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Reagan Charles Cook

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The Origins of Riding Shotgun

May 28, 2018

The expression “riding shotgun” is derived from the days of stagecoach travel when a special armed employee of stage would sit beside the driver, carrying a shotgun to provide an armed response in case of a threat to the cargo, which was usually a strongbox.

Absence of an armed person in that position often signaled that the stage was not carrying a strongbox, but only passengers. However, apparently the phrase “riding shotgun” was not coined until 1919.  It was later used in print and especially film depictions of stagecoaches and wagons in the Old West in danger of being robbed or attacked by bandits. 

In History, Violence, Film
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Industry, As Far as the Eye Can See

May 5, 2015

Edward Burtynsky, Manufacturing #18 (Cankun Factory, Zhangzhou, Fujian Province, 2005)

Canadian art photographer Edward Burtynsky is my greatest influence in terms of landscape photography. I love the balanced framing of intense industrialization, and how he is able to present the brutal destruction of the natural world in a way that is aesthetically appealing, and even beautiful.

My collection of Canadian landscape photography attempts to immitate his work, on a more humble and local scale. You can view the collection by clicking here.

In Film, Art, Geography, My Life
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An Unwatched American Classic

January 21, 2012

Killer of Sheep is a 1970s American drama film written, directed, produced, and shot by Charles Burnett.  The drama depicts the culture of urban African-Americans in Los Angeles' Watts district. 

Killer of Sheep was shot on a budget of less than $10,000 over roughly a year's worth of weekends in 1972 and 1973, with additional shooting in 1975. In 1977, Burnett submitted the film as his Master of Fine Arts thesis at the School of Film at the University of California, Los Angeles.

Burnett stated that he also intended to make the film a history of African-American music and filled it with music from a variety of genres and different eras. Unfortunately, for this reason, the film could not be released because he had not secured rights to the music used in the film.

Shown sporadically after it's completion in the late 1970s, its reputation grew until it won a prize at the 1981 Berlin International Film Festival.

Since then, the Library of Congress has declared it a national treasure as one of the first fifty on the National Film Registry and the National Society of Film Critics selected it as one of the “100 Essential Films” of all time. Even with these enormous accolades, due to the expense of the music rights the film was never shown theatrically or made available on video. It was only seen on poor quality 16mm prints at few and far between museum and festival showings.

In 2007, three decades after it's completion, the music rights were finally purchased at a cost of US $150,000. The film was restored and transferred from a 16mm to a 35mm print and given a limited theatre release. 

In Money, Humanity, History, Music, Film

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