text: To gain an exemption or deferment, many men attended college, though they had to remain in college until their 26th birthday to be certain of avoiding the draft. Some men were rejected by the military as 4-F unfit for service failing to meet physical, mental, or moral standards. Still others joined the National Guard or entered the Peace Corps as a way of avoiding Vietnam. All of these issues raised concerns about the fairness of who got selected for involuntary service, since it was often the poor or those without connections who were drafted. Ironically, in light of modern political issues, a certain exemption was a convincing claim of homosexuality, but very few men attempted this because of the stigma involved. Also, conviction for certain crimes earned an exclusion, the topic of the anti-war song "Alice's Restaurant" by Arlo Guthrie.


title: Opposition to United States involvement in the Vietnam War

text: Even many of those who never received a deferment or exemption never served, simply because the pool of eligible men was so huge compared to the number required for service, that the draft boards never got around to drafting them when a new crop of men became available (until 1969) or because they had high lottery numbers (1970 and later).


text: Of those soldiers who served during the war, there was increasing opposition to the conflict amongst GIs, which resulted in fragging and many other activities which hampered the US's ability to wage war effectively.


text: Most of those subjected to the draft were too young to vote or drink in most states, and the image of young people being forced to risk their lives in the military without the privileges of enfranchisement or the ability to drink alcohol legally also successfully pressured legislators to lower the voting age nationally and the drinking age in many states.


text: Student opposition groups on many college and university campuses seized campus administration offices, and in several instances forced the expulsion of ROTC programs from the campus.


text: Some Americans who were not subject to the draft protested the conscription of their tax dollars for the war effort. War tax resistance, once mostly isolated to solitary anarchists like Henry David Thoreau and religious pacifists like the Quakers, became a more mainstream protest tactic. As of 1972, an estimated 200,000–500,000 people were refusing to pay the excise taxes on their telephone bills, and another 20,000 were resisting part or all of their income tax bills. Among the tax resisters were Joan Baez and Noam Chomsky.


text: Momentum from the protest organizations and the war's impact on the environment became focal point of issues to an overwhelmingly main force for the growth of an environmental movement in the United States. Many of the environment-oriented demonstrations were inspired by Rachel Carson's 1962 book "Silent Spring", which warned of the harmful effects of pesticide use on the earth. For demonstrators, Carson's warnings paralleled with the United States' use of chemicals in Vietnam such as Agent Orange, a chemical compound which was used to clear forestry being used as cover, initially conducted by the United States Air Force in Operation Ranch Hand in 1962.


text: Protest to American participation in the Vietnam War was a movement that many popular musicians shared in, which was a stark contrast to the pro-war compositions of artists during World War II. These musicians included Joni Mitchell, Joan Baez, Phil Ochs, Lou Harrison, Gail Kubik, William Mayer, Elie Siegmeister, Robert Fink, David Noon, Richard Wernick, and John W. Downey. However, of over 5,000 Vietnam War-related songs identified to date, many took a patriotic, pro-government, or pro-soldier perspective. The two most notable genres involved in this protest were Rock and Roll and Folk music. While composers created pieces affronting the war, they were not limited to their music. Often protesters were being arrested and participating in peace marches and popular musicians were among their ranks. This concept of intimate involvement reached new heights in May 1968 when the "Composers and Musicians for Peace" concert was staged in New York. As the war continued, and with the new media coverage, the movement snowballed and popular music reflected this. As early as the summer of 1965, music-based protest against the American involvement in Southeast Asia began with works like P. F. Sloan's folk rock song "Eve of Destruction", recorded by Barry McGuire as one of the earliest musical protests against the Vietnam War.


text: A key figure on the rock end of the antiwar spectrum was Jimi Hendrix (1942–1970). Hendrix had a huge following among the youth culture exploring itself through drugs and experiencing itself through rock music. He was not an official protester of the war; one of Hendrix's biographers contends that Hendrix, being a former soldier, sympathized with the anticommunist view. He did, however, protest the violence that took place in the Vietnam War. With the song "Machine Gun", dedicated to those fighting in Vietnam, this protest of violence is manifest. David Henderson, author of "'Scuse Me While I Kiss the Sky", describes the song as "scary funk ... his sound over the drone shifts from a woman's scream, to a siren, to a fighter plane diving, all amid Buddy Miles' Gatling-gun snare shots. ... he says 'evil man make me kill you ... make you kill me although we're only families apart.'" This song was often accompanied with pleas from Hendrix to bring the soldiers back home and cease the bloodshed. While Hendrix's views may not have been analogous to the protesters, his songs became anthems to the antiwar movement. Songs such as "Star Spangled Banner" showed individuals that "you can love your country, but hate the government." Hendrix's anti-violence efforts are summed up in his words: "when the power of love overcomes the love of power ... the world will know peace." Thus, Hendrix's personal views did not coincide perfectly with those of the antiwar protesters; however, his anti-violence outlook was a driving force during the years of the Vietnam War even after his death (1970).


text: The song known to many as the anthem of the protest movement was The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Ragfirst released on an EP in the October 1965 issue of "Rag Baby"by Country Joe and the Fish, one of the most successful protest bands. Although this song was not on music charts probably because it was too radical, it was performed at many public events including the famous Woodstock music festival (1969). "Feel-Like-I'm-Fixin'-To-Die Rag" was a song that used sarcasm to communicate the problems with not only the war but also the public's naïve attitudes towards it. It was said that "the happy beat and insouciance of the vocalist are in odd juxtaposition to the lyrics that reinforce the sad fact that the American public was being forced into realizing that Vietnam was no longer a remote place on the other side of the world, and the damage it was doing to the country could no longer be considered collateral, involving someone else."


text: Along with singer-songwriter Phil Ochs, who attended and organized anti-war events and wrote such songs as "I Ain't Marching Anymore" and "The War Is Over", another key historical figure of the antiwar movement was Bob Dylan. Folk and Rock were critical aspects of counterculture during the Vietnam War both were genres that Dylan would dabble in. His success in writing protest songs came from his pre-existing popularity, as he did not initially intend on doing so. Tor Egil Førland, in his article "Bringing It All Back Home or Another Side of Bob Dylan: Midwestern Isolationist", quotes Todd Gitlin, a leader of a student movement at the time, in saying "Whether he liked it or not, Dylan sang for us. ... We followed his career as if he were singing our songs." The anthem "Blowin' in the Wind" embodied Dylan's anti-war, pro-civil rights sentiment. To complement "Blowin' in the Wind" Dylan's song "The Times they are A-Changin'" alludes to a new method of governing that is necessary and warns those who currently participate in government that the change is imminent. Dylan tells the "senators and congressmen [to] please heed the call." Dylan's songs were designed to awaken the public and to cause a reaction. The protesters of the Vietnam War identified their cause so closely with the artistic compositions of Dylan that Joan Baez and Judy Collins performed "The Times they are A-Changin'" at a march protesting the Vietnam War (1965) and also for President Johnson. While Dylan renounced the idea of subscribing to the ideals of one individual, his feelings of protest towards Vietnam were appropriated by the general movement and they "awaited his gnomic yet oracular pronouncements", which provided a guiding aspect to the movement as a whole.


text: John Lennon, former member of the Beatles, did most of his activism in his solo career with wife Yoko Ono. Given his immense fame due to the success of the Beatles, he was a very prominent movement figure with the constant media and press attention. Still being proactive on their honeymoon, the newlyweds controversially held a sit-in, where they sat in bed for a week answering press questions. They held numerous sit-ins, one where they first introduced their song "Give Peace a Chance". Lennon and Ono's song overshadowed many previous held anthems, as it became known as the ultimate anthem of peace in the 1970s, with their words "all we are saying ... is give peace a chance" being sung globally.


text: Within the United States military various servicemembers would organize to avoid military duties and individual actors would also carry out their own acts of resistance. The movement consisted of the self-organizing of active duty members and veterans in collaboration with civilian peace activists. By 1971 the United States military would become so demoralized that the military would have severe difficulties properly waging war.


text: There was a great deal of civic unrest on college campuses throughout the 1960s as students became increasingly involved in the Civil Rights Movement, Second Wave Feminism, and anti-war movement. Doug McAdam explains the success of the mass mobilization of volunteers for Freedom Summer in terms of "Biographical Availability", where individuals must have a certain degree of social, economic, and psychological freedom to be able to participate in large scale social movements. This explanation can also be applied to the Anti-War Movement because it occurred around the same time and the same biographical factors applied to the college-aged anti-war protesters. David Meyers (2007) also explains how the concept of personal efficacy affects mass movement mobilization. For example, according to Meyers' thesis, consider that American wealth increased drastically after World War II. At this time, America was a superpower and enjoyed great affluence after thirty years of depression, war, and sacrifice. Benjamin T. Harrison (2000) argues that the post World War II affluence set the stage for the protest generation in the 1960s. His central thesis is that the World Wars and Great Depression spawned a 'beat generation' refusing to conform to mainstream American values which lead to the emergence of the [Hippies] and the counterculture. The Anti-war movement became part of a larger protest movement against the traditional American Values and attitudes. Meyers (2007) builds off this claim in his argument that the "relatively privileged enjoy the education and affirmation that afford them the belief that they might make a difference." As a result of the present factors in terms of affluence, biographical availability (defined in the sociological areas of activism as the lack of restrictions on social relationships of which most likely increases the consequences of participating in a social movement), and increasing political atmosphere across the county, political activity increased drastically on college campuses. In one instance, John William Ward, then president of Amherst College, sat down in front of Westover Air Force Base near Chicopee, Massachusetts, along with 1000 students, some faculty, and his wife Barbara to protest against Richard Nixon's escalation of offensive bombing in Southeast Asia.


text: College enrollment reached 9 million by the end of the 1960s. Colleges and universities in America had more students than ever before, and these institutions often tried to restrict student behavior to maintain order on the campuses. To combat this, many college students became active in causes that promoted free speech, student input in the curriculum, and an end to archaic social restrictions. Students joined the antiwar movement because they did not want to fight in a foreign civil war that they believed did not concern them or because they were morally opposed to all war. Others disliked the war because it diverted funds and attention away from problems in the U.S. Intellectual growth and gaining a liberal perspective at college caused many students to become active in the antiwar movement. Another attractive feature of the opposition movement was the fact that it was a popular social event.


text: Most student antiwar organizations were locally or campus-based, including chapters of the very loosely co-ordinated Students for a Democratic Society, because they were easier to organize and participate in than national groups. Common antiwar demonstrations for college students featured attempts to sever ties between the war machine and universities through burning draft cards, protesting universities furnishing grades to draft boards, and protesting military and Dow Chemical job fairs on campus. From 1969 to 1970, student protesters attacked 197 ROTC buildings on college campuses. Protests grew after the Kent State shootings, radicalizing more and more students. Although the media often portrayed the student antiwar movement as aggressive and widespread, only 10% of the 2500 colleges in the United States had violent protests throughout the Vietnam War years. By the early 1970s, most student protest movements died down due to President Nixon's de-escalation of the war, the economic downturn, and disillusionment with the powerlessness of the antiwar movement.


text: Women were a large part of the antiwar movement, even though they were sometimes relegated to second-class status within the organizations or faced sexism within opposition groups. Some leaders of anti-war groups viewed women as sex objects or secretaries, not actual thinkers who could contribute positively and tangibly to the group's goals, or believed that women could not truly understand and join the antiwar movement because they were unaffected by the draft. Women involved in opposition groups disliked the romanticism of the violence of both the war and the antiwar movement that was common amongst male war protesters. Despite the inequalities, participation in various antiwar groups allowed women to gain experience with organizing protests and crafting effective antiwar rhetoric. These newfound skills combined with their dislike of sexism within the opposition movement caused many women to break away from the mainstream antiwar movement and create or join women's antiwar groups, such as Another Mother for Peace, Women's International League for Peace and Freedom (WILPF), and Women Strike for Peace (WSP), also known as Women For Peace. Female soldiers serving in Vietnam joined the movement to battle the war and sexism, racism, and the established military bureaucracy by writing articles for antiwar and antimilitary newspapers.


text: Mothers and older generations of women joined the opposition movement, as advocates for peace and people opposed to the effects of the war and the draft on the generation of young men. These women saw the draft as one of the most disliked parts of the war machine and sought to undermine the war itself through undermining the draft. Another Mother for Peace and WSP often held free draft counseling centers to give young men legal and illegal methods to oppose the draft. Members of Women For Peace showed up at the White House every Sunday for 8 years from 11 to 1 for a peace vigil. Such female antiwar groups often relied on maternalism, the image of women as peaceful caretakers of the world, to express and accomplish their goals. The government often saw middle-aged women involved in such organizations as the most dangerous members of the opposition movement because they were ordinary citizens who quickly and efficiently mobilized.


text: Many women in America sympathized with the Vietnamese civilians affected by the war and joined the opposition movement. They protested the use of napalm, a highly flammable jelly weapon created by the Dow Chemical Company and used as a weapon during the war, by boycotting Saran Wrap, another product made by the company.


text: Faced with the sexism sometimes found in the antiwar movement, New Left, and Civil Rights Movement, some women created their own organizations to establish true equality of the sexes. Some of frustrations of younger women became apparent during the antiwar movement: they desired more radical change and decreased acceptance of societal gender roles than older women activists. Female activists' disillusion with the antiwar movement led to the formation of the Women's Liberation Movement to establish true equality for American women in all facets of life.


text: In October 1967 the Senate Foreign Relations Committee held hearings on resolutions urging President Johnson to request an emergency session of the United Nations security council to consider proposals for ending the war.


text: In January 1971, just weeks into his first term, Congressman Ron Dellums set up a Vietnam war crimes exhibit in an annex to his Congressional office. The exhibit featured four large posters depicting atrocities committed by American soldiers embellished with red paint. This was followed shortly thereafter by four days of hearings on "war crimes" in Vietnam, which began April 25. Dellums, assisted by the Citizens Commission of Inquiry, had called for formal investigations into the allegations, but Congress chose not to endorse these proceedings. As such, the hearings were "ad hoc" and only informational in nature. As a condition of room use, press and camera presence were not permitted, but the proceedings were transcribed.


text: In addition to [Ron Dellums] (Dem-CA), an additional 19 Congressional representatives took part in the hearings, including: Bella Abzug (Dem-NY), Shirley Chisholm (Dem-NY), Patsy Mink (Dem-HI), Parren Mitchell (Dem-MD), John Conyers (Dem-MI), Herman Badillo (Dem-NY), James Abourezk (Dem-SD), Leo Ryan (Dem-CA), Phil Burton (Dem-CA), Don Edwards (Dem-CA), Pete McCloskey (Rep-CA), Ed Koch (Dem-NY), John Seiberling (Dem-OH), Henry Reuss (Dem-WI), Benjamin Stanley Rosenthal (Dem-NY), Robert Kastenmeier (Dem-WI), and Abner J. Mikva (Dem-IL).


text: The transcripts describe alleged details of U.S. military's conduct in Vietnam. Some tactics were described as "gruesome", such as the severing of ears from corpses to verify body count. Others involved the killing of civilians. Soldiers claimed to have ordered artillery strikes on villages which did not appear to have any military presence. Soldiers were claimed to use racist terms such as "gooks", "dinks" and "slant eyes" when referring to the Vietnamese.


text: Witnesses described that legal, by-the-book instruction was augmented by more questionable training by non-commissioned officers as to how soldiers should conduct themselves. One witness testified about "free-fire zones", areas as large as in which soldiers were free to shoot any Vietnamese they encountered after curfew without first making sure they were hostile. Allegations of exaggeration of body count, torture, murder and general abuse of civilians and the psychology and motivations of soldiers and officers were discussed at length.


text: In April and May 1971, the Senate Foreign Relations Committee, chaired by Senator J. William Fulbright, held a series of 22 hearings (referred to as the Fulbright Hearings) on proposals relating to ending the war. On the third day of the hearings, April 22, 1971, future Senator and 2004 presidential candidate John Kerry became the first Vietnam veteran to testify before Congress in opposition to the war. Speaking on behalf of Vietnam Veterans Against the War, he argued for the immediate, unilateral withdrawal of U.S. forces from Vietnam. During nearly two hours of discussions with committee members, Kerry related in some detail the findings of the Winter Soldier Investigation, in which veterans had described personally committing or witnessing atrocities and war crimes.


text: The American public's support of the Vietnam War decreased as the war continued on. As public support decreased, opposition grew.


text: The Gallup News Service began asking the American public whether it was a "mistake to send troops to Vietnam" in August 1965. At the time less than a quarter of Americans polled, 24%, believed it was a mistake to send troops to Vietnam while 60% of Americans polled believed the opposite. Three years later, in September 1968, 54% of Americans polled believed it was a mistake to send troops to Vietnam while 37% believed it was not a mistake.


text: A 1965 Gallup Poll asked the question, "Have you ever felt the urge to organize or join a public demonstration about something?" Positive responses were quite low; not many people wanted to protest anything, and those who did want to show a public demonstration often wanted to demonstrate in support of the Vietnam War. However, when the American Public was asked in 1990, "Looking back, do you wish that you had made a stronger effort to protest or demonstrate against the Vietnam War, or not", 25 percent said they wished they had.


text: A major factor in the American public's disapproval of the Vietnam War came from the casualties being inflicted on US forces. In a Harris poll from 1967 asking what aspect most troubled people most about the Vietnam war the plurality answer of 31% was "the loss of our young men." A separate 1967 Harris poll asked the American public how the war affected their family, job or financial life. The majority of respondents, 55%, said that it had had no effect on their lives. Of the 45% who indicated the war had affected their lives, 32% listed inflation as the most important factor, while 25% listed casualties inflicted.


text: As the war continued, the public became much more opposed to the war, seeing that it was not ending. In a poll from December 1967, 71% of the public believed the war would not be settled in 1968. A year later the same question was asked and 55% of people did not think the war would be settled in 1969.


text: When the American public was asked about the Vietnam-era Anti-War movement in the 1990s, 39% of the public said they approved, while 39% said they disapproved. The last 22% were unsure.


text: The opposition to the United States' involvement in the Vietnam War had many effects, which arguably led to the eventual end of the involvement of the United States. Howard Zinn, a controversial historian, states in his book "A People's History of the United States" that, "in the course of the war, there developed in the United States the greatest antiwar movement the nation had ever experienced, a movement that played a critical role in bringing the war to an end."


text: An alternative point of view is expressed by Michael Lind. Citing public polling data on protests during the war he claimed that: "The American public turned against the Vietnam War not because it was persuaded by the radical and liberal left that it was unjust, but out of sensitivity to its rising costs."


text: The first effect the opposition had that led to the end of the war was that fewer soldiers were available for the army. The draft was protested and even ROTC programs too. Howard Zinn first provides a note written by a student of Boston University on May 1, 1968, which stated to his draft board, "I have absolutely no intention to report for that exam, or for induction, or to aid in any way the American war effort against the people of Vietnam ..." The opposition to the United States' involvement in the Vietnam War had many effects, which led to the eventual end of the involvement of the United States. This refusal letter soon led to an overflow of refusals ultimately leading to the event provided by Zinn stating, "In May 1969 the Oakland induction center, where draftees reported from all of Northern California, reported that of 4,400 men ordered to report for induction, 2,400 did not show up. In the first quarter of 1970 the Selective Service System, for the first time, could not meet its quota."


text: The fewer numbers of soldiers as an effect of the opposition to the war also can be traced to the protests against the ROTC programs in colleges. Zinn argues this by stating, "Student protests against the ROTC resulted in the canceling of those programs in over forty colleges and universities. In 1966, 191,749 college students enrolled in ROTC. By 1973, the number was 72,459." The number of ROTC students in college drastically dropped and the program lost any momentum it once had before the anti-war movement.


text: A further effect of the opposition was that many college campuses were completely shut down due to protests. These protests led to wear on the government who tried to mitigate the tumultuous behavior and return the colleges back to normal. The colleges involved in the anti-war movement included ones such as, Brown University, Kent State University, and the University of Massachusetts. Even at The College of William and Mary unrest occurred with protests by the students and even some faculty members that resulted in "multiple informants" hired to report to the CIA on the activities of students and faculty members.


text: At the University of Massachusetts, "The 100th Commencement of the University of Massachusetts yesterday was a protest, a call for peace", "Red fists of protest, white peace symbols, and blue doves were stenciled on black academic gowns, and nearly every other senior wore an armband representing a plea for peace." Additionally, "At Boston College, a Catholic institution, six thousand people gathered that evening in the gymnasium to denounce the war." At Kent State University, "on May 4, when students gathered to demonstrate against the war, National Guardsmen fired into the crowd. Four students were killed." Finally, "At the Brown University commencement in 1969, two-thirds of the graduating class turned their backs when Henry Kissinger stood up to address them." Basically, from all of the evidence here provided by the historians, Zinn and McCarthy, the second effect was very prevalent and it was the uproar at many colleges and universities as an effect of the opposition to the United States' involvement in Vietnam.


text: Another effect the opposition to the war had was that the American soldiers in Vietnam began to side with the opposition and feel remorse for what they were doing. Zinn argues this with an example in which the soldiers in a POW camp formed a peace committee as they wondered who the enemy of the war was, because it certainly was not known among them. The statement of one of the soldiers reads,


text: Until we got to the first camp, we didn't see a village intact; they were all destroyed. I sat down and put myself in the middle and asked myself: Is this right or wrong? Is it right to destroy villages? Is it right to kill people en masse? After a while it just got to me.


text: Howard Zinn provides that piece of evidence to reiterate how all of this destruction and fighting against an enemy that seems to be unknown has been taking a toll on the soldiers and that they began to sense a feeling of opposition as one effect of the opposition occurring in the United States.


text: The protest on June 23 in Los Angeles is singularly significant. It was one of the first massive war protests in the United States and the first in Los Angeles. Ending in a clash with riot police, it set a pattern for the massive protests which followed and due to the size and violence of this event, Johnson attempted no further public speeches in venues outside military bases.


title: Onyx (hip hop group)

text: Onyx is an American hardcore hip hop group from South Jamaica, Queens, New York City, formed in 1988 by Fredro Starr, Suavé (also known as Sonny Seeza) and the late Big DS. Sticky Fingaz joined the group in 1991.


title: Onyx (hip hop group)

text: They are best known for their 1993 platinum hit single "Slam", which "The Source" magazine described as a song that introduce the art of slam dancing into hip-hop. The group has released eight studio albums, three of which have charted in the "Billboard" 200 albums chart Top 25. Their debut album, "Bacdafucup", has been certified platinum, won Best Rap Album at the Soul Train Music Awards and was selected as one of "The Source" magazine's 100 Best Rap Albums.


title: Onyx (hip hop group)

text: They are also notable for their style: loud screaming, aggression, fighting with each other, stage diving, throwing water, rapping with grimy voices, and bald head fashion.


title: Onyx (hip hop group)

text: Onyx was formed in 1988 by schoolmates Fredro Starr, Sonny Seeza, and Big DS. They decided to name the band after the onyx stone. The band began recording their first demos in the basement of B-Wiz with drum machine beats from an SP-12. In 1989, Onyx signed Jeffrey Harris as their manager, who helped them secure a contract with the label Profile Records. On April 25, 1990, the group released their first single, "Ah, And We Do It Like This", to low sales. On July 13, 1991, while in a traffic jam at The Jones Beach GreekFest Festival, the band members met music producer Jam Master Jay, who agreed to give them two months to submit a demo to his record company. When the deadline came, Seeza and Big DS couldn't make it to the studio to record the demo, so Jeffrey Harris, the manager of Onyx, asked Fredro to come to the studio with his cousin, Kirk Jones, who at the time was doing a solo career under the name Trop. Fredro and Jones recorded two records for the demo, "Stik 'N' Muve" and "Exercise". The demo were accepted by Jam Master Jay, who signed the band to his record label, Jam Master Jay Records. Jones subsequently joined the band with the stage name Sticky Fingaz. In 1991 the band lost all of its records when its music producer, B-Wiz, was killed while selling cocaine in Baltimore. Later that year, Onyx hired Chyskillz as its new music producer.


title: Onyx (hip hop group)

text: In 1993, Onyx released their debut album, entitled "Bacdafucup". The album proved to be successful, receiving a platinum certification from the RIAA and peaked at #10 on the "Billboard" 200, the group's highest debut at that point. In 1998, the album was selected as one of The Source's "100 Best Albums". Three of the album's songs reached the "Billboard" charts; "Throw Ya Gunz", "Slam", and "Shiftee". Their breakout single, "Slam", was aired on MTV and BET, causing the song to reach #4 on the "Billboard" Hot 100. "Slam" was certified Platinum by the RIAA on August 10, 1993. In 1994, Big DS left the group to start a solo career, producing music under his own record label called Illyotic Music. In 1995 Onyx released its second album, "All We Got Iz Us", and founded its own record label, Armee Records, distributed through MCA Records. Through its record label, the band produced music by Gang Green, All City, Panama P.I., and Choclatt. In April 1995 Marvel Music, a short-lived imprint of Marvel Comics, released a comic book based on the band called "Onyx: Fight!". Written by Karl Bollers and drawn by Larry Lee, the comic depicted a post-apocalyptic New York City where Onyx forms an underground rebellion. In 1998 the band released their third album "Shut 'Em Down", which featured appearances from other bands, including X-1, DMX, 50 Cent, All City, Mr. Cheeks, Wu-Tang Clan, N.O.R.E., and Big Pun. Produced by Keith Horne, Self, and others, the album peaked at #10 on the "Billboard" 200, selling 500,000 units. Three of the album's songs reached the "Billboard" charts; The Worst, Shut 'Em Down, and React. "Shut 'Em Down" was Onyx's last album on the Def Jam Recordings label.


title: Onyx (hip hop group)

text: In 2001, Onyx released their fourth album, "Bacdafucup Part II", through Koch Records. Produced by Davinci, DR Period, and others, the album included twelve new tracks, including "Feel Me", which was recorded on the night of September 11, 2001, and was dedicated to the events that had happened that day. In 2003 Onyx released their fifth album, "Triggernometry", consisting of ten new tracks, with eleven stories from the lives the group's members in between the tracks. On May 22, 2003, former Onyx member Big DS died in a hospital in Queens, New York at the age of 31 after receiving chemotherapy for lymphatic cancer. Onyx released a sixteen-track collection of previously unreleased songs "Cold Case Files" through "Iceman Music Group" on August 19, 2008. The collection features underground singles, lost studio recordings from the group's first three albums, and appearances from Method Man, deceased Onyx affiliate X1, and Gang Green. In 2009, Onyx was planning to release an album called "Black Rock", but postponed its release due to the release of another rap album called "Blakroc". The same year, Sonny Seeza left the band to begin a solo career. On October 31, 2012, after having returned from an overseas tour, Onyx released the first track of their upcoming album "CUZO" on YouTube. Despite announcing that the "CUZO" album would be released on September 5, 2013, it was never released. In August 2012, Onyx released their second compilation album, titled "Cold Case Files Vol. 2".


title: Onyx (hip hop group)

text: On March 18, 2014, Onyx released their first album in over a decade, called "Wakedafucup". Released through "Goon MuSick", the album is entirely produced by Snowgoons. The album features guest appearances from Sean Price, Papoose, Cormega, Reks, Snak the Ripper, and ASAP Ferg. "WakeDaFucUp" was named by "XXL" as one of the best hip-hop albums of 2014. In 2014, X-Ray Records (a division of Cleopatra Records) released a compilation of Onyx's unreleased songs called "#TURNDAFUCUP". The collection mainly contained songs from the unreleased album "CUZO", in addition to modern trap style remixes of several of their older songs. It featured guest appearances by Busta Rhymes, Raekwon, Myster DL, Ras Kass, and Ill Bill. In 2015, Onyx released "Against All Authorities", a six track EP protesting racial injustice and police brutality in the United States. The EP was produced by Canadian producer Scopic and features appearances by Sick Flo, Ras Kass, Jasia'n, and Canadian rapper Merkules. Later that year, Def Jam released an eleven-track compilation of Onyx's classic songs called "ICON". On November 22, 2015, Snowgoons attempted to raise funds on Kickstarter for a new project called "Onyx vs. M.O.P.", planned to be a new collaboration album that would have been released in spring of the next year. Because the project only received $10,000 out of its $30,000 goal, it was canceled on December 18, 2015. In 2017, Onyx collaborated with the Dutch hardcore hip hop group Dope D.O.D. to release the collaboration album "Shotgunz In Hell". The album features appearances by Sick Flo, Snak the Ripper, Dopey Rotten, and DJ Nelson.


title: Onyx (hip hop group)

text: On May 31, 2019, the album "100 Mad" was released, the title referring to Onyx's artist collective. Production on the album included Snowgoons and The Alchemist, and guest vocalists included Conway The Machine, Tha God Fahim, Jay Nice, Planet Asia, Termanology and more.


title: Onyx (hip hop group)

text: In July 2019, Onyx announced the release of a new compilation of unreleased songs called "Lost Treasures". The cover for this compilation was drawn by a designer from Russia. The compilation was released through X-Ray Records on February 7, 2020.


title: Onyx (hip hop group)

text: On November 15, 2019, the group released the eighth studio album "SnowMads", entirely produced by Snowgoons. Among the guests on the album were rappers Bumpy Knuckles aka Freddy Foxxx, Flee Lord, Nems, SickFlo, Knuckles of NBS and Ufo Fev. The album was chosen as "The best rap album of 2019" by the Russian website Rap.Ru, as well as "one of the best rap albums of 2019" by the editors of the Russian website HipHop4Real. The album was featured on a Russian late-night talk show "Evening Urgant" hosted by Ivan Urgant on Channel One, where Onyx performed their most famous hit "Slam", as well as on the Bulgarian show "Шоуто на Николаос Цитиридис" on bTV, where members of the group gave an interview and performed the song "Kill Da Mic".


title: Onyx (hip hop group)

text: In 2020, Lords Of The Underground released a video for the song "Whats Up", recorded with Onyx, later was released a single for this song.


title: Onyx (hip hop group)

text: On April 9, 2021, the group released their ninth studio album, "Onyx 4 Life". The album features rappers Mad Lion, Cappadonna, Panama P.I., Planet Asia, SickFlo and Snak the Ripper. Music for the album was produced by Chilean beatmakers Crack Brodas (DJ Audas and El Bruto CHR). Onyx released a two visuals for "Coming Outside" and "Ahh Yeah". The cover for the new album was painted by the Russian tattoo artist Alexey Mashkow.


title: Onyx (hip hop group)

text: In 1994, for the album "Bacdafucup", Onyx was nominated for "Favorite New Rap/Hip-Hop Artist" at the American Music Awards and won "Best Rap Album" at the Soul Train Music Awards. Onyx was also nominated five times at The Source Hip Hop Music Awards ceremony in 1994.


title: Onyx (hip hop group)

text: At the end of 1993, the US magazines "Billboard" and "Cashbox" placed Onyx on several of their final annual charts. In 1996, CMJ New Music Monthly placed the album "All We Got Iz Us" in their list "The 25 Best Hip-Hop Albums of 1995". In 2014, "#WakeDaFucUp" was named as one of the best hip-hop albums of 2014 by "XXL". In 2020, "SnowMads" was chosen as "The Best Rap Album of 2019: Readers' Choice" by the Russian website Rap.Ru.


title: The Story of Little Black Sambo

text: The Story of Little Black Sambo is a children's book written and illustrated by Scottish author Helen Bannerman and published by Grant Richards in October 1899. As one in a series of small-format books called The Dumpy Books for Children, the story was popular for more than half a century.


title: The Story of Little Black Sambo

text: Critics of the time observed that Bannerman presents one of the first black heroes in children's literature and regarded the book as positively portraying black characters in both the text and pictures, especially in comparison to books of that era that depicted black people as simple and uncivilised. However, it became an object of allegations of racism in the mid-20th century due to the names of the characters being racial slurs for dark-skinned people, and the fact that the illustrations were, as Langston Hughes expressed it, in the pickaninny style. In more recent editions, both text and illustrations have undergone considerable revision.


title: The Story of Little Black Sambo

text: Sambo is a South Indian boy who lives with his father and mother, named Black Jumbo and Black Mumbo, respectively. While out walking, Sambo encounters four hungry tigers, and he surrenders his colourful new clothes, shoes and umbrella so that they will not eat him. The tigers are vain and each thinks that it is better dressed than the others. They have a massive argument and chase each other around a tree until they are reduced to a pool of ghee (clarified butter). Sambo recovers his clothes and goes home, and his father later collects the ghee, which his mother uses to make pancakes.


title: The Story of Little Black Sambo

text: The book's original illustrations were created by the author and were simple in style, and depicted Sambo as a Southern Indian or Tamil child. "Little Black Sambo"s success led to many counterfeit, inexpensive, easily available versions that incorporated popular stereotypes of "black" peoples. One example was a 1908 edition illustrated by John R. Neill, best known for his illustration of the Oz books by L. Frank Baum. In 1932, Langston Hughes criticised "Little Black Sambo" as a typical "pickaninny" storybook which was hurtful to black children, and gradually the book disappeared from lists of recommended stories for children.


title: The Story of Little Black Sambo

text: In 1942, Saalfield Publishing Company released a version of "Little Black Sambo" illustrated by Ethel Hays. In 1943, Julian Wehr created an animated version. During the mid-20th century, some American editions of the story, including a 1950 audio version on Peter Pan Records, changed the title to the racially neutral "Little Brave Sambo".


title: The Story of Little Black Sambo

text: The book is beloved in Japan and is not widely considered controversial there. was first published in Japan by Iwanami Shoten Publishing in 1953. The book was an unlicensed version of the original, and it contained drawings by Frank Dobias that had appeared in a U.S. edition published by Macmillan Publishers in 1927. Sambo was illustrated as an African boy rather than as an Indian boy. (Note that tigers are not indigenous to Africa.) Although it did not contain Bannerman's original illustrations, this book was long mistaken for the original version in Japan. It sold over 1,000,000 copies before it was removed from shelves in 1988, when The Association to Stop Racism Against Blacks launched a complaint against all major publishers in Japan that published variations of the story, which, in turn, triggered self-censorship among those publishers. In 2005, after copyright of the 1953 Iwanami Shoten Publishing edition of the book expired, Zuiunsya reprinted the original version and sold more than 150,000 copies within five months' time, and Kodansha and Shogakukan, the two largest publishers in Japan, published official editions. These are still in print, and as of August 2011, an equally controversial "side story" for "Little Black Sambo", called "Ufu and Mufu", is being sold and merchandised in Japan. The reprinting caused criticism from media outside Japan, such as the "Los Angeles Times".


title: The Story of Little Black Sambo

text: In 1961, Whitman Publishing Company released an edition illustrated by Violet LaMont. Her colorful pictures show an Indian family wearing bright Indian clothes. The story of the boy and the tigers is as described in the plot section above.


title: The Story of Little Black Sambo

text: In 1996, illustrator Fred Marcellino observed that the story itself contained no racist overtones and produced a re-illustrated version, "The Story of Little Babaji", which changed the characters' names but otherwise left the text unmodified.


title: The Story of Little Black Sambo

text: Julius Lester, in his "", also published in 1996, recast "Sam" as a hero of the mythical Sam-sam-sa-mara, where all the characters were named "Sam".


title: The Story of Little Black Sambo

text: A 2003 printing with the original title substituted more racially sensitive illustrations by Christopher Bing, portraying Sambo, in his publisher's words, as "a glorious and unabashedly African child". It was chosen for the Kirkus 2003 Editor's Choice list. Some critics remained unsatisfied. Alvin F. Poussaint said of the 2003 publication: "I don't see how I can get past the title and what it means. It would be like ... trying to do 'Little Black Darky' and saying, 'As long as I fix up the character so he doesn't look like a darky on the plantation, it's OK.


title: The Story of Little Black Sambo

text: In 1997, Kitaooji Shobo Publishing in Kyoto obtained formal license from the UK publisher, and republished the work under the title of "Chibikuro Sampo" (In Japanese, "Chibi" means "little,""kuro" means black, and "Sampo" means a stroll, a kind of pun for the original word "Sambo"). The protagonist is depicted as a black Labrador puppy that goes for a stroll in the jungle; no humans appear in the edition. The Association To Stop Racism Against Blacks still refers to the book in this edition as discriminatory.


title: The Story of Little Black Sambo

text: Bannerman's original was first published with a translation of Masahisa Nadamoto by Komichi Shobo Publishing, Tokyo, in 1999.


title: The Story of Little Black Sambo

text: In 2004, a Little Golden Books edition was published under the title "The Boy and the Tigers", with new names and illustrations by Valeria Petrone. The boy is called Little Rajani.


title: The Story of Little Black Sambo

text: Because Iwanami's copyright expired fifty years after its first appearance, the Iwanami version, with its controversial Dobias illustrations and without the proper copyright, was re-released in April 2005 in Japan by a Tokyo-based publisher Zuiunsya.


title: The Story of Little Black Sambo

text: The story was retold as "Little Kim" in a storybook and cassette as part of the "Once Upon a Time" Fairy Tale Series where Sambo is called "Kim", his father Jumbo is "Tim" and his mother Mumbo is "Sim".


title: The Story of Little Black Sambo

text: A board game was produced in 1924, and re-issued in 1945, with different artwork. Essentially, the game followed the storyline, starting and ending at home.


title: The Story of Little Black Sambo

text: In 1939, Little Nipper (RCA Records for children) issued, in addition to a record storybook set of the traditional story, a two 45-RPM record storybook set entitled "Little Black Sambo's Jungle Band", narrated by Paul Wing. In the story, Little Black Sambo (in India) goes for a walk in the jungle and encounters a variety of animals, each, in the style of "Peter and the Wolf" (which had been composed by Sergei Prokofiev three years before), with its own distinctive instrument (e.g., an elephant with a tuba, a "big baboon with a big bassoon", a honey bear with a "perfectly peach piccolo", and a long green snake "playing its scales"). Each animal plays a distinctive song for him, and then they elect him to be their band director. By trial and error, Sambo trains the animals to play and harmonize together. In short, he is the talented hero of the story.


title: The Story of Little Black Sambo

text: Columbia Records issued a 1946 version on two 78 RPM records with narration by Don Lyon. It was issued in a folder with artwork showing Sambo to be quite black indeed, though the narrative preserves the locale as India.


title: The Story of Little Black Sambo

text: In 1961, HMV Junior Record Club issued a dramatised version – words by David Croft, music by Cyril Ornadel – with Susan Hampshire in the title role and narrated by Ray Ellington.


title: The Story of Little Black Sambo

text: The visual novel "" (as well as its anime adaptation) references "The Story of Little Black Sambo" in the second chapter of the story. When Mondo Owada (voiced by Kazuya Nakai) is found guilty of murdering fellow student Chihiro Fujisaki (voiced by Kōki Miyata) in a jealous rage, the headmaster of the academy Monokuma (voiced by Nobuyo Ōyama) executes him in the Motorcycle Death Cage. In said execution, Owada is tied to the back of a Crazy Diamonds motorcycle with no means of escaping and sent to spin in constant circles in a large steel cage; spinning at such a fast rate inside the cage as it becomes charged with electricity which causes Mondo to be electrocuted to a point of liquefying into a butter-like substance that is packaged as "Mondo Butter". "Little Black Sambo" (痴美苦露惨母) is seen written in kanji on the back of the motorcycle at the beginning of the execution; and the tiger design on the motorcycle used in the execution, as well as the two bobbing tiger panels placed on both sides of the death cage, are a clear reference to this story.


title: The Story of Little Black Sambo

text: The novel "The Green Mile" and its movie adaptation depict a scene in which prison inmate Wild Bill Wharton (played by Sam Rockwell in the film) stuffs a Moon Pie into his mouth and spits it out into the face of prison guard Brutus "Brutal" Howell (played by David Morse in the film), leaving a chocolatey mess on his face. He laughs at Howell and says, “Li’l Black Sambo, yassuh, boss, yassuh, how"doo" you do?”


title: The Story of Little Black Sambo

text: The novel "Fahrenheit 451" by Ray Bradbury references "Little Black Sambo" in Part One: The Hearth and the Salamander as Captain Beatty discusses literature with Guy Montag: "Colored people don't like "Little Black Sambo". Burn it. White people don't feel good about "Uncle Tom's Cabin." Burn it."


title: The Story of Little Black Sambo

text: Lil' Sambo's is a restaurant founded in 1957 in Lincoln City, Oregon named after the fictional character.


title: The Story of Little Black Sambo

text: Sambo's was a popular U.S. restaurant chain of the 1950s through 1970s that borrowed characters from the book (including Sambo and the tigers) for promotional purposes, although the Sambo name was originally a blend of the founders' names and nicknames: Sam (Sam Battistone) and Bo (Newell Bohnett). For a period in the late 1970s, some locations were renamed "The Jolly Tiger". The controversy about the book led to accusations of racism that contributed to the 1,117-restaurant chain's demise in the early 1980s. Images inspired by the book (now considered by some to be racially insensitive) were common interior decorations in the restaurants. Though portions of the original chain were renamed "No Place Like Sam's" to try to forestall closure, all but the original restaurants in Santa Barbara, California had closed by 1983. The original location, owned by Battistone's grandson Chad Stevens, existed in Santa Barbara under the name "Sambo's" until June 2020. The name on the restaurant's sign was temporarily changed to the motto "☮ & LOVE" due to pressure from the Black Lives Matter group during the George Floyd protests and a separate signature drive that collected thousands of signatures. In July 2020, the restaurant was officially renamed "Chad's".


title: Platanus occidentalis

text: Platanus occidentalis, also known as American sycamore, American planetree, western plane, occidental plane, buttonwood, and water beech, is a species of "Platanus" native to the eastern and central United States, the mountains of northeastern Mexico, extreme southern Ontario, and possibly extreme southern Quebec. It is usually called sycamore in North America, a name which can refer to other types of trees in other parts of the world. The American sycamore is a long-lived species, typically surviving at least 200 years and likely as long as 500–600 years.


title: Platanus occidentalis

text: The species epithet "occidentalis" is Latin for "western", referring to the Western Hemisphere, because at the time when it was named by Carl Linnaeus, the only other species in the genus was "P. orientalis" ("eastern"), native to the Eastern Hemisphere.


title: Platanus occidentalis

text: An American sycamore tree can often be easily distinguished from other trees by its mottled bark which flakes off in large irregular masses, leaving the surface mottled and gray, greenish-white and brown. The bark of all trees has to yield to a growing trunk by stretching, splitting, or infilling, but sycamore bark is more rigid and less elastic than the bark of other trees, so to accommodate the growth of the wood underneath, the tree sheds it in large, brittle pieces.


title: Platanus occidentalis

text: A sycamore can grow to massive proportions, typically reaching up to high and in diameter when grown in deep soils. The largest of the species have been measured to , and nearly in diameter. Larger specimens were recorded in historical times. In 1744, a Shenandoah Valley settler named Joseph Hampton and two sons lived for most of the year in a hollow sycamore in what is now Clarke County, Virginia. In 1770, at Point Pleasant, Virginia (now in West Virginia), near the junction of the Kanawha and Ohio Rivers, George Washington recorded in his journal a sycamore measuring in circumference at from the ground.


title: Platanus occidentalis

text: The sycamore tree is often divided near the ground into several secondary trunks, very free from branches. Spreading limbs at the top make an irregular, open head. Roots are fibrous. The trunks of large trees are often hollow.


title: Platanus occidentalis

text: Another peculiarity is the way the leaves grow sticky, green buds. In early August, most trees in general will have—nestled in the axils of their leaves—the tiny forming bud which will produce the leaves of the coming year. The sycamore branch apparently has no such buds. Instead there is an enlargement of the petiole which encloses the bud in a tight-fitting case at the base of the petiole.


title: Platanus occidentalis

text: In its native range, it is often found in riparian and wetland areas. The range extends from Iowa to Ontario and New Hampshire in the north, Nebraska in the west, and south to Texas and Florida. It is apparently extirpated from Maine. Closely related species (see "Platanus") occur in Mexico and the southwestern states of the United States. It is sometimes grown for timber, and has become naturalized in some areas outside its native range. It can be found growing successfully in Bismarck, North Dakota, and it is sold as far south as Okeechobee. The American sycamore is also well adapted to life in Argentina and Australia and is quite widespread across the Australian continent especially in the cooler southern states such as Victoria and New South Wales.


title: Platanus occidentalis

text: American sycamore is found most commonly in bottomland or floodplain areas, thriving in the wet environments provided by rivers, streams, or abundant groundwater, though it will die after being flooded for more than two weeks at a time. Its life cycle follows the pattern of a "weedy" species: it grows mature enough to reproduce rather young and produces large numbers of wind-distributed seeds. The dominance of sycamore in a forest depends on the conditions where it grows; it is often a pioneer species, but in the wet sites that are most ideal for it, it persists as a subclimax to climax species, partly because of its fast growth and very long lifespan.


title: Platanus occidentalis

text: As one of the largest trees in the wet bottomland habitats where it dominates, it is a key component of the structure of those habitats. The heartwood of a sycamore tree decays quickly, producing large hollow cavities in the center of the trees which are used by many animals as nesting sites. The largest hollow trees can be big enough for black bear dens, but average trees create homes for bats and cavity-nesting birds like wood ducks, barred owls, screech owls, chimney swift, and great-crested flycatcher.


title: Platanus occidentalis

text: American sycamore is the host plant of the sycamore tussock moth, a species which specializes in it, and a major host plant for the drab prominent moth. This plant is also the first host known for "Plagiognathus albatus".


title: Platanus occidentalis

text: The American sycamore is able to endure a big city environment and was formerly extensively planted as a shade tree, but due to the defacing effects of anthracnose it has been largely usurped in this function by the resistant London plane.


title: Platanus occidentalis

text: Its wood has been used extensively for butcher's blocks. It has been used for boxes and crates; although coarse-grained and difficult to work, it has also been used to make furniture, siding, and musical instruments.


title: Platanus occidentalis

text: The tree bark has traditionally been used by Native Americans to make little dishes for gathering whortleberries.


title: Platanus occidentalis

text: American sycamore is susceptible to plane anthracnose disease ("Apiognomonia veneta", syn. "Gnomonia platani"), an introduced fungus found naturally on the Oriental plane "P. orientalis", which has evolved considerable resistance to the disease. Although rarely killed or even seriously harmed, American sycamore is commonly partially defoliated by the disease, rendering it unsightly as a specimen tree.


title: Platanus occidentalis

text: Sometimes mistaken for frost damage, the disease manifests in early spring, wilting new leaves and causing mature leaves to turn brown along the veins. Infected leaves typically shrivel and fall, so that by summer the tree is regrowing its foliage. Cankers form on twigs and branches near infected leaves, serving to spread the disease by spore production and also weakening the tree. Because cankers restrict the flow of nutrients, twigs and branches afflicted by cankers eventually die. Witch's broom is a symptom reflecting the cycle of twigs dying.


title: Platanus occidentalis

text: As a result of the fungus' damage, American sycamore is often avoided as a landscape tree, and the more resistant London plane ("P. × hispanica"; hybrid "P. occidentalis × P. orientalis") is planted instead.


title: Platanus occidentalis

text: The terms under which the New York Stock Exchange was formed are called the "Buttonwood Agreement," because it was signed under a buttonwood (sycamore) tree at 68 Wall Street, New York City in 1792.


title: Platanus occidentalis

text: The sycamore made up a large part of the forests of Greenland and Arctic America during the Cretaceous and Tertiary periods. It once grew abundantly in central Europe, from which it has now disappeared. It was brought to Europe early in the 17th century.


title: Gerry and the Pacemakers

text: Gerry and the Pacemakers were a British beat group prominent in the 1960s Merseybeat scene. In common with the Beatles, they came from Liverpool, were managed by Brian Epstein, and were recorded by George Martin. Their early successes alongside the Beatles were instrumental in popularizing the Merseybeat sound and launching the wider British beat boom of the mid-1960s.


title: Gerry and the Pacemakers

text: They were the first act to reach number one in the UK Singles Chart with their first three single releases: "How Do You Do It?", "I Like It" and "You'll Never Walk Alone". This record was not equalled for 20 years, until the mid-1980s success of fellow Liverpool band Frankie Goes to Hollywood. Another of their most famous songs, "Ferry Cross the Mersey", refers to the River Mersey, which flows past Liverpool, and was the title song for the film of the same name. The group also enjoyed some success in North America as part of the British Invasion with seven of their singles reaching the US top 40, the most popular being "Don't Let the Sun Catch You Crying".


title: Gerry and the Pacemakers

text: Gerry Marsden formed the group in 1956 with his brother Fred, Les Chadwick, and Arthur McMahon. They rivalled the Beatles early in their career, playing in the same areas of Hamburg and Liverpool. McMahon (known as Arthur Mack) was replaced on piano by Les Maguire around 1961. The group's original name was Gerry Marsden and the Mars Bars, but they were forced to change this when the Mars Company, producers of the chocolate Mars bar, complained.


title: Gerry and the Pacemakers

text: The band was the second to sign with Brian Epstein, who later signed them to Columbia Records (a sister label to the Beatles' label Parlophone under EMI). They began recording in January 1963 with "How Do You Do It?", a song written by Mitch Murray. The song was produced by George Martin and became a number one hit in the UK, the first by an Epstein-managed Liverpool group to achieve this on all charts. "How Do You Do It?" was also reluctantly recorded by the Beatles (they eventually convinced Martin to let them release their song "Love Me Do" as a single instead).


title: Gerry and the Pacemakers

text: Gerry and the Pacemakers' next two singles, Murray's "I Like It" and Rodgers and Hammerstein's "You'll Never Walk Alone", both also reached number one in the UK Singles Chart, the latter recorded instead of the Beatles' "Hello Little Girl". "You'll Never Walk Alone" had been a favourite of Marsden's since seeing "Carousel" when he was growing up. It quickly became the signature tune of Liverpool Football Club and, later, other sports teams around the world. The song remains a football anthem. The group narrowly missed a fourth consecutive number one when "I'm the One" was kept off the top spot for two weeks in February 1964 by fellow Liverpudlians The Searchers' "Needles and Pins".


title: Gerry and the Pacemakers

text: Despite this early success, Gerry and the Pacemakers never had another number one single in the UK. Marsden began writing most of their songs, including "I'm the One", "It's Gonna Be All Right" and "Ferry Cross the Mersey", as well as their first and biggest US hit, "Don't Let the Sun Catch You Crying" (Laurie 3251), which peaked at No. 4.


title: Gerry and the Pacemakers

text: The band also starred in the early 1965 film, "Ferry Cross the Mersey" for which Marsden wrote much of the soundtrack. The film is sometimes referred to as "Gerry and the Pacemakers' version of "A Hard Day's Night"". The title song was revived in 1989 as a charity single for an appeal in response to the Hillsborough football crowd disaster, giving Marsden – in association with other Liverpool stars, including Paul McCartney, Ringo Starr and Frankie Goes to Hollywood's Holly Johnson – another British number one.


title: Gerry and the Pacemakers

text: In the US, their recordings were released by the small New York City record label Laurie in 1963, with which they issued four singles without success. When the Beatles broke through in January 1964, Laurie's next regular single release of "Don't Let the Sun Catch You Crying" (Laurie 3284) became a big hit and, during 1964, Laurie coupled "How Do You Do It?" with "You'll Never Walk Alone" (Laurie 3261), and "I Like It" with "Jambalaya (On the Bayou)" (Laurie 3271), with some success. They appeared in the landmark concert film "T.A.M.I. Show", released in December 1964, performing alongside Chuck Berry.


title: Gerry and the Pacemakers

text: By late 1965, their popularity was rapidly declining on both sides of the Atlantic. They disbanded sometime in early to mid 1967, with much of their later recorded material never released in the UK. Gerry Marsden became a popular cabaret and children's TV entertainer. He and his pianist Jose McLaughlin reformed the Pacemakers in 1972 with fellow Liverpool musicians Billy Kinsley and Pete Clarke.


title: Gerry and the Pacemakers

text: In April 1973, this second version of the group became the only Merseybeat band to ever record for the John Peel Show on BBC Radio. The tracks from that show have now been included on the album "Gerry and the Pacemakers Live at the BBC", released on Parlophone Records in October 2018. Since then, Marsden occasionally toured with various line-ups of the band on the oldies circuit.


title: Gerry and the Pacemakers

text: Drummer Freddie Marsden opened the Pacemaker driving school in Formby. He died on 9 December 2006 in Southport, age 66.


title: Gerry and the Pacemakers

text: On 15 March 2017, Gerry Marsden collapsed onstage due to a sore knee while performing at a concert in Newport, Wales. After being helped offstage, Marsden did not return, but was quoted as saying the incident was "nothing serious".


title: Gerry and the Pacemakers

text: Gerry Marsden announced his retirement on 29 November 2018, in order to spend more time with family, but, on 6 June 2019, to commemorate Liverpool's win against Tottenham in the Champions League, he surprised Take That fans by singing "You'll Never Walk Alone" at their show at Anfield.


title: Plastic Beach

text: Plastic Beach is the third studio album by British virtual band Gorillaz. It was released on 3 March 2010 by Parlophone internationally and by Virgin Records in the United States. Conceived from an unfinished project called "Carousel", the album was recorded from June 2008 to November 2009, and was produced primarily by group co-creator Damon Albarn. It features guest appearances by such artists as Snoop Dogg, Gruff Rhys, De La Soul, Bobby Womack, Mos Def, Lou Reed, Mark E. Smith, Bashy, Kano and Little Dragon.


title: Plastic Beach

text: "Plastic Beach" received mostly positive reviews, and was later named one of the decade's best albums by several critics. In 2020, the album was ranked at 74 on the 100 Best Albums of the Century list by "Stacker". The album debuted at number two on the UK Albums Chart, selling approximately 74,432 copies in its first week. It debuted at number two on the US "Billboard" 200 with 112,000 copies sold in its first week; overall it reached the top 10 in 22 countries in total.


title: Plastic Beach

text: The creators of Gorillaz, musician Damon Albarn and artist Jamie Hewlett, began working on a new Gorillaz project in November 2007 called "Carousel", which evolved into "Plastic Beach", the group's third studio album. In the November 2007 issue of "Q", when asked what his top priority for 2008 was, Damon Albarn replied "Well, I'm doing the next Gorillaz thing, but it won't be called Gorillaz." In the February 2008 Gorillaz-Unofficial interview, Hewlett elaborated on this, saying "I think the idea behind it is that it's like how the Who presented their movies – "Tommy" and "Quadrophenia" and so on. Those were presented as by 'the Who' even though none of the members of the band were in the movies. I don't think anyone from the Who was in "Quadrophenia". But it's the same people working on it, that's the principle." In a July 2008 interview with "The Observer" he also said, "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects ... That's my ideal model – Gorillaz is a group of people who gave you this, and now want to give you new stuff."


title: Plastic Beach

text: In the "Observer" interview, Hewlett said that there is "a new project which Damon and I are working on now, called "Carousel", which is even bigger and more difficult than "", and it isn't going to fit anywhere and no one's going to like it, ha ha ha! We've started work – I've done a lot of visuals and Damon's done a lot of music but we haven't figured out how they're going to fit together. I can't say much about it yet but it's sort of like a film, but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles, well... originally it was a film but now we think it's a film and it's a stage thing as well and... look, it's basically us doing what the fuck we want without worrying about whether it's for a record company or a film company or whatever. So I'm not sure how it'll pan out, or even if it will happen. But Damon's written around 70 songs for it, and I've got great plans for the visuals, but right now, at this moment, it's still just a really good idea." "Carousel" was to be about the mystical aspects of Britain.


title: Plastic Beach

text: Damon Albarn got the idea for "Plastic Beach" while on a beach next to his house: "I was just looking for all the plastic within the sand", he said. On 17 September 2008, Albarn and Jamie Hewlett announced that they would be doing another Gorillaz album in an interview with CBC News. Hewlett said that from their work on "Monkey", "we just learned more about what we do, musically and artistically. That's a great place to come at when we come to another Gorillaz album. It doesn't have to be animation and music". Hewlett also expressed annoyance at having to draw the band members again: "I'm so f---ing bored of drawing those characters. But then we had a moment where we had a new angle on it... I'm gonna adapt them". In a later interview Hewlett said: "they'll be the same characters, but a little bit older and told in a different way".


title: Plastic Beach

text: Albarn said in September 2008 that he wanted "to work with an incredibly eclectic, surprising cast of people". As with previous Gorillaz albums, "Plastic Beach" features collaborations with several artists; it features Snoop Dogg, Hypnotic Brass Ensemble, Kano, Bashy, Bobby Womack, Mos Def, Gruff Rhys, De La Soul, Little Dragon, Mark E. Smith, Lou Reed, Mick Jones, Paul Simonon, sinfonia Viva and the Syrian National Orchestra for Arabic Music.


title: Plastic Beach

text: In October 2020, Albarn stated that he had "loads and loads of songs" for a direct sequel to "Plastic Beach", citing "the need to keep reminding people that we need to change our habits" as his main reason for revisiting the album's themes. He added, "I'd like to just have an album called "Clean Beach", but at the moment it's still "Plastic Beach"."


title: Plastic Beach

text: Albarn began recording material for a new Gorillaz album around June 2008. He travelled to Beirut in March 2009 to record with the National Orchestra for Oriental Arabic Music. The following month, he recorded with Derby-based orchestra sinfonia Viva. Grime MCs Kano and Bashy, who feature on "White Flag", both had the flu during recording. Kano said "We weren't feeling great, the music was out of our comfort zone, it could have been a complete disaster". Bobby Womack knew nothing about Gorillaz and was initially unsure about the collaboration, however, his daughter liked Gorillaz and convinced him to do it. Womack was told to sing whatever was on his mind during the recording of "Stylo". "I was in there for an hour going crazy about love and politics, getting it off my chest", said Womack. After an hour of recording, Womack, a diabetic, started to pass out. He was sat down and given a banana, before waking up minutes later. "Sweepstakes", the first song Mos Def recorded with Gorillaz, was done in one take. Mos Def described the song as "one of the greatest things as an MC that I've ever done". Mick Jones and Paul Simonon completed their portion of the title track "Plastic Beach" in a day.


title: Plastic Beach

text: "This record has only scratched the surface of [that] period of work and the sort of adventures we went on," he said. The unreleased material is "some really out-there stuff, which hopefully will see the light of day at some point". Among these is a song Gorillaz wanted to record with Engelbert Humperdinck. "He was supposed to do it, but then he declined, which was a real shame", Albarn explained to "New York" magazine. "It's a very dramatic song, very moving. Arabic strings. It's imagining Earth losing its gravitational pull and starting to fall". As it turned out, Humperdinck's manager had listened to the proposed selection and declined the offer for him without his knowing. Humperdinck later stated in an interview that his manager declining the collaboration offer was "the most grievous sin ever committed", and that he would have gladly collaborated with Gorillaz if he had known they asked. With or without Humperdinck, Albarn insists the tune will eventually be released. "I'm going to finish that off", he said. "It just needs the vocal. We've made contact with Indian singer Asha Bhosle and I think it's definitely going to happen. I'll maybe duet with her; the song has these answering phrases". The band were also rebuffed by former Sex Pistols' frontman John Lydon and Tom Waits.


title: Plastic Beach

text: Several musicians who collaborated on songs for the album did not end up having all or any of their songs appear on the final album; some guests announced to have collaborated with the band do not feature on the album. British garage rock band The Horrors were invited to play on the album after Albarn heard their 2009 album "Primary Colours". They recorded a track with Albarn, but no songs with the band appear on the final album. In an interview with "Entertainment Weekly", Posdnuos of De La Soul said that the group had provided vocals on two songs for the album, "Electric Shock" and "Sloped Tropics". De La Soul only features on one song on the album, titled "Superfast Jellyfish". Gruff Rhys recorded two songs – "Superfast Jellyfish" and "Leviathan". The latter, described by Rhys as "more of a night-time song, a three o'clock in the morning, speeding down the autobahn evading West German police-type track", does not feature on the album. Mos Def said that he collaborated with Albarn on three songs; however, Def only appears on two songs on the album. Albarn had previously announced that musician Barry Gibb would feature on the album but Gibb did not turn up to any recording sessions.


title: Plastic Beach

text: According to "The Times" journalist Peter Paphides, "Plastic Beach" is a pop and concept album, while AllMusic editor Stephen Thomas Erlewine said that "Damon's painstaking pancultural pop junk-mining" on the album posits hip hop with Britpop and "accentuates moody texture over pop hooks". "Pitchfork"s Sean Fennessey wrote that "ornate "Village Green Preservation Society"-style pop" is the dominant style on "Plastic Beach", but that Albarn also "dips into Krautrock, funk, and dubstep, as well as the weary, more melodic music he's been perfecting for much of last decade" on an album that serves as "sort of an electronic take on baroque pop." According to "Mojo" magazine's Danny Eccleston, the album reprises the "combination of stupid-fresh pop melody, 21st-century hip hop substructure and catholic cast of collaborators" featured on "Demon Days", while Miles Marshall Lewis of "The Village Voice" observed "funky electroclash" and hip hop elements in the music. Lawrence Vaughan of "DIY" saw it as combining "world music and a more subdued lo-fi electronic sound. AbsolutePunk called "Plastic Beach" as a "full-blown trip hop/hip hop album", while HipHopDX observed elements of soft rock and surf rock. Kitty Empire described it as "rolling from space-age electro to mournful soul and back again." Jessicka Lee Loduca of "Exclaim!" saw it as a demonstration of the band's "picturesque mishmash of rhymes, pop, disco, orchestration, blues and dark electronic beats. "Wired" observed classical influences and world music overtones. Noel Murray of The A.V. Club wrote that the record “chops up Bollywood, space-age lounge, stoner funk, and wistful music-hall.”


title: Plastic Beach

text: Albarn said in an interview, "I'm making this one the most pop record I've ever made in many ways, but with all my experience to try and at least present something that has got depth." He added, "I suppose what I've done with this Gorillaz record is I've tried to connect pop sensibility with ... trying to make people understand the essential melancholy of buying a ready made meal in loads of plastic packaging. People who watch "X Factor" might have some emotional connection to these things, this detritus that accompanies what seems to be the most important thing in people's eyes, the celebrity voyeurism."


title: Plastic Beach

text: The first time Albarn went to Mali, he was taken to a landfill where he saw people "taking every little bit, a little bit of fabric to the fabric regenerators, or the metal and the cans to the ironsmiths and the aluminium recyclers, and it goes on and by the time you get to the road, they're selling stuff." When Albarn went to a landfill outside London to record the sound of seagulls for the album, he noticed a juxtaposition between the way the two countries dealt with rubbish. "They've got more snakes... like adders, grass snakes, slow worms, toads, frogs, newts, all kinds of rodents, all kinds of squirrels, a massive number of squirrels, foxes, and obviously, seagulls. [...] This is part of the new ecology. And for the first time I saw the world in a new way. I've always felt, I'm trying to get across on this new record, the idea that plastic, we see it as being against nature but it's come out of nature. We didn't create plastic, nature created plastic. And just seeing the snakes like living in the warmth of decomposing plastic bags. They like it. It was a strange kind of optimism that I felt... but trying to get that into pop music is a challenge, anyway. But important."


title: Plastic Beach

text: Albarn says the album maintains a lot of the melancholy from "Carousel". He worked hard on making his lyrics and melodies clear on the album. "Loads of orchestral stuff" was recorded but only a fraction made it onto the final album. On 14 January 2009 Damon Albarn appeared on BBC Radio 1 with animated bass player Murdoc Niccals, and played a selection of songs including four demos for "Plastic Beach": "Electric Shock", which features Derby-based Orchestra sinfonia ViVA (a song which does not appear on the album, although certain elements of it were used in "Rhinestone Eyes"), the demo for "Stylo" (which was named "Binge" at that point) and the demo for "Broken".


title: Plastic Beach

text: A new picture of the band was published on 9 December 2009 on the cover of the UK edition of "Wired" magazine. On 14 January 2010, Albarn made an appearance as a guest DJ on BBC Radio 1, premiering demos of three new Gorillaz songs – "Electric Shock", "Broken" and "Stylo". "Stylo" was heavily edited for its final version, while "Broken" remained mostly unchanged. "Electric Shock" did not make the album, though samples of the song were used in "Rhinestone Eyes", as well as the intro orchestral separated into bonus track "Three Hearts, Seven Seas, Twelve Moons".


title: Plastic Beach

text: On 20 January 2010, the official Gorillaz website was heavily revamped to fit the "Plastic Beach" theme. Over a period of time, numerous short clips were posted on the site, mainly showing various shots of a large Plastic Beach model backed by segments of new Gorillaz music. Out of the 13 short clips, only two of the clips had audio that would eventually end up on the album. The tracks were "White Flag" and "Pirate's Progress" (an extended version of the Orchestral Intro found on the album). Also on the website was a countdown timer, which on 23 February 2010 counted down to zero. After a significant delay, a new full Kong studios-esque interactive "Plastic Beach" "Beachsite" was uploaded onto the website, opening certain sections of Plastic Beach to be visited by guests.


title: Plastic Beach

text: On 21 January 2010, Gorillaz member Murdoc "took over" NME Radio and Yahoo! Radio. He played a 45-minute set of songs while providing exposition on the story of Gorillaz. A total of four broadcasts were uploaded online, leading to the release of the album. All four were available on the official Gorillaz website.


title: Plastic Beach

text: Similar to the previous album, short animated "idents" have been released for fictional band members Murdoc, 2-D, Russel, and the Noodle cyborg. The first depicts Murdoc fleeing from an unknown, rifle-wielding assailant (featuring a clip of "Three Hearts, Seven Seas, Twelve Moons" in the background), and the second depicts 2-D's abduction and transportation to Plastic Beach by a masked figure, who according to the Boogeyman (with a snippet of the instrumental version of "Rhinestone Eyes"). The track can be found as a bonus track along with "Pirate's Progress" on the iTunes Deluxe edition. Russel's ident has him stomping off of the edge of a pier and diving into the ocean, presumably headed to Plastic Beach for reasons unknown. The fourth features a zoom in on Cyborg Noodle with its face plate open. A fifth ident was also released, showing a luxury cruise sail being bombarded by torpedoes coming from planes flying above it. A crew member rushes over to cabin 13 to warn a passenger, who is revealed to be Noodle (wearing the oni mask), that the cruise is under attack by pirates and he was told to escort her to the lifeboats. Noodle then grabs her briefcase and opens it, revealing a gun, and passes the crew member while heading out, presumably to face the pirates. Noodle's ident acts as a trailer to the "On Melancholy Hill" music video, which was released on 15 June.


title: Plastic Beach

text: On 26 February 2010, a "minimix" of the album was made available on the official website to download for free. The minimix is an eight-minute composition of songs from the album, a number of which had not been previously released.


title: Plastic Beach

text: "Welcome to the World of the Plastic Beach", "Rhinestone Eyes" and "White Flag" were premiered on the Australian radio station Triple J on 28 February 2010, in respective order, at one-hour intervals. On 1 March 2010, NPR debuted the entire album via streaming. Later that same day, the album also became available for streaming at Guardian.co.uk.


title: Plastic Beach

text: Originally, "Rhinestone Eyes" and "To Binge" were both slated to release as the 4th and 5th singles respectively. However, both releases were cancelled in favor of the non-album single "Doncamatic". A storyboard version of a possible music video for "Rhinestone Eyes" was released on 4 October 2010 to the band's official YouTube channel. Although it wasn't released as a single, the song peaked at number 35 on the "Billboard" Alternative Songs chart.


title: Plastic Beach

text: "Plastic Beach" debuted at number two on the UK Albums Chart, selling 74,432 copies in its first week. The album also debuted at number two on the US "Billboard" 200 with first-week sales of 112,000 copies, of which 62,000 were digital copies. As of 25 March 2010, "Plastic Beach" sold 8,136 copies in Japan and debuted at number 17 on the Oricon Albums Chart. Selling 13,822 copies in France, "Plastic Beach" debuted at number two on the SNEP albums chart.


title: Plastic Beach

text: "Plastic Beach" received generally positive reviews from critics; it holds an aggregate score of 77 out of 100 at Metacritic. In "Rolling Stone", Rob Sheffield called it "Gorillaz's third excellent album in a row". while "Q" magazine's David Everley described it as "some of the most forward-thinking pop you'll hear this or any year", and "Uncut"s John Lewis said it was "a brilliant concept album, full of perfect pop singles." Michael Kabran of "PopMatters" wrote that "the band's trademark brand of electro-funk-hip-pop is more focused, with tighter production and more sure-fire hooks." Kitty Empire wrote for "The Guardian" that though the album's "electronic pop songs are more sneaky than sure-fire ... it is probably Gorillaz's most engrossing project so far." AllMusic's Stephen Thomas Erlewine said the album's success depends on Albarn's growth as a composer: "he's a master of subtly shifting moods and intricately threaded allusions, often creating richly detailed collages that are miniature marvels." Pete Paphides wrote in "The Times", "this concept group has delivered its most fully realised concept album". In the "Chicago Tribune", Greg Kot was impressed by Albarn's ability to produce exceptional music using "seemingly mismatched elements from different cultures, genres and generations". Alexis Petridis also of "The Guardian" commended Albarn for his "kaleidoscopic musical ambition" and said despite some failed experiments, "there's something hugely impressive about Albarn's ability to coax artists out of their comfort zone."


title: Plastic Beach

text: In a negative review, "Los Angeles Times" writer Mikael Wood said that "too many of these 16 hazy, half-crazy tracks sound like undercooked studio goofs", panning its second half as "one long, jammy drone, with none of Albarn's melodic or lyrical gifts on display". Danny Eccleston from "Mojo" commented that "Albarn and co's eco-parable is loud but not clear." "Entertainment Weekly"s Leah Greenblatt viewed its "sonic drift" as "dull, and even dispiriting" in the album's second half, stating "In the end, "Beach" offers a vision of the future as digitised kitsch: groovy, yes, but lonely too". Jon Caramanica of "The New York Times" viewed its music as "thin and inconsequential, car-commercial electronic funk and tension-free hip-hop", while writing "It's an appealing mess, moving at a fever pitch until swelling to something like an enthused climax. But still, a mess". Writing for MSN Music, Robert Christgau singled out "Some Kind of Nature" and "Superfast Jellyfish" as "choice cuts", indicating good songs on an album that he felt was otherwise unworthy of listeners' money or time.


title: Plastic Beach

text: At the end of 2010, "Plastic Beach" appeared on several critics' top-ten lists of the year's best albums. According to Acclaimed Music, it was the 16th most ranked record on critics' year-end lists. The album was ranked tenth best by both "Hot Press" and "Slant Magazine", ninth by "Rockdelux", seventh by "Q", sixth by "Filter", fifth by "State", fourth by Consequence of Sound, and third by both Beats Per Minute and "The Age". It was also voted the 30th best record of 2010 in the Pazz & Jop, an annual poll of American critics published by "The Village Voice". In 2020, the album was ranked at 74 on the 100 Best Albums of the Century list by "Stacker".


title: Plastic Beach

text: "Plastic Beach" was released in a total of six editions, many of which contain a multitude of exclusive features. These are shown below:


title: Trevor Ariza

text: Trevor Anthony Ariza (born June 30, 1985) is an American professional basketball player who last played for the Los Angeles Lakers of the National Basketball Association (NBA). He won an NBA championship in his first stint with the Lakers in 2009. He played college basketball for one season with the UCLA Bruins before being selected as the 43rd pick of the 2004 NBA draft by the New York Knicks. He also previously played for the Orlando Magic, Houston Rockets, New Orleans Hornets, Washington Wizards, Phoenix Suns, Sacramento Kings, Portland Trail Blazers, and Miami Heat.


title: Trevor Ariza

text: Ariza attended Westchester High School in Los Angeles, where as a junior in 2001–02, he combined with teammates and fellow future NBA players Hassan Adams, Brandon Heath, and Bobby Brown to lead the Comets to the California State championship. Considered a five-star recruit by Rivals.com, Ariza was listed as the No. 5 power forward and the No. 18 player in the nation in 2003.


title: Trevor Ariza

text: As a freshman at UCLA in 2003–04, Ariza played in 25 games (23 starts) and averaged 11.6 points, 6.5 rebounds and a team-high 1.7 steals. He subsequently earned All-Pac 10 Freshman Team honors. He declared for the NBA Draft following his freshman campaign at UCLA.


title: Trevor Ariza

text: Ariza was selected by the New York Knicks in the second round (43rd overall) of the 2004 NBA draft. He played in 80 games during his rookie campaign with New York and averaged 5.9 points, 3.0 rebounds and 1.1 assists per game. At the time, he became the youngest player to ever wear a Knicks uniform (19 years, four months and four days old). His 80 games and 1,382 minutes were the most played by a Knicks rookie since Greg Anthony in 1991–92 (82 games played).


title: Trevor Ariza

text: In February 2006, Ariza was traded along with Penny Hardaway to the Orlando Magic in exchange for Steve Francis. After the trade, he played in 21 games and averaged 4.7 points per game for the rest of the season. In the 2006–07 season he played in 57 games and started in 7. he averaged 8.9 points along with 4.4 rebounds and 1.1 assists.


title: Trevor Ariza

text: In November 2007, Ariza was traded to the Los Angeles Lakers in exchange for Brian Cook and Maurice Evans. He fractured a bone in his right foot in January 2008, but made his return in Game 2 of the Western Conference Finals against the San Antonio Spurs in late May, scoring a basket within his first minute of play. The Lakers went on to defeat the Spurs in 5 games and advance to the 2008 NBA Finals, but lost to the Boston Celtics in 6 games.


title: Trevor Ariza

text: In the 2008–09 season, he played in all 82 games, starting 20. Ariza was ejected during a game against Portland on March 9, 2009, following a flagrant foul on Rudy Fernández. On March 15, 2009 versus the Dallas Mavericks, Ariza scored a career-high 26 points along with 3 steals, 3 rebounds, and 2 assists. After becoming a starter, he began to show more ability on defense.


title: Trevor Ariza

text: In the playoffs, Ariza scored a playoff career-high 21 points in Game 1 of the first round against Utah Jazz. In the Western Conference Finals against the Denver Nuggets, Ariza stole an inbound pass from Chauncey Billups in Game 1 to help Lakers beat the Nuggets. In Game 3, the Lakers led by two points with 37.1 seconds remaining when Ariza stole Kenyon Martin's pass to Carmelo Anthony near midcourt to help Lakers take a 2–1 lead. The Lakers eventually won the series 4–2, sending them to the NBA Finals against the Orlando Magic. In Game 4 of the Finals, Ariza, who was 0-for-6 in the first half, scored 13 in the third quarter to help the Lakers win in overtime and finished the game with nine rebounds and three 3-pointers. The Lakers went on to win their 15th NBA title in five games, 4–1. Ariza averaged a career-high 11.3 points and 4.2 rebounds and shot 50% from three-point range in the playoffs.


title: Trevor Ariza

text: On July 3, 2009, Ariza reached an agreement with the Houston Rockets worth $33 million over five years. Ariza was signed using the Disabled Player Exception the Rockets were granted for injured center Yao Ming. On October 31, 2009, against the Portland Trail Blazers, Ariza scored a career high 33 points in a 111–107 Rockets win. On December 13, 2009, Ariza was ejected after he attempted to punch DeMar DeRozan of the Toronto Raptors after having the ball stolen by him. He was subsequently suspended for one game. On April 14, 2010, in the Rockets' final game of the season, Ariza recorded his first career triple-double, tallying 26 points, 10 rebounds, and 10 assists.


title: Trevor Ariza

text: On August 11, 2010, Ariza was traded to the New Orleans Hornets as part of a four-team, five-player trade, with Darren Collison and James Posey going to the Indiana Pacers, Troy Murphy to the New Jersey Nets, and Courtney Lee to Houston. During the 2011 NBA playoffs, Ariza logged career highs in minutes per game (40.2), points per game (15.5) rebounds (6.5) and assists (3.3). The Hornets lost to the Los Angeles Lakers in 6 games in the first round.


title: Trevor Ariza

text: On June 20, 2012, Ariza and Emeka Okafor were traded to the Washington Wizards for Rashard Lewis and a draft pick to the New Orleans Hornets.


title: Trevor Ariza

text: On February 12, 2014, Ariza recorded a career-high 10 made three-pointers to score a season-high 32 points, as well as 11 rebounds, 3 assists and 3 steals, in a 113–112 loss to the Houston Rockets.


title: Trevor Ariza

text: On March 1, 2014, Ariza recorded a career-high 40 points, including eight 3-pointers, in a 122–103 victory over the Philadelphia 76ers.


title: Trevor Ariza

text: On April 27, 2014, Ariza set a playoff career-high 30 points against the Chicago Bulls in Game 4 of their 2014 NBA Playoffs first-round match-up, which the Wizards won 98–89. The team went on to lose to the Indiana Pacers in six games in the conference semifinals.


title: Trevor Ariza

text: On July 15, 2014, Ariza was re-acquired by the Houston Rockets in a three-team sign-and-trade deal that also involved the New Orleans Pelicans, which sent Omer Asik and Omri Casspi to the Pelicans, Melvin Ely to the Wizards, and Ariza, along with Alonzo Gee and Scotty Hopson, to the Rockets.


title: Trevor Ariza

text: On February 6, 2015, he tied a season-high with 24 points in a 117–111 wina's streak of 172 straight games played.


title: Trevor Ariza

text: On January 24, 2016, he scored a season-high 29 points and made a season-high six three-pointers in a 115–104 win over the Dallas Mavericks. He topped that mark the following night, scoring 31 points in a 112–111 win over the New Orleans Pelicans. On February 27, he made two three-pointers against the San Antonio Spurs to extend his streak with at least one three-pointer to 29 games, the longest streak by a Rockets player since 39 in a row by Aaron Brooks in the 2009–10 season. The streak ended at 30 after shooting 0-of-8 from three-point range against the New Orleans Pelicans on March 2.


title: Trevor Ariza

text: On January 17, 2018, Ariza was suspended for two games without pay for entering the Los Angeles Clippers' locker room after a game against the team two days earlier.


title: Trevor Ariza

text: In Game 2 of the 2018 Western Conference Finals, on May 17, 2018, Ariza helped tie the series with 19 points and 6 assists in a 127-105 victory over the Golden State Warriors. In Game 7 of the series, a deciding loss, Ariza missed all 9 of his 3-point attempts, and the Rockets set an NBA playoff record for most consecutive 3-point attempts missed with 27.


title: Trevor Ariza

text: On July 6, 2018, Ariza signed a one-year, $15 million contract with the Phoenix Suns. In his debut for the Suns in their season opener on October 17, 2018, Ariza recorded 21 points, eight rebounds and seven assists in a 121–100 win over the Dallas Mavericks.


title: Trevor Ariza

text: On December 17, 2018, Ariza was traded to the Washington Wizards for Austin Rivers and Kelly Oubre Jr. On January 13, 2019, he narrowly missed his second career triple-double, recording 23 points, 10 assists and nine rebounds in a 140–138 double-overtime loss to the Toronto Raptors.


title: Trevor Ariza

text: On July 7, 2019, Ariza inked a two-year deal worth $25 million with the Sacramento Kings. On January 6, 2020, Ariza scored a season-high 18 points and grabbed 6 rebounds in a 111-99 win over the Golden State Warriors.


title: Trevor Ariza

text: On January 20, 2020, Ariza was traded to the Portland Trail Blazers along with Wenyen Gabriel and Caleb Swanigan in exchange for future teammate Kent Bazemore, Anthony Tolliver, and two future second-round draft picks.


title: Trevor Ariza

text: On June 22, 2020, Ariza announced he would not be returning to the NBA season's restart in Orlando. Instead, he committed to a one-month visitation window with his young son, sources told ESPN.


title: Trevor Ariza

text: On November 22, 2020, Ariza, the draft rights to Isaiah Stewart, and a conditional future first round pick were traded to the Houston Rockets in exchange for Robert Covington. On November 24, Ariza and Stewart were traded to the Detroit Pistons in exchange for Christian Wood, as part of a sign-and-trade deal. On November 27, Ariza, Justin Jackson, a 2023 second-round pick (from either Dallas or Miami), and a 2026 second-round pick were traded to the Oklahoma City Thunder in a three-team trade involving the Detroit Pistons. Ariza never reported to the Thunder or appeared in any games for them during his stint, as he was away from the team due to family matters.


title: Trevor Ariza

text: On March 17, 2021, Ariza was traded to the Miami Heat in exchange for center Meyers Leonard and a future second round draft pick. It was the ninth time that he had been traded in his career, the most in NBA history.


title: Trevor Ariza

text: On August 6, 2021, Ariza signed with the Los Angeles Lakers on a one-year deal worth $2.6 million. On October 6, he underwent a procedure on his right ankle. He was out for most of the first half, which Lakers head coach Frank Vogel said "did derail most of his season and his impact on our team this year". On April 7, 2022, Ariza was waived. He played in 24 games with 11 starts, averaging four points and shooting 33.3%.


title: Trevor Ariza

text: On March 18, 1996, Ariza's youngest brother, Tajh Ariza, died after falling out of a hotel room window in Caracas, Venezuela. His first son is named after his late brother. Ariza also has two children with his current wife: son Tristan and daughter Taylor.


title: Trevor Ariza

text: Ariza's stepfather, Kenny McClary, played at the University of Florida in the mid to late 1980s, and professionally with the Sydney Kings in Australia.


title: Trevor Ariza

text: Ariza is of Turks & Caicos Islands and Dominican descent through his grandfather Osvaldo Ariza (a Turks and Caicos Islander of Dominican descent), and his parents, Lolita Ariza and Trevor Saunders of Grand Turk. Ariza once considered changing his citizenship to play for the Dominican Republic national basketball team. However, he later accepted an invitation to the Team USA training camp.


title: Molly Hagan

text: Molly Joan Hagan is an American actress. She co-starred in films "Code of Silence" (1985), "Some Kind of Wonderful" (1987), "The Dentist" (1996), "Election" (1999), and "Sully" (2016), and is also known for her roles in television on "Herman's Head" (1991–1994) and "Unfabulous" (2004–2007).


title: Molly Hagan

text: Hagan was born in Minneapolis, Minnesota, the daughter of Mary Elizabeth (née Henslee) and John Robert Hagan. She was raised in Fort Wayne, Indiana, and attended Northwestern University.


title: Molly Hagan

text: Hagan played Diana Luna alongside Chuck Norris in the 1985 action film "Code of Silence". Other films in which she appeared include "Some Kind of Wonderful". She portrayed the young Miss Ellie Ewing in the television movie "" (a prequel of the long-running soap opera "Dallas"), and she has appeared in several other television series, including the 1980s situation comedy "The Golden Girls" as Caroline, the daughter of Miles Webber, Rose's romantic partner.


title: Molly Hagan

text: Hagan starred in the cult series "Nutt House", which had a six-week run in 1989, and "Herman's Head", which ran on Fox from 1991 to 1994. She portrayed Angel, one of the four characters inside Herman, and represented his sensitivity. She was in two episodes of the detective mystery series "Columbo", "Murder, Smoke and Shadows" (1989), and "Butterfly in Shades of Grey" (1994). She also appeared twice on "Murder, She Wrote" (in two different roles). At the end of the second season of "", she played a young Vorta called Eris in "The Jem'Hadar". She appeared in three episodes of the third season of "Becker", and also appeared on "Seinfeld" as Sister Roberta, the Latvian Orthodox novice whom Kramer nearly took from the church, and a cooking teacher on "Friends". She played a trailer-trash mother in a Jerry Springer-based movie, "Ringmaster". She played Diane McAllister in the 1999 movie "Election" opposite Matthew Broderick. Hagan also played Coach Crenshaw in "".