‘throwing down a cascade of taps like pebbles tossed across the floor. In that moment, he aligned tap with the latest free-form experiments in jazz and new music and postmodern dance.’”
Throughout his career, Hines wanted to and continued to be an advocate for tap in America. In 1988, he successfully petitioned the creation of National Tap Dance Day, which is now celebrated in 40 cities in the United States. It is also celebrated in eight other nations. Gregory Hines was on the Board of Directors of Manhattan Tap, he was a member of the Jazz Tap Ensemble, and a member of the American Tap Foundation (formerly the American Tap Dance Orchestra). He was a good teacher, influencing tap dance artists Savion Glover, Dianne Walker, Ted Levy, and Jane Goldberg.
In an interview with The New York Times in 1988, Hines said that everything he did was influenced by his dancing: “my singing, my acting, my lovemaking, my being a parent.”
Personal life
Hines’ marriages to Patricia Panella and Pamela Koslow ended in divorce. He had two children—a son, Zach, and a daughter, Daria, as well as a stepdaughter, Jessica Koslow, and a grandson.
Death
Hines died of liver cancer on August 9, 2003, en route to hospital from his home in Los Angeles. He had been diagnosed with the disease more than a year earlier, but had informed only his closest friends. At the time of his death, production of the television showLittle Bill was ending, and he was engaged to Negrita Jayde. Hines is interred at Saint Volodymyr’s Ukrainian Orthodox Cemetery in Oakville, Ontario, Canada, the country in which he met Jayde. Jayde, who died from cancer as well on August 28, 2009, is buried next to him.
Awards and nominations
Awards
1979 Theatre World Award—Eubie!
1992 Tony Award for Best Actor in a Musical—Jelly’s Last Jam
1992 Drama Desk Award Outstanding Actor in a Musical—Jelly’s Last Jam
1988 Image Awards Outstanding Lead Actor in a Motion Picture—Running Scared
1998 Flo-Bert Award—Lifetime Achievement in Tap Dance by the New York Committee To Celebrate National Tap Dance Day
2002 Image Awards Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special—Bojangles
2003 Emmy Award for Outstanding Performer In An Animated Program —Little Bill
Nominations
1979 Tony Award for Best Featured Actor in a Musical—Eubie!
1980 Tony Award for Best Actor in a Musical—Comin’ Uptown
1981 Tony Award for Best Actor in a Musical—Sophisticated Ladies
1982 Emmy Award for Outstanding Individual Achievement—Special Class—I Love Liberty
1985 Emmy Award for Outstanding Individual Performance in a Variety or Music Program—Motown Returns to the Apollo
1989 Emmy Award for Outstanding Variety, Music or Comedy Program—Tap Dance in America
1992 Drama Desk Award Outstanding Choreography—Jelly’s Last Jam
1992 Tony Award for Best Choreography—Jelly’s Last Jam
1995 Image Awards Outstanding Lead Actor in a Motion Picture—Waiting to Exhale
1998 American Comedy Awards Funniest Male Guest Appearance in a TV Series—Will & Grace
1998 Image Awards Outstanding Lead Actor in a Comedy Series—The Gregory Hines Show
2001 Black Reel Awards Network/Cable Best Actor—Bojangles
2001 Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie—Bojangles
2001 Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Television Movie or Miniseries—Bojangles
2003 Emmy Award for Outstanding Performer in a Children’s Special—The Red Sneakers
2003 Emmy Award for Outstanding Directing in a Children’s Special—The Red Sneakers
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After the Accident: A Titanic Tragedy
A file photo of a Short Brothers Tucano Mk 2 turboprop single-engine fighter trainer. It was the model that famed Hollywood composer James Horner was flying when he crashed while maneuvering at low level around rising terrain in Southern California in 2015.
When a single-engine Short S312 Tucano disappeared from radar on June 22, 2015, it did so in more ways than one, even though the pilot who was killed happened to be a two-time Academy Award winner who was among filmdom’s most prolific and sought-after music composers, James Horner. He was 61 years old and was survived by his wife and two daughters. There were the initial news coverage and period of entertainment industry mourning, followed by what seemed to me to be a loss of interest in the accident except, perhaps, on the part of NTSB investigators, manufacturers of the aircraft and its components, and family members.
It was a little over two years before the NTSB published its final report on what happened. For many members of the general public, and even some in the aviation community, at first glance this may have been a case of “nothing much to see here, just another case of a wealthy man going overboard in playing with an expensive toy.” But, as sometimes happens, the NTSB’s report exposed a couple of recurring traps that could be waiting to ensnare far more aviators than just those fortunate enough to fly something exotic.
Horner was an aviation enthusiast and coupled that enthusiasm with his musical talents to write the score for a documentary about the P-51 Mustang as well as the score for National Geographic’s documentary “Living in the Age of Airplanes,” narrated by Harrison Ford. In all, Horner wrote more than 100 film scores, including those for the features “Titanic,” “Avatar,” “An American Tail,” “Apollo 13” and “Braveheart,” to name a few. He received an Oscar for the musical score of “Titanic” and, with co-writer Will Jennings, another Oscar for the song “My Heart Will Go On” from that same film.
Horner was a private pilot and had airplane single-engine land and rotorcraft ratings. He did not have an instrument rating. His second-class medical certificate was issued a few days before the accident, on June 19, 2015. The medical certificate required him to wear corrective lenses. During the medical examination, he weighed in at 145 pounds and measured 5 feet 7 inches tall. He advised the FAA that he had high cholesterol and had been prescribed rosuvastatin and fenofibrate to treat it. He reported having accumulated 1,500 flight hours. His logbooks as reviewed by the NTSB showed 891.2 total flight hours. They showed 76.9 hours in S312 aircraft, of which 27.8 had been flown in the 6 months before the accident. His most recent flight review was on June 14, 2015, in the accident airplane.
The accident occurred at about 9:30 in the morning. The airplane, a Short Brothers PLC S312 Tucano MK 1, went down about 16 miles south of Maricopa, California, in the Los Padres National Forest. The Ventura County Sheriff’s Department described it as a remote area near the border of Ventura and Santa Barbara counties. Horner was the only occupant. The crash touched off a fire that incinerated most of the airplane and consumed about two acres. The airplane had an FAA exhibition certificate in the experimental aircraft category.
The Short Tucano was built under license by Short Brothers in Northern Ireland from Brazilian manufacturer Embraer, which had put out the EMB-312 Tucano. Short was supplying the trainer with two tandem seats to Britain’s Royal Air Force (RAF), the Kenya Air Force and Kuwait Air Force. The accident airplane was manufactured in 1989. It was registered with the FAA by Tucano Flyer LCC on August 23, 2013. The turboprop was powered by a Garrett (now Honeywell) TPE-331-12B-703A engine rated at 1,100 shaft horsepower turning a Hartzell 4-bladed propeller. A reduction drive was used to connect the engine to the propeller shaft. According to the RAF’s Aircraft and Operating Data Manual for Tucano trainers like this one, the airplane could be flown by one or two crew members. If being flown solo, the pilot sits in the front where there is full control of all systems. The manual shows that the airplane has a wing span of 37 feet, a length of 32 feet 4 inches, and a height with the landing gear extended of 11 feet 2 inches. It has electrically operated Fowler single-slotted flaps on each wing. The manual contains numerous charts for figuring out the aircraft’s takeoff, landing, climb and cruise performance at various altitudes in various configurations with various atmospheric conditions. One of the graphs for plotting cruise performance indicated that at about 10,000 feet, the expected cruise speed would have been around 275 knots true with an expected stall speed of about 82 knots.
The accident airplane had 3,358 hours at its last annual inspection on October 20, 2014. Its certified maximum gross weight was 6,613 pounds.
According to the NTSB, Horner took off from the Camarillo Airport (KCMA), Camarillo, California, at 8:10 a.m. It was a Part 91 personal flight in VFR conditions. The NTSB report did not specify whether he had received a weather briefing prior to departure. Published data for the S312 indicated that it can climb at 3,510 feet per minute, so it’s no surprise that when Horner checked in with the Sector 14 controller at the Los Angeles Air Route Traffic Control Center at 8:17, he was level at 9,500 feet. Horner asked for VFR flight following services and advised that he was going to be maneuvering in the general area and the nearest airport was the New Cuyama Airport, New Cuyama, California.
The controller asked for details on what the pilot would be doing in the area, and he replied that it would be airwork and the altitude would be fluctuating between 10,000 feet and 2,500 feet. The controller said that at the lower altitude he’d probably lose radar contact, and Horner said he was aware of the terrain in the area. The controller then instructed him to contact another Los Angeles Center controller.
Horner checked in with the Sector 15 controller and advised of the altitudes at which he’d be maneuvering. The controller told him that when he got below 7,000 feet, radio coverage likely would be lost as would radar coverage. Horner said that he understood but wanted to remain on a discrete transponder code so that the controller would know who he was. When the controller asked how long he expected to be maneuvering in the area, Horner said that it would be about an hour. The controller then told him he’d keep an eye out and asked if he’d be returning to Camarillo. Horner confirmed that he would be going back there.
At about 8:25, a new controller took over the Sector 15 position and was briefed by the outgoing controller about Horner’s presence and intentions. At about 8:43, the controller made a radio call to Horner to advise him what he knew already, that he was in an area of high terrain and to verify that the pilot had the terrain in sight. Horner did not reply, so the controller repeated the transmission. Horner then reported the terrain in sight. The controller asked how much further south Horner was planning on flying, resulting in the pilot advising that he was planning to fly another 20 miles to the east, then turn. The controller asked if his destination was now New Cuyama, and Horner replied that it would be Camarillo.
Horner was leaving Sector 15’s airspace, so the controller arranged a handoff to the Sector 13 controller. When Horner came up on the new frequency, he reported level at 8,500 feet. The Sector 13 controller gave him the altimeter setting, which Horner read back. About 12 minutes later, the controller asked for the pilot’s intentions, and Horner replied that he would be in the area for about 45 minutes and then head for Camarillo. At about 9:01, the controller advised Horner of a Cirrus headed to Fresno at 8,500 feet and about a mile or two northwest of his position. Horner said that he had the traffic.
At about 9:21, the controller radioed the S312 to advise of unknown traffic at 11 o’clock and 4 miles, at 7,800 feet. There was no response. When the controller called again to report the traffic was now at 3 miles, Horner radioed that he’d be looking. About a minute later, the controller advised that the traffic was at 3 o’clock and 3 miles but should be no factor if the S312 was turning east. At about 9:24, Horner alerted the controller that he would be descending, the controller might lose him for a few minutes, and then he’d climb back up to 9,000 feet and return to the Camarillo airport. The controller acknowledged.
At 9:29, the controller radioed to see if the S312 was still on frequency. There was no response. Within the next minute, the controller asked another airplane to try to raise the Tucano. There was no contact. The controller asked the other pilot to keep trying. The other pilot then reported seeing a small fire in what looked like a river bed.
The controller asked the pilot of a Skywest flight to monitor for an emergency locator transmitter, but there was no ELT signal heard. The controller continued trying to raise the S312, asking the crew of a Gulfstream also to try. Nothing further was heard from Horner.
An analysis of FAA radar data showed that early in the maneuvering, the airplane’s speed reached 325 knots and it sometimes came within 100 feet of the peak of a mountain ridge line. During the last 6 minutes of flight, it was maneuvering at about 1,600 feet above the ground.
A witness living about 2-¾ miles from the crash site reported seeing the plane “...flying straight and normal, continuing to fly towards the east. I estimated the plane to be flying about 500-750 feet above the ground, and it appeared to be following the Quatal Canyon riverbed as it flew eastward.” This witness was a deputy with the Santa Barbara County Sheriff’s Department. He said that he received a phone call from his dispatch center advising there had been a plane crash in his area. They said another deputy was on the way and asked him to also respond to the scene. “I immediately recalled the plane I has observed a few minutes prior,” he said. He and the other deputy arrived on-scene at about the same time, immediately began securing the scene, and assisted the responding firefighters in putting out the fire.
A witness about a mile closer to the crash site reported that the airplane circled her house at about 500 to 800 feet AGL and shortly after that she saw dust and smoke rise up into the air.
The NTSB said the debris path was 641 feet long and 355 feet wide. The airplane was destroyed by the impact forces and the fire that broke out. The rear of the fuselage and tail section were partially intact. Investigators gathered numerous pieces of wreckage for detailed examination. No evidence was found of aircraft systems or engine problems before the crash. The engine had physical damage indicating it was operating during impact.
The FAA’s Biological Sciences Research Laboratory in Oklahoma City, Oklahoma, performed toxicological testing on specimens from the pilot. Some alcohol was detected, but this could have been the result of bacterial action after the pilot’s death. What the Safety Board said was significant, however, was the detection of the drugs butalbital and codeine. A report by the NTSB’s chief medical officer said, in part, “Butalbital and codeine may be found in combination with acetaminophen or aspirin and caffeine in prescription medications intended to be used to treat headaches...Butalbital is a barbiturate medication available as a Schedule III controlled substance. Codeine is available as a Schedule II controlled substance.” The medical report said both are considered impairing medications that may affect the mental and/or physical abilities required for performing potentially hazardous tasks such as driving a car or operating machinery. It said that the level of the drugs was high enough to likely have impaired Horner’s performance during the high-workload flight.
As far as traps waiting for pilots, how about flight trajectories that end in unplanned terrain contact, workloads that become excessive, and drugs that have insidious effects. In Horner’s case, the NTSB determined that the probable cause of the accident was the pilot’s failure to maintain clearance from terrain during low-level airwork, which resulted in uncontrolled collision with terrain. Contributing to the accident was the pilot’s impairment from the combined effects of butalbital and codeine. PP
Peter Katz is editor and publisher of NTSB Reporter, an independent monthly update on aircraft accident investigations and other news concerning the National Transportation Safety Board. To subscribe, visit www.ntsbreporter.us or write to: NTSB Reporter, Subscription Dept., P.O. Box 831, White Plains, NY 10602-0831.
The post After the Accident: A Titanic Tragedy appeared first on Plane & Pilot Magazine.
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