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Timdraft # 2 (1 Viewer)

American Military Victory

1st Place - Battle of Gettysburg - 20 Points

This most famous and most important Civil War Battle occurred over three hot summer days, July 1 to July 3, 1863, around the small market town of Gettysburg, Pennsylvania. It began as a skirmish but by its end involved 160,000 Americans.

Before the battle, major cities in the North such as Philadelphia, Baltimore and even Washington were under threat of attack from General Robert E. Lee's Confederate Army of Northern Virginia which had crossed the Potomac River and marched into Pennsylvania.

The Union Army of the Potomac under its very new and untried commander, General George G. Meade, marched to intercept Lee.

On Tuesday morning, June 30, an infantry brigade of Confederate soldiers searching for shoes headed toward Gettysburg (population 2,400). The Confederate commander looked through his field glasses and spotted a long column of Federal cavalry heading toward the town. He withdrew his brigade and informed his superior, Gen. Henry Heth, who in turn told his superior, A.P. Hill, he would go back the following morning and "get those shoes."

Wednesday morning, July 1, two divisions of Confederates headed back to Gettysburg. They ran into Federal cavalry west of the town at Willoughby Run and the skirmish began. Events would quickly escalate. Lee rushed 25,000 men to the scene. The Union had less than 20,000.

After much fierce fighting and heavy casualties on both sides, the Federals were pushed back through the town of Gettysburg and regrouped south of the town along the high ground near the cemetery. Lee ordered Confederate General R.S. Ewell to seize the high ground from the battle weary Federals "if practicable." Gen. Ewell hesitated to attack thereby giving the Union troops a chance to dig in along Cemetery Ridge and bring in reinforcements with artillery. By the time Lee realized Ewell had not attacked, the opportunity had vanished.

Meade arrived at the scene and thought it was an ideal place to do battle with Lee's Army. Meade anticipated reinforcements totaling up to 100,000 men to arrive and strengthen his defensive position.

Confederate General James Longstreet saw the Union position as nearly impregnable and told Lee it should be left alone. He argued that Lee's Army should instead move east between the Union Army and Washington and build a defensive position thus forcing the Federals to attack them instead.

But Lee believed his own army was invincible and he was also without his much needed cavalry which served as his eyes and ears during troop movements. Cavalry leader Jeb Stuart had gone off with his troops to harass the Federals. Stuart's expedition would turn out to be for the most part a wild goose chase which left Lee at a disadvantage until he returned.

Lee decided to attack the Union Army's defensive position at the southern end of Cemetery Ridge which he thought was less well defended.

About 10 a.m. the next morning, Thursday, July 2, Gen. Longstreet was ordered by Lee to attack. But Longstreet was quite slow in getting his troops into position and didn't attack until 4 p.m. that afternoon thus giving the Union Army even more time to strengthen its position.

When Longstreet attacked, some of the most bitter fighting of the Civil War erupted at places now part of American military folklore such as Little Round Top, Devil's Den, the Wheat Field and the Peach Orchard. Longstreet took the Peach Orchard but was driven back at Little Round Top.

About 6:30 p.m. Gen. Ewell attacked the Union line from the north and east at Cemetery Hill and Culp's Hill. The attack lasted into darkness but was finally unsuccessful at Cemetery Hill, although the Rebels seized some trenches on Culp's Hill.

By about 10:30 p.m., the day's fighting came to an end. The Federals had lost some ground during the Rebel onslaught but still held the strong defensive position along Cemetery Ridge.

Both sides regrouped and counted their causalities while the moaning and sobbing of thousands of wounded men on the slopes and meadows south of Gettysburg could be heard throughout the night under the blue light of a full moon.

Generals from each side gathered in war councils to plan for the coming day. Union commander Meade decided his army would remain in place and wait for Lee to attack. On the Confederate side, Longstreet once again tried to talk Lee out of attacking such a strong position. But Lee thought the battered Union soldiers were nearly beaten and would collapse under one final push.

Lee decided to gamble to win the Battle of Gettysburg and in effect win the Civil War by attacking the next day at the center of the Union line along Cemetery Ridge where it would be least expected. To do this he would send in the fresh troops of Gen. George Pickett. Along with this, Gen. Ewell would renew the assault on Culp's hill.

But as dawn broke on Friday, July 3, about 4:30 a.m., Lee's timetable was undermined as Union cannons pounded the Rebels on Culp's Hill to drive them from the trenches. The Rebels did not withdraw, but instead attacked the Federals around 8 a.m. Thus began a vicious three hour struggle with the Rebels charging time after time up the hill only to be beaten back. The Federals finally counter attacked and drove the Rebels off the hill and east across Rock Creek. Around 11 a.m. the fighting on Culp's Hill stopped. An eerie quiet settled over the whole battlefield.

Once again Lee encountered opposition to his battle plan from Longstreet. Lee estimated about 15,000 men would participate in the Rebel charge on Cemetery Ridge. Longstreet responded, "It is my opinion that no 15,000 men ever arrayed for battle can take that position." But Lee was unmoved. The plan would go on as ordered.

Throughout the morning and into the afternoon amid 90° heat and stifling humidity the Rebels moved into position in the woods opposite Cemetery Ridge for the coming charge. Interestingly, some Union troops were moved away from Cemetery Ridge on Meade's orders because he thought Lee would attack again in the south. Several hours before, Meade had correctly predicted Lee would attack the center, but now thought otherwise. He left only 5,750 infantrymen stretched out along the half-mile front to initially face the 15,000 man Rebel charge.

Lee sent Jeb Stuart's recently returned cavalry to go behind the Union position in order to divert Federal forces from the main battle area. Around noon, Union and Confederate cavalry troops clashed three miles east of Gettysburg but Stuart was eventually repulsed by punishing cannon fire and the Union cavalry led in part by 23 year old Gen. George Custer. The diversion attempt failed.

Back at the main battle site, just after 1 p.m. about 170 Confederate cannons opened fire on the Union position on Cemetery Ridge to pave the way for the Rebel charge. This was the heaviest artillery barrage of the war but many of the Rebel shells missed their targets and flew harmlessly overhead.

The Federals returned heavy cannon fire and soon big clouds of blinding smoke and dust hung over the battlefield. Around 2:30 p.m. the Federals slowed their rate of fire, then ceased, to conserve ammunition and to fool the Rebels into thinking the cannons were knocked out - exactly what the Rebels did think.

Pickett went to see Longstreet and asked, "General, shall I advance?" Longstreet, now overwhelmed with emotion, did not respond, but simply bowed his head and raised his hand. Thus the order was given.

"Charge the enemy and remember old Virginia!" yelled Pickett as 12,000 Rebels formed an orderly line that stretched a mile from flank to flank. In deliberate silence and with military pageantry from days gone by, they slowly headed toward the Union Army a mile away on Cemetery Ridge as the Federals gazed in silent wonder at this spectacular sight.

But as the Rebels got within range, Federal cannons using grapeshot (a shell containing iron balls that flew apart when fired) and deadly accurate rifle volleys ripped into the Rebels killing many and tearing holes in the advancing line. What had been, just moments before, a majestic line of Rebel infantry, quickly became a horrible mess of dismembered bodies and dying wounded accompanied by a mournful roar. But the Rebels continued on.

As they got very close, the Rebels stopped and fired their rifles once at the Federals then lowered their bayonets and commenced a running charge while screaming the Rebel yell.

A fierce battle raged for an hour with much brutal hand to hand fighting, shooting at close range and stabbing with bayonets. For a brief moment, the Rebels nearly had their chosen objective, a small clump of oak trees atop Cemetery Ridge. But Union reinforcements and regrouped infantry units swarmed in and opened fire on the Rebel ranks. The battered, outnumbered Rebels finally began to give way and this great human wave that had been Pickett's Charge began to recede as the men drifted back down the slope. The supreme effort of Lee's army had been beaten back, leaving 7,500 of his men lying on the field of battle.

Lee rode out and met the survivors, telling them, "It is all my fault." And to Pickett he said, "Upon my shoulders rests the blame." Later when he got back to headquarters Lee exclaimed, "Too bad. Too bad! Oh, too bad!" The gamble had failed. The tide of the war was now permanently turned against the South.

Confederate causalities in dead, wounded and missing were 28,000 out of 75,000. Union casualties were 23,000 out of 88,000.

That night and into the next day, Saturday, July 4, Confederate wounded were loaded aboard wagons that began the journey back toward the South. Lee was forced to abandon his dead and begin a long slow withdrawal of his army back to Virginia. Union commander Meade, out of fatigue and caution, did not immediately pursue Lee, infuriating President Lincoln who wrote a bitter letter to Meade (never delivered) saying he missed a "golden opportunity" to end the war right there.

On November 19, President Lincoln went to the battlefield to dedicate it as a military cemetery. The main orator, Edward Everett of Massachusetts, delivered a two hour formal address. The president then had his turn. He spoke in his high, penetrating voice and in a little over two minutes delivered the Gettysburg Address, surprising many in the audience by its shortness and leaving others quite unimpressed.

Over time, however, the speech and its words - government of the People, by the People, for the People - have come to symbolize the definition of democracy itself.

 
TimSummary:

American Military Victory

1. Gettysburg 20 points

2. Invasion of Normandy 19 points

3. Battle of the Bulge 18 points

4. Lexington and Concord - 17 Points

5. Battle of Midway - 16 points

6. Battle of New Orleans - 15 points

7. Battle of Yorktown - 14 Points

8. Battle of Saratoga - 13 points

9. Missionary Ridge - 12 points

10. Battle of Belleau Wood - 11 Points

11. Battle of Okinawa - 10 points

12. Battle of Iwo Jima - 9 points

13. Guadalcanal - 8 points

 
K4 - you have the opportunity to save this draft from having timschochet judging poems.

I got three words for you:

avalanche of words

Make this happen. Please.

 
I should have posted mine before BL did. Now I'll look lame. :kicksrock:

Sorry for delay. My birthday, which was Monday, became an unexpected full-on birthday weekend. Now the usual crappy work week has taken over. It is my solemn vow to complete poems this weekend.

 
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I should have posted mine before BL did. Now I'll look lame. :kicksrock:Sorry for delay. My birthday, which was Monday, became an unexpected full-on birthday weekend. Now the usual crappy work week has taken over. It is my solemn vow to complete poems this weekend.
How did I miss that on FB? I've missed several BDs the last month...oh well, happy belated!And I'm pretty sure you'll prove Browning was right; less is more.
 
I should have posted mine before BL did. Now I'll look lame. :kicksrock:Sorry for delay. My birthday, which was Monday, became an unexpected full-on birthday weekend. Now the usual crappy work week has taken over. It is my solemn vow to complete poems this weekend.
How did I miss that on FB? I've missed several BDs the last month...oh well, happy belated!And I'm pretty sure you'll prove Browning was right; less is more.
I've been having that problem, too.
 
Choreographer

Before we get to the rankings, a few words about folks who should have been drafted.

Mary Wigman would have been a contender for the top spot, no worse than top 3.

Merce Cunningham is a huge omission.

George Balanchine, regarded as the foremost contemporary choreographer in the world of ballet, would have been no worse than top 5.

Isadora Duncan, Doris Humphrey, Bill Robinson, Ted Shaw, St. Denis and Charles Weidman would have all made fine picks.

Still, this is mostly personal preference - there really were no bad picks by anyone.

This category turned out to be quite a challenge for many, and perhaps a bit of a reach. But hopefully it was also informative and sparked the curiosity of some.

The criteria changed during the draft; initially, this was to be limited to Modern Dance, but we (correctly, IMO) switched midway through to be more inclusive.

 
13th Place - Shane Sparks - 8 points

Hip-hop choreographer best known for his work as a choreographer on So You Think You Can Dance and judge on America's Best Dance Crew. Crappy human being, but I like the outside the box thinking in choosing a different form.

12th Place - Hermes Pan - 9 points

U.S. choreographer of dazzling motion picture dance sequences, especially in his work with Fred Astaire.

The son of a Greek consul in Memphis, Pan was inspired by black dancers in his home town. He began collaborating with Astaire during rehearsals for Flying Down to Rio in 1933, and the two remained friends until Astaire’s death. He choreographed 9 of the 10 famed Astaire-Ginger Rogers musicals, including The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Swing Time (1936), and The Story of Vernon and Irene Castle (1939). He won an Academy Award in 1937 for his dance direction in Damsel in Distress, which featured Astaire in a “fun house” comic segment, battling treadmills, revolving barrels, slides, and distorting mirrors.

Besides choreographing approximately 50 films, Pan, who had an uncanny resemblance to Astaire, himself danced in such motion pictures as Moon over Miami (1941), My Gal Sal (1942), and Kiss Me, Kate (1953). In 1961 he won an Emmy award for choreographing the special television program Astaire Time: An Evening with Fred Astaire.

11th Place - Gene Kelly - 10 points

Ingenious pick, really.

I didn’t want to move or act like a rich man. I wanted to dance in a pair of jeans. I wanted to dance like the man in the streets.

–Gene Kelly
Timeless, effortless, elegant and indelible, Gene Kelly’s body of work still thrives and still thrills. With films that also include An American in Paris, Summer Stock, On the Town and Brigadoon, Kelly revived the movie musical and redefined dance on screen, bringing with him an inspired sensibility and an original vitality. His choreography and his performances were relaxed but compelling, innovative but highly accessible and, ultimately, magical. He endeared himself to audiences and had a profound, eternal impact on the craft. Among the most beloved stars of Hollywood’s golden age, Kelly’s career remains one of the most surprising.Solely responsible for creating a new approach to film musicals as performer, as choreographer and as director Kelly was a creative genius fueled by single-mindedness, a volatile temper and narcissism, his need for perfection was uncompromising. A lasting influence in the worlds of film and dance, his first major film success came at the age of thirty and a short ten years later, he had made his final hit film.

At odds with MGM throughout his time there, Kelly fought to expand the concept and reach of motion picture musicals, always keenly aware that he was beginning his film career well past his prime as a dancer. By the mid-1950s, Kelly found himself at loose ends the genre he helped master now over a victim of changing musical tastes and economic restrictions.

Seeing him on stage, MGM head Louis B. Mayer assured Kelly that the studio would like to sign him without so much as a screen test but, through a series of miscommunications, a screen test was requested and Kelly refused. Writing an acerbic letter to Mayer accusing him of duplicity, Kelly turned down the counteroffer and set the stage for a lifetime of acrimony between the two men. Ironically, Kelly was put under contract at Selznick International by Mayer’s son-in-law David O. Selznick, who had no interest in producing musicals and thought Kelly could exist purely as a dramatic actor. With no roles forthcoming, Kelly was loaned out to MGM to co-star with Judy Garland in For Me and My Gal. The film was a hit and Selznick subsequently sold the actor and his contract to MGM.

A series of mediocre roles followed and it was not until Kelly was loaned out to Columbia for 1944’s Cover Girl, with Rita Hayworth, that he became firmly established as a star. His landmark “alter ego” sequence, in which he partnered with himself, brought film dance to a new level of special effects. With Stanley Donen as his assistant, Kelly created a sense of the psychological and integrated story telling never before seen in a Hollywood musical. Realizing what they had, MGM refused to ever loan him out again, ruining Kelly’s opportunity to star in the film versions of Guys and Dolls, Pal Joey and even Sunset Boulevard. Back with producer Arthur Freed at MGM, Kelly continued his innovative approach to material by placing himself in a cartoon environment to dance with Jerry the Mouse in Anchor’s Aweigh yet another musical first.

More mediocre roles in “revue” films followed and Kelly’s frustrations mounted. He was, however, able to continue refining and showcasing his unique appeal and approach to new material with standout numbers in The Pirate and Words and Music, among other films. Determined from the start to differentiate himself from Fred Astaire, Kelly concerned himself with incorporating less ballroom dancing and more distinctly American athleticism into his choreography. Easter Parade and the chance to co-star with Judy Garland would have been Kelly’s opportunity to get away from what he considered substandard fare. But, in a show of bravado in his own backyard, Kelly broke his ankle during one of his infamously competitive volley ball games and, ironically, had to turn the film over to Fred Astaire.

Finally, Kelly and Stanley Donen were assigned their own film to co-direct 1949’s On the Town. In just five days of shooting selected sequences, they opened up the genre as no one had ever done before, creating another first a musical film shot on location. Followed by his two masterworks, An American in Paris, with its 17-minute ballet sequence, and Singin’ in the Rain, Kelly achieved icon status at the age of forty. In 1951, he was awarded a special Oscar for An American in Paris for his “extreme versatility as an actor, singer, director and dancer, but specifically for his brilliant achievement in the art of choreography.”

And then the shift began. The musical era, as well as the Freed unit at MGM, wind to a close and Kelly’s last productions, including Brigadoon and the ambitious It’s Always Fair Weather, failed to appeal to either critics or the public. The latter film also brought a bitter end to his partnership with Stanley Donen. The two had made history together in their three previous films the only successful directorial collaboration in Hollywood, before or since. But professional and personal conflict lead to the breakup, including the fact that Donen’s wife, Jeanne Coyne, had fallen in love with Kelly. With Kelly’s own marriage to Betsy Blair in dissolution, both couples divorced and Kelly eventually married Coyne in 1960.

Small roles and directing jobs followed. Professional highlights included the Broadway musical “Flower Drum Song” and an original ballet he created for the Paris Opera. In the late 1950s, the television show OMNIBUS invited Kelly to create a documentary about the relationship between dance and athletics Dancing: A Man’s Game is considered one of the classic treasures from television’s golden age. However, the hit Kelly so badly craved and needed as director of the film Hello Dolly, eluded him, unable to compete in a market that now included such movies as Midnight Cowboy and Easy Rider.

Jeanne Coyne died of leukemia in 1973, leaving Kelly to raise their two young children alone. In his determination to be a better father than he had been to his first daughter, Kelly refused all work that would take him away from Los Angeles, including the offer to direct the film Cabaret in Munich. He tried series television, guest appearances, children’s records and became a frequent advisor to younger filmmakers who were hoping to resurrect the movie musical. At his death in 1996, it was said of Kelly, “Just as he confirmed his place as one of the most important talents ever to work in film, he went downhill so fast you hardly saw him go.”

Yet, the potency of Kelly’s gifts, his remarkable achievements in dance and choreography and the creativity and charisma with which he exploded in a handful of films continues to endure and to inform. Gene Kelly’s final filmed words are from 1994’s That’s Entertainment III quoting Irving Berlin, he remarked: “The song has ended, but the melody lingers on.” And, so too has Kelly himself. He was number 15 on AFI’s millennium list of most popular actors and Singin’ in the Rain has been voted the singular most popular movie musical of all time.

 
10th Place - Jerome Robbins - 11 points

Agnes de Mille's career was a long, successful, but also turbulent journey through the world of 20th century American theater and ballet. Born in 1905 in New York City, she was the daughter of William Churchill de Mille, a famous playwright, and Anna George, the daughter of the distinguished economist and "single tax" advocate, Henry George. Agnes' paternal grandfather, Henry de Mille, was a onetime North Carolina minister who left the pulpit to write plays with a message. He took as his partner David Belasco, one of the most successful producer-director-playwrights of the early days of this century.

When Agnes was very young, her father followed his brother, Cecil B. de Mille to California, to try for work in the new gold field of motion pictures. He went for a year's stay and remained for the rest of his life.

Agnes' early schooling in California was at the small private Hollywood School for Girls. Later she attended UCLA, where she graduated cum laude at nineteen.

About this time her mother and father divorced, and her mother came back to New York to start a new life with Agnes and her sister Margaret. Margaret went to Barnard College and Agnes started her long search for success as a dancer. Unable to find employment in the theatre, she composed dances for herself-- also arranging the music and designing the costumes-- and gave a series of solo dance recitals. She was hailed by critics but lost considerable money, so she departed, with her mother, to London. There, with Warren Leonard, she gave recitals, again with critical praise but no financial gain. However, Marie Rambert and Arnold Haskell were sufficiently enthusiastic about her progress to persuade her to return to London the following year to study and continue her recitals, and for the following five years, with brief sojourns back to the United States, she continued her work and her studies in London, strengthening her technique and improving her repertory.

At the time, Rambert's Ballet Club, where de Mille studied, also had as pupils such future dance luminaries as Frederick Ashton, Anthony Tudor, Hugh Laing, Diana Gould (the future Mrs. Yehudi Menuhin) and later Margot Fonteyn. So although Agnes did not make much money or earn great fame during her sojourn at the Ballet Club, the ambience was of the very best, and she did learn a great deal about creative theater.

During one of her returns to the United States, Miss de Mille was engaged to choreograph the dances for the film Romeo and Juliet, starring Norma Shearer and Leslie Howard. The dances were very lovely and brought Agnes some attention, but she later commented that the custom at that time of cutting dances to pieces assured short lives for them.

In November, 1938, Miss de Mille returned to take up her performing career in the United States, and she toured the country with Joseph Anthony, later a well-known stage director, and with Sybil Shearer, one of the most creative dancers in the country.

Then in 1940, Ballet Theatre (now American Ballet Theatre) was formed and Miss de Mille was a charter member, creating for the company her inaugural ballet, Black Ritual, with black dancers, the first time this had been done by a serious ballet company. Black Ritual (Creation du Monde--Milhaud) was not a success, but in the following year Miss de Mille created Three Virgins and a Devil for the Company, which was a tremendous hit and is still given today to greatly appreciative audiences and critical acclaim.

In 1942 she was asked by the Ballet Russe de Monte Carlo to create a ballet for that company and her world-famous Rodeo (with its stunning score by Aaron Copland) was the altogether sensational result. She herself danced the leading role at the Metropolitan Opera House on October 16, 1943, and received twenty-two curtain calls and standing ovations. This triumph, with its Americana setting, led Richard Rodgers and Oscar Hammerstein to select her to create the dances for their musical Oklahoma!. The tremendous success of these two works made American dance history.

On June 14, 1943, Miss de Mille was married in Beverly Hills to Walter Foy Prude, a Texan. Mr. Prude at that time was an officer in the Army (Aviation Ordinance) and was stationed at Hobbes, New Mexico. He was shortly sent overseas for the duration of the war.

The wedding and Oklahoma! were followed in rapid succession by choreography for the musicals One Touch of Venus, Bloomer Girl, and Carousel. The ballet, Talley-Ho was also created at this time.

In the Fall of 1945 Miss de Mille went to London for work on the film London Town, but actually she had arranged the trip so that she could meet her husband, who was stationed in Germany, and they had the good fortune to be together for two-and-a-half weeks. Then in August of that year the war was over, her husband was sent back to the United States and she was pregnant. Eventually she, too, returned to this country and in April their son Jonathan de Mille Prude, was born.

Brigadoon, with especially lovely dances and another great success, was her next achievement, and in that same year she began rehearsals of Allegro, acting as stage director as well as choreographer. This was the first time any dancer had attempted such a feat. She had to keep people busy at the same time in three theaters, one for the actors, one for the dancers and one for the singers. It was a gigantic undertaking, with a cast of nearly one hundred. But the score, by Richard Rodgers, was weak, and the book, by Oscar Hammerstein, was unfinished, with a poor second act. No amount of hard work could make it the kind of success they were used to, and, in spite of the show having a respectable run of over a year, it was a bitter disappointment to all of them.

After Allegro her time was filled with a steady schedule of assignments: The Rape of Lucretia, of which she was the stage director, in 1948; also in 1948 the great ballet Fall River Legend; Gentlemen Prefer Blonds in 1949; Out of This World, as stage director in 1950; Paint Your Wagon in 1951; and a lovely ballet, The Harvest According in 1952. Then in 1953 came the filming of Oklahoma! of which she was the choreographer and which was the first film to cost over a million dollars. But Miss de Mille said that in spite of its cost, she never considered it first rate and did not like it anywhere nearly as much as she did the original stage version.

Returning from the Coast to New York she continued to mount ballets and musicals every year, including Goldilocks, Juno, Kwamina, 110 in the Shade and Come Summer, of which she also was the stage director. There were also many lovely works for the ballet companies, including The Bitter Weird, The Four Marys, A Rose for Miss Emily, Summer, Texas Fourth, and A Bridegroom Called Death.

Her reputation as a speaker also grew through the years as she spoke across the entire nation on the part of government subsidy for the arts, resulting in her appointment by President Kennedy to be a member of the National Advisory Committee on the Arts, the forerunner of the National Endowment for the Arts, to which she was appointed as a member of its National Council by President Johnson when it was activated during his administration.

In 1974 she inaugurated the Agnes de Mille Heritage Dance Theatre, founded at the North Carolina School of the Arts in Winston-Salem. The company made several cross-country tours with great success, but this project, which was so close to her heart was cut short by the cerebral hemorrhage which struck her, on May 15, 1975, as she was about to go on stage for her famous lecture, Conversations About the Dance, illustrated by members of her company.

Her return from near death to an altered but extraordinarily active life is outlined in her book Reprieve, one of the five books she wrote since her stroke, the other four being Where the Wings Grow, America Dances, Portrait Gallery, and Martha: The Life and Work of Martha Graham. She is also the author of Dance to the Piper, And Promenade Home, To a Young Dancer, The Book of Dance, Lizzie Borden: Dance of Death, Dance in America, Russian Journals, and Speak to Me, Dance with Me. Her activities included her favorite hobby of collecting fine porcelain and her research on the history of clothes, in which she was an expert. She remained a member of the Board of Directors of the Society of Stage Directors and Choreographers, an organization she helped create, and of which she was president for several years. She was during her time as president of the organization the only woman head of a labor union in the United States.

Miss de Mille no longer worked on Broadway musicals, except for revivals using her original choreography. Her public appearances and speaking engagements were carefully chosen, but it was after her stroke that five of her dance works were composed: Texas Fourth, A Bridegroom Called Death, Conversations About the Dance, The Informer, and The Other.

She spoke three times in Congress: once in the Senate, once in the House of Representatives, and once in Congress for the Committee for Medical Research.

In 1976 she was awarded New York City's Handel Medallion, which is the most distinguished honor the city can bestow on its citizens. In December, 1980 she was given the nationally prestigious Kennedy Center Honor by President Carter. Her seventeen honorary degrees are from colleges and universities from coast to coast, and she was also the recipient of two American Theatre Wing "Tony" Awards, for Brigadoon and Kwamina, as well as many other awards, including an "Emmy" in 1987 for Agnes, The Indomitable de Mille.

At the time of her death in October, 1993 at the age of 88, Agnes de Mille was still an influential and productive leader in the cultural life of our country.

 
Sorry busy @ work, kids started classes, school board last night, and Mrs BL came home with a 60 page co-op application (moving to a bigger place a few blocks south). 1st world problems.

 
Sorry, folks, but we're going out with a wimper and not a bang. Have tons of financial paperwork to pull together for a new apartment purchase, and kicking off five weeks of hell Saturday (semi-annual community charity event I co-chair about to take over my life). So, rushing to the finish line...

7th Place - Twyla Tharp - 14 points

Modern dance, ballet, film, Broadway - she has done it all, and IMO the greatest living female choreographer.

The grande dame of modern dance in America.

Martha Graham’s impact on dance was staggering and often compared to that of Picasso’s on painting, Stravinsky’s on music, and Frank Lloyd Wright’s on architecture. Her contributions transformed the art form, revitalizing and expanding dance around the world. In her search to express herself freely and honestly, she created the Martha Graham Dance Company, one of the oldest dance troupes in America. As a teacher, Graham trained and inspired generations of fine dancers and choreographers. Her pupils included such greats as Alvin Ailey, Twyla Tharp, Paul Taylor, Merce Cunningham, and countless other performers, actors, and dancers. She collaborated with some of the foremost artists of her time including the composer Aaron Copland and the sculptor Isamu Noguchi.

Born in 1894 in Allegheny County, Pennsylvania, Graham spent most of her formative years on the West coast. Her father, a doctor specializing in nervous disorders, was very interested in diagnosis through attention to physical movement. This belief in the body’s ability to express its inner senses was pivotal in Graham’s desire to dance. Athletic as a young girl, Graham did not find her calling until she was in her teens. In 1911, the ballet dancer Ruth St. Denis performed at the Mason Opera House in Los Angeles. Inspired by St. Denis’ performance, Graham enrolled in an arts-oriented junior college, and later to the newly opened Denishawn School. Denishawn was founded by Ruth St. Denis and her husband Ted Shawn to teach techniques of American and world dance. Over eight years, as both a student and an instructor, Graham made Denishawn her home.

Working primarily with Ted Shawn, Graham improved her technique and began dancing professionally. In “Xochital”, a dance made specifically for her by Shawn, Graham danced the role of an attacked Aztec maiden. It was the wildly emotional performance of this role that garnered her first critical acclaim. By 1923, eight years after entering Denishawn, she was ready to branch out. She found her chance dancing in the vaudeville revue Greenwich Village Follies. At the Greenwich Village Follies, Graham was able to design and choreograph her own dances. Though this work provided her with some economic and artistic independence, she longed for a place to make greater experiments with dance. It was then that she took a position at the Eastman School of Music, where she was free of the constraints of public performance. At Eastman, Graham was given complete control over her classes and the entire dance program. Graham saw this as an opportunity to engage her best pupils in the experiential dance she was beginning to create.

These first experimentations at Eastman proved to be the sparks of a new mode of dance that would revolutionize theories of movement in all of the performing arts. For Graham, ballet’s concern with flow and grace left behind more violent traditional passions. Graham believed that through spastic movements, tremblings, and falls she could express emotional and spiritual themes ignored by other dance. She desired to evoke strong emotions, and achieved these visceral responses through the repetition of explicitly sexual and violently disjunctive movements. Beginning with her Eastman students, she formed the now famous Martha Graham School for Contemporary Dance in New York. One of the early pieces of the company was “Frontier” (1935), a solo performance about the pioneer woman. This piece brought together the two men who would be close collaborators throughout her life. Isamu Noguchi, the Japanese-American sculptor, created a sparse and beautiful design that replaced flat backdrops with three-dimensional objects. Together Graham and Noguchi revolutionized set design through this inclusion of sculpture. “Frontier” also included the sound design of Louis Horst, a close friend and strong influence throughout Graham’s life.

Soon after “Frontier”,Graham brought a young ballet dancer named Erick Hawkins into the company. Together they appeared in one of her major works, “American Document” (1938). For the next ten years he would remain with the company and perform in many of her great pieces. The most famous work from this period was “Appalachian Spring” (1944), for which Aaron Copland wrote the score. In 1948 Graham and Hawkins married, but the marriage was short-lived. They continued to work together for a while and then made a permanent break. After this break, Graham plunged deeper into her work and in 1955 presented the world with one of her greatest pieces, “Seraphic Dialogue”. “Seraphic Dialogue” was a powerful and moving version of the story of Joan of Arc. Throughout Graham’s career she would return again and again to the struggles and triumphs of both great and ordinary women. Despite her age, she continued to dance throughout the 60s. It was not until 1969 that Graham announced her retirement from the stage.

For Graham, however, life away from dance was impossible. Though no longer able to perform she continued to teach and choreograph until her death in 1991. It is nearly impossible to track the influence of Martha Graham. Everyone from Woody Allen to Bette Davis cites her as a major influence. She is universally understood to be the twentieth century’s most important dancer, and the mother of modern dance. She performed at the White House for Franklin Roosevelt, and received the Presidential Medal of Freedom and the French Legion of Honor. She was the first choreographer to regularly employ both Asian- and African-American Dancers. Her contributions to the art of stage design and dance production are countless. Martha Graham’s continued experimentation and her constant attention to human emotion, frailty, and perseverance, is one of the greatest individual achievements in American cultural history.

 
TimSummary

1st Place - Martha Graham - 20 points

2nd Place - Katherine Dunham - 19 points

3rd Place - Hanya Holm - 18 points

4th Place - Paul Taylor - 17 points

5th Place - Alvin Ailey - 16 points

6th Place - Bob Fosse - 15 points

7th Place - Twyla Tharp - 14 points

8th Place - Agnes de Mille - 13 points

9th Place - José Limón - 12 points

10th Place - Jerome Robbins - 11 points

11th Place - Gene Kelly - 10 points

12th Place - Hermes Pan - 9 points

13th Place - Shane Sparks - 8 points

Update the standings, please - think the last one was before my three categories.

 
:rolleyes:

Rankings (after 24 categories)

382 wbaaoz

357 timschochet

345 BobbyLayne

344 DougB

344 Mister CIA

343 Usual21

341 rikishiboy

337 Tremendous Upside

334 jwb

330 Mrs. Rannous

308 DC Thunder

308 tish156

295 AcerFC

AcerFC

American Military Defeat Battle of Bataan

American Military Victory Battle of Midway

Choreographer Modern Dance Twyla Tharp

BobbyLayne

American Military Defeat Battle of Chickamauga

American Military Victory Battle of Yorktown

Choreographer Modern Dance Hanya Holm

DC Thunder

American Military Defeat Battle of Chosin Reservoir

American Military Victory Battle of Saratoga

Choreographer Modern Dance Alvin Ailey

Doug B

American Military Defeat The Tet Offensive

American Military Victory Invasion of Normandy

Choreographer Modern Dance Martha Graham

jwb

American Military Defeat First Bull Run

American Military Victory Gettysburg

Choreographer Modern Dance Gene Kelly

Mister CIA

American Military Defeat Battle of Antietam

American Military Victory Missionary Ridge

Choreographer Modern Dance Agnes DeMille

Mrs. Rannous

American Military Defeat Kasserine Pass

American Military Victory Battle of New Orleans

Choreographer Modern Dance Hermes Pan

rikishiboy

American Military Defeat St. Claire's Defeat

American Military Victory Battle of Okinawa

Choreographer Modern Dance Jose Limon

timschochet

American Military Defeat Pearl Harbor

American Military Victory Guadalcana

Choreographer Modern Dance Bob Fosse

tish156

American Military Defeat The Siege at the Khe San

American Military Victory Lexington and Concord

Choreographer Modern Dance Shane Sparks

Tremendous Upside

American Military Defeat Battle of Bladensburg

American Military Victory Battle of Iwo Jima

Choreographer Modern Dance Paul Taylor

Usual21

American Military Defeat Clark Air Base

American Military Victory Belleau Wood

Choreographer Jerome Robbins

wbaaoz

American Military Defeat Little Big Horn

American Military Victory Battle of the Bulge

Choreographer Modern Dance Katherine Dunham

American Military Defeat

1. Attack on Pearl Harbor - 20 points

2. Battle of Little Big Horn - 19 points

3. St. Clair's Defeat - 18 points

4. Battle of Chosin Reservoir - 17 points

5. The Tet Offensive - 16 points

6. Siege of Khe Sanh - 15 points

7. Battle of Bataan - 14 points

8. Battle of Kasserine Pass - 13 points

9. Battle of Bladensburg - 12 points

10. Battle of Chickamauga - 11 points

11. First Bull Run - 10 points

12. Clark Air Base - 9 points

13. Battle of Antietam - 8 points

American Military Victory

1. Gettysburg 20 points

2. Invasion of Normandy 19 points

3. Battle of the Bulge 18 points

4. Lexington and Concord - 17 Points

5. Battle of Midway - 16 points

6. Battle of New Orleans - 15 points

7. Battle of Yorktown - 14 Points

8. Battle of Saratoga - 13 points

9. Missionary Ridge - 12 points

10. Battle of Belleau Wood - 11 Points

11. Battle of Okinawa - 10 points

12. Battle of Iwo Jima - 9 points

13. Guadalcanal - 8 points

Choreographer Modern Dance

1st Place - Martha Graham - 20 points

2nd Place - Katherine Dunham - 19 points

3rd Place - Hanya Holm - 18 points

4th Place - Paul Taylor - 17 points

5th Place - Alvin Ailey - 16 points

6th Place - Bob Fosse - 15 points

7th Place - Twyla Tharp - 14 points

8th Place - Agnes de Mille - 13 points

9th Place - José Limón - 12 points

10th Place - Jerome Robbins - 11 points

11th Place - Gene Kelly - 10 points

12th Place - Hermes Pan - 9 points

13th Place - Shane Sparks - 8 points

Rankings (after 27 categories)

438 wbaaoz

400 timschochet

399 DougB

388 BobbyLayne

381 rikishiboy

377 Mister CIA

375 Tremendous Upside

374 jwb

374 Usual21

367 Mrs. Rannous

354 DC Thunder

348 tish156

339 AcerFC

 
Judges

70's Sports Star DougB

American Military Defeat BobbyLayne

American Military Victory BobbyLayne

American Poem Krista4

Athlete born in Africa DougB

Celebrity Chef Krista4/Oliver Humanzee

Child Star Mrs. Rannous

Choreographer BobbyLayne

Country Song Professor S

Cover Song timschochet

Disco Song Mrs. Rannous

Disgusting Food Corky

Duet Song Dr. Octopus

FFA Thread higgins

Hip Hop Album Professor S

Jazz Recording Tremendous Upside

Junk Food Keerock

Martial Arts Movie Charvik

Mixed Drink Charvik

MLB Third Baseman higgins

Movie Musical Corky

NBA Point Guard Frostilicus

Non-tragic News story of the last 20 years rikishiboy

Professional Wrestler Brady Marino

Sandwich jwb

Short Novel Tremendous Upside

Spin off Television show Keerock

Television Holiday Special jwb

TV Half hour comedy Keerock

Worst Movie For A Great Actor Corky
 
Looking back over the American poems, I find the write-ups much better than the selections. Really good job by just about everyone on the write-ups, and I loved how most gave a personal connection to the poems!

In terms of the selections, I find the majority of them puzzling in the context of the rich history of American poetry. Can't argue with the top five or six (in my rankings) but otherwise disappointed not to see some of the greats in there.

I ranked the poems themselves on a 20 point to eight point scale and also the write-ups on the same scale. The final score is a simple addition of the two rankings, coming to the overall ranking.

I am going to post the write-ups rankings first. NOTE: these are only the write-up rankings, not the overall rankings!

 
WRITE-UP RANKINGS

Again, I was impressed. I realized I didn't like rankings people's actual write-ups as it seems more personal than ranking their selections, but the quality was so good in the write-ups that it turned out not to be difficult.

Here's your 20-point write-up, for Still I Rise:

This is absolutely one of my favorite pieces of poetry. Very simple, using predominantly an ABCB rhyme scheme, Angelou lets her tone, metaphors and simile inspire you. Not only are Angelou's thoughts and feelings articulated in a beautiful manner but the entire message within this marriage of words incredibly poignant. I remember reading this poem for the first time in early middle school; and it's always been close to me - inspiring me to read it time and time again. Even though this poem is essentially about the grace and inspiration in the face of racism and adversity, the message of "rising" is easily accessible to anyone. We all face adversity. We all have wanted to "quit." We all have wounds that strive to permeate doubt within our hearts. But we Rise regardless; we are able to carry on and move forward.

I love the honesty and directness of this piece of writing. This poem captured my heart and soul from the first two lines: "You may write me down in history/ With your bitter, twisted lies." Speaking directly to her oppressors, Angelou holds no punches, yet obviously does so with graceful confidence. She doesn't insult. She doesn't disrespect. She simply lets you know that in spite of racism, sexism or any other obstacle in her way, she in fact, "will rise." From the opening stanza, her chosen imagery paints absolutely beautiful pictures. From "dust" to "oil wells" to "hopes springing high" to "shoulders falling down by tear drops" to "gold mines" to a "black ocean" - Angelou gives the reader (and her listening oppressor) many examples of how she "will rise" regardless of the hate, discrimination and challenges that she has overcame. Near the end of the poem, in the last stanza she writes, "Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave." THIS is my favorite line of the entire poem. I remember being nearly moved to tears when I first read it so many years ago. It Still grips me emotionally to this day. In reading that line, it causes me to reflect back to that peculiar institution, to that chapter of our history where slavery destroyed families and rendered African culture nearly extinct and I think about how easy it would have been to live without hope, without dreams, without a confidence in your essence. To live with shame would be the easy solution to this problem. However, Angelou smashes any notion of doubt, shame, embarrassment or quit with that line. She snatches history's burden with power and integrity and she says that SHE is the DREAM. That SHE is the HOPE. That she carries on this amazing legacy of fulfilling the hopes and dreams of her ancestors. And ultimately, by SHE, she means ME, YOU, the READER. She goes on to say that in spite of "history's shame" that she is like an ocean that expands with the tide, although rough at times, that she will ultimately shine bright and Still like a brilliant new day. Comparisons such as that just paint amazingly powerful pictures to me.

Ten times within the poem does Angelou say "I rise" or "I'll rise." This repetition has stuck with me much longer. I'm Still very much in awe that such a short piece of inspired writing can not only capture the pain of 400 years of oppression but can also inspire me (and others) to overcome the challenging minutea of everyday life.
 
The two 19-point write-ups were almost given 20s as well, but the Still I Rise write-up was just so compelling I gave it a slight edge. What I find interesting about the following two is that, while equally terrific, one is highly passionate and one is somewhat personal but generally much more clinical:First 19-pointer, for Howl:

I like the pacing of Howl. It's one of the most masculine poems I know. It's in your face and unrelenting. I can't listen to it without imaging an accompaniment of a slow bass line and a drummer brushing symbols. I love the New York centric themes, how every borough and numerous landmarks are referenced, yet in an abstract way that makes it seem less provincial. I love that the best minds of the beat generation lost became the best minds of the civil rights and hippie generation lost only to become the best minds lost of any generation. When Ginsberg says "I'm with you in Rockland Carl Solomon" we say it back and we're with him in the psycho ward as well. I love the base repetitions of who in the first part and Moloch in the 2nd part; it signals the end of the long line and launches another, and no matter how many times you've heard or read this poem, there is this sense you're not quite sure where the next line is going, but you can't wait to get there. The Holy Holy Holy footnote concludes the Fifth International is yet to come, and I feel so pent up by then I want to run up to the roof and throw my watch to cast my ballot with eternity outside of time.It's ####### awesome.
Second 19-pointer, for A Visit from Saint Nicholas:
The reasons I selected Clement Moore's "A Visit from St. Nicholas" are two-fold -- one appeals to the evelasting child in all of us, while the other appeals to our intellectual side and to an interest in the origins of one of America's greatest native myths."Twas the night before Christmas ..." is a refrain I've heard as long as I can remember in association with the Christmas season. Therefore, "A Visit from St. Nicholas" is a comfortable, familiar refrain, and a reliable remnder of good times past and present. It is the Ur-story of the kindly gift-giver, the "true" account that made clear what St. Nick did early each Christmas morning, how he did it, what he acted like, and more -- Even the reindeer were spelled out by name (and, boy, did I know them all as a tyke ... except where was Rudolph?). And it was all told through the eyes of a gob-smacked eyewitness. And us kids could certainly understand that wonder. The poem is ever associated with good memories -- kindergarten readings, animated Christmas specials, grade-school plays, and much more. In the hear and now, I enjoy passing the poem down to my children, first through board books, later through lavishly illustrated hardbacks, and now -- well, there's an app for that (for real -- scroll to bottom).And now, for my scholarly interest in the poem:The prolific skeptic Martin Gardner wrote an introduction to the 1976 paperback edition of L. Frank Baum's The Life and Adventures of Santa Claus (pp145-150 of link). In it he gave an engrossing scholarly summary of the origins of the American Santa Claus legend. Gardner recounts the Dutch settlers of New Amsterdam and how they brought their legend of Sinterklaas to the New World. Gardner also cites Washington Irving's (of Sleepy Hollow fame) 1809 history of New York City, which described the Dutch-American tradition of hanging stockings by the fire so that Saint Nicholas could fly over in a wagon and drop goodies down the chimney and into the waiting stockings.Anyway. What Gardner credits Moore's poem with doing is to tie together a few loose ends and firm up the St. Nicholas legend into a form we recognize today as Santa Claus. Moore seems to have created the idea of St. Nick descending the chimney himself. The reindeer may have been part of the Dutch-American folklore, but the few earlier accounts there are show St. Nicholas being drawn by one reindeer. Moore's innovation was to describe an entire team of eight reindeer, each individually and indelibly named. Finally, Moore dresses St. Nicholas in fur-lined apparel and thus gives a non-subtle hint regarding the saint having a place of residence in the far north (later the North Pole).Moore first wrote "A Visit from St. Nicholas" for his children in 1822, and it was published anonymously in a Troy, NY newspaper the next year. From there, the poem spread far and wide as an anonymous piece. Moore only acknowledged authorship in 1837, and -- at his children's behest -- included it an anthology of his own poetry in 1844. To quote Gardner: "None of the serious poems in his 1844 book is now remembered, but the "Visit", which Moore dashed off so carelessly, has become the greatest Christmas poem in the English language"New York Times poetry critic X.J. Kennedy wrote a review of "Visit" in 1993, which is well worth the brief read.
 
The next two, both 17-pointers, struck me as fantastic because of the personal connections and the humor:First one, for The Raven:

There's not much I can say here in a technical sense. I'm not a huge poetry fan, and while I can certainly appreciate a good poem, poetry as a whole remains beyond my grasp. It's like seafood or wine - I want to like it, but it just doesn't seem to happen for me. I'm a borderline film snob, and also a writer, so I'm no stranger to highbrow stuff / literature, but I'm sad to say poetry in general bores me.Except for this one. And I really don't know why beyond "I like it".I first heard this recited by Vincent Price when I was about 8 years old. I always stayed up late and watched horror movies as a kid (still do, really), and one night, The Raven was on. It's actually more a comedy than a horror film, with Price and Boris Karloff as rival sorcerers, with Peter Lorre as comic relief / the raven. But in the beginning, Price recites the poem in his signature voice, and I was hooked. I suppose the supernatural overtones appeal to me, as does the dark sense of loss. That's about as close to "getting it" as I come. But it remains a favorite of mine, and really the only poem I considered. It led me to more of Poe's work, and I became a big fan, which I suppose is a good thing.
Second 17-pointer, for The Road Not Taken:
It has always struck me that this is not as much a poem about indivdualism as some people (including my high school English teacher) claim. After all, it's not like the narrator is making a choice based upon his own decision- he's making a choice based on the decision of the majority- he's rejecting that decision, but still letting it affect him. Case in point: I dated a "Goth" girl in college who LOVED this poem. The main reason she was Goth, besides liking the music, was a supposed rebellion against the conformity around her. So as part of that "rebellion" she dyed her hair black, wore dark clothes, dark eyeliner, fingernails, etc. For her this was the "road less traveled", as she referred to the Frost poem (lots of people seem to get the title wrong.) Anyhow, I'd take her to concerts: The Cure, Souixie and the Banshees, Bauhaus, etc. And at each concert, there were HUNDREDS of people there dressed exactly the same way she was. Talk about conformity! I once pointed this out to her. She didn't like it much, and we stopped dating soon after. She dated my roommate and became a Wican.
 
I also had two 15-pointers. The first, for O Captain My Captain, edged out the 13-pointers as it went a little farther into analysis of the poem and had a nice personal touch:

There are actually a few more eligible poems that I would gladly take later, but this is the one I appreciate the most. This poem portrays a part of our history and while , it tells us that it is what happened that led to that point is what is really important. I think that kind of thing is true for each of us. What we do now is important, but it is what we have done before that gives weight to what we do now.
The second, for Beer, had not only a nice little analysis but made me :lol: :
I was a little intimidated when Krista announced that write-ups would be a big part of her rankings for American Poetry. What, ME, do a write-up on poetry? ... I'm dying laughing on the inside. The best I can do is pick one and say, it really speaks to me - and mean it!Actually, I just stumbled across this poem, so it's not like I've had any time to truly digest it, but it speaks an eternal truth (THE eternal truth), that life is nothing more and nothing less than the sum of the choices we make. Am I Right? ...LINK = NSFW.Or maybe he is saying that the choices we make stay with us forever. Or maybe there's the revelation that aimlessly drifting and regret go hand in hand. Who knows?! I'm not too good at this. Maybe a cold beer would help me with my interpretations.
 
I had three 13-pointers. They are all nice write-ups in that they establish a personal connection to the poem. They are ranked lower than the others just based on brevity of write-up and absence of any analysis of the poem itself. Still I liked these write-ups for the personal connections!First, for Stopping by the Woods on a Snowy Evening:

After my mess up yesterday I thought of poems I knew. There weren't many but this one stuck out as I remember miles to go before I sleep. Stayed with me a long time and makes me think of how much there is to do in life
Second, for High Flight:
Listening to Reagan read this after the Challenger explosion was one of the most moving experiences I have ever had involving a poem. It moves me every time I hear it.
Third, for Where the Sidewalk Ends:
i am a huge shel silverstein fan and because of him and that poem i wrote poetry as a little girl and still collect his poetry to this day
 
Two 10-pointers. At least the drafters provided write-ups, but no analysis or personal connection. Just the facts, ma'am.First, for The New Colossus:

One of the most famous poems/sonnets in American history, this parts of this poem by Emma Lazarus on the Statue of Liberty.
Second, for The Defense of Fort McHenry:
Better known as the poem that was later put to music and we now call "The Star Spangled Banner"
 
Now, in terms of my rankings of the selections themselves...as mentioned I won't have time for big write-ups, so this is "down and dirty".

Again these are not the final rankings but are just the second element of the overall rankings.

20 pts. Stopping by the woods on a snowy evening - Could just as easily switch this and the other Frost. Both are outstanding. This is a personal preference.

19. The Raven - Not a personal favorite, but no denying its staying power and importance. Plus of course, there was that Simpsons episode...

18. The New Colossus - Really a phenomenal work.

17. Howl - Probably my favorite on the list.

16. The Road Not Taken - See comment to 20-pointer above.

15. O Captain My Captain - Love Uncle Walt but would have gone elsewhere if choosing one of his. Still a great selection despite that whole Dead Poets Society thing.

[New tier]

14. The Love Song of J Alfred Prufrock - Could rank more highly but really hard to call this American.

[new tier]

13. Beer - I'm a Bukowski fan but this wasn't the best choice.

12. Still I Rise - I just can't get into Angelou though the argument for this poem was compelling.

[new tier]

11. A Visit from St. Nicholas - Beloved, and that's about it.

10. The Defense of Fort McHenry - Meh.

9. High Flight - Meh.

8. Where the Sidewalk Ends - Even as a Silverstein fan I can't figure out why this is here.

 
And so, your final rankings!

20 pts. (tie) The Raven (36 total points)

20 pts. (tie) Howl (36)

18 pts. (tie) The Road Not Taken (33)

18 pts. (tie) Stopping by the woods on a snowy evening (33)

16 pts. Still I Rise (32)

15 pts. (tie) O Captain My Captain (30)

15 pts. (tie) A Visit from St. Nicholas (30)

13 pts. (tie) The New Colossus (28)

13 pts. (tie) Beer (28)

11 pts. (tie) The Love Song of J Alfred Prufrock (22)

11 pts. (tie) High Flight (22)

9 pts. Where the Sidewalk Ends (21)

8 pts. The Defense of Fort McHenry (20)

 
Nice job, K4!

And so, your final rankings!

20 pts. (tie) The Raven (36 total points)

20 pts. (tie) Howl (36)

18 pts. (tie) The Road Not Taken (33)

18 pts. (tie) Stopping by the woods on a snowy evening (33)

16 pts. Still I Rise (32)

15 pts. (tie) O Captain My Captain (30)

15 pts. (tie) A Visit from St. Nicholas (30)

13 pts. (tie) The New Colossus (28)

13 pts. (tie) Beer (28)

11 pts. (tie) The Love Song of J Alfred Prufrock (22)

11 pts. (tie) High Flight (22)

9 pts. Where the Sidewalk Ends (21)

8 pts. The Defense of Fort McHenry (20)
Rankings (after 27 categories)438 wbaaoz

400 timschochet

399 DougB

388 BobbyLayne

381 rikishiboy

377 Mister CIA

375 Tremendous Upside

374 jwb

374 Usual21

367 Mrs. Rannous

354 DC Thunder

348 tish156

339 AcerFC

AcerFC

American Poem Stopping by the woods on a snowy evening

BobbyLayne

American Poem Howl

DC Thunder

American Poem The New Colossus

Doug B

American Poem A Visit from St. Nicholas

jwb

American Poem The Raven

Mister CIA

American Poem Beer

Mrs. Rannous

American Poem High Flight

rikishiboy

American Poem O Captain My Captain

timschochet

American Poem The Road Not Taken

tish156

American Poem Where the Sidewalk Ends

Tremendous Upside

American Poem The Love Song of J. Alfred Prufrock

Usual21

American Poem The Defense of Fort McHenry

wbaaoz

American Poem Still I Rise

Rankings (after 28 categories)

454 wbaaoz

418 timschochet

414 DougB

408 BobbyLayne

396 rikishiboy

394 jwb

390 Mister CIA

386 Tremendous Upside

382 Usual21

378 Mrs. Rannous

367 DC Thunder

357 tish156

357 AcerFC

Compelling battle for last place to be decided by DougB's two categories.

Any reason to believe GB DougB is still going to judge 70s Sports Stars and African Athletes?

 
Anybody want to do this? Last 2 and then we can put a bow on it.

70's Sports Star1. Reggie Jackson2. Kareem Abdul-Jabbar3. Pete Rose4. Muhammad Ali5. Billie Jean King6. Jack Nicklaus7. Bobby Orr8. Hank Aaron9. Nolan Ryan10. Pele11. Terry Bradshaw12. Evil Knievel13. Richard PettyAthlete born in Africa1. Abebe Bikila2. Hakeem Olajuwon3. Gary Player4. Steve Nash5. George Weah6. Ernie Els7. Kip Keino8. Haile Gebrselassie9. Samuel E'to10. Kevin Pietersen11. Dikembe Mutombo12. Hicham El Guerrouj13. Zola Budd
 
I'll do them. BL, thanks so much for working on this thread; I just haven't had the time.

Will post 70s stars tonight or tommorow; African athletes by Wednesday.

 
Actually I had made notes on 70s sports stars, so I can do that one now:

8 pts- Bobby Orr He really doesn't deserve last place here, because Orr revolutionized the sport of ice hockey. But his sport lacked the star power appeal of all of the others on this list, most of whom had face recognition among the general public. If this were an athlete's list, Orr would do much better. But it's a star list, and a hockey defenseman, no matter how great, is going to fare poorly.

 
9 pts- Terry Bradshaw

The only NFL player on this list. The NFL player who SHOULD have been drafted is OJ Simpson- he was a much bigger star than Bradshaw, due to his orange juice commercials, movie appearances, etc. Joe Namath, despite winning the SB in 1969, also would fared better- after all, he was on the The Brady Bunch. And Mean Joe, from the same team, would have to get the nod because of the legendary commercial. Bradshaw, as a sports star, doesn't compare.

 
10 pts- Nolan Ryan

Now it gets tough. I grew up a Dodgers fan in the 70s, and we had a bunch of stars, led by Steve Garvey and Ron Cey, and a team that was almost always in the World Series. In those years, the Angels were an afterthought, even though they were closer to me. But one guy stood out; he was a bigger star than anyone else in southern California for a period of time. Ryan never had a low ERA, never had great control (he never had a game in his career without a walk!) but he caught the public imagination because he threw hard fastball strikes. A huge star, not as big as the baseball guys above him, but huge nonetheless.

 
11 pts- Pete Rose

As I wrote above, I was a Dodger fan growing up, and nobody was more hated by Dodger fans than Pete Rose. Man was he hated, and loudly booed everytime he came to Dodger stadium. Rose was, of course, the star of the Big Red Machine in the mid-1970s, but his ultra-stardom arrived when he threatened Joe DiMaggio's hitting streak in the late 70s. Once that started to get serious I can still remember how the news followed him around, and they would break into broadcasts to report when he got a hit. For a short period of time, Rose was the #1 sports star in the nation.

 
12 pts- Richard Petty

Like ice hockey, NASCAR in the 1970s was largely a regional sport. But Petty gets the nod here and is placed much higher than Orr because it's an individual rather than a team sport. Petty is arguably the first NASCAR superstar. Because it was regional I can't place him any higher on this list, much as he might deserve it.

 
13 pts- Hank Aaron

Aaron achieved immortality for his home run which beat Ruth's record- he also received plenty of death threats as well. But even more than that home run, Aaron is ranked where he is because of the "O'Henry" candy bar commercials, which dominated television in the early 1970s and helped make Aaron known to every household in America.

 
14 Kareem Abdul-Jabbar

Now we get to the real biggies. Kareem was the most recognizable figure in his sport during the 1970s, and one of the most recognizable figures in all of sports. He replaced Wilt Chamberlain as the face of the NBA. Unfortunately, the NBA in the 1970s was not that popular a product- players did lots of drugs, there were some ugly, violent incidents (one which involved Kareem) and the championship series were often not shown until on late night tape delay. It took the arrival of Magic and Bird to create the superstardom in the NBA that we're familiar with today.

 
15 pts- Evil Knievel

Everyone in the top 6 is an absolute superstar. Knievel was HUGE in the 70s, despite the fact that he typically failed at most of his biggest jumps. But that didn't stop him from promoting even bigger ones, and it didn't stop the public from wanting to see him succeed- or did they want to see him succeed, or just fail spectacularly? Knievel reminds me in many ways of Harry Houdini- same public fascination, same death defying attempts. It's a little disturbing that the public loved this guy the way they did. As a kid, I loved him too.

 
16 pts- Jack Nicklaus

When Nicklaus came on the scene in the 60s, the public really hated him because he was seen as a threat to the idolized Arnold Palmer. By the time the 70s rolled around, Nicklaus' persona had altered, and he was the much beloved face of golf for the decade. Certainly the sport had other big stars in the era, especially Lee Trevino and Tom Watson- but none as big as the Bear. Some of the other athletes on this list had a certain year or two in the decade where they really dominated; Jack dominated the entire decade, and was one of the most recognizable persons in the world during these years.

 
17 pts- Reggie Jackson

No baseball expert is going to tell you that Mr. October was anywhere near the greatest player of the decade. Too low a batting average, too many strikeouts, not a great fielder. But he was by far the biggest baseball star of the 1970s, and arguably the biggest American sports star of the decade. The only reason he is not even higher on this list is because major league baseball lacks the international appeal of the top 3 stars.

 
18 pts- Billie Jean King

Still the most famous female sports star in history. When I chose her, I thought she deserved the 20 pointer in this category, and I can still make a good argument for it. Her match against Riggs was the biggest sport event of the 1970s, and it represented a change in the role of women in society. Billie Jean was soon eclipsed in her sport by Chris Evert and then Martina, but neither of them had the sheer impact she did on the sporting world. A true international phenomenon.

 
19 pts- Pele

Pele became famous in the late 1950s, and by the time the 70s rolled around he was an aging veteran. When he came to the United States, he was already on his last legs. But it doesn't matter- throughout the decade Pele was the 2nd most recognizable face in all of sports, and probably the 2nd most recognizable face, period. That means he is an automatic 19 pts in this category, only losing out to the most recognizable face....

 
20 pts- Muhammad Ali

Perhaps because Ali was taken in the last draft as the 60's sports star, and won the category, he was passed up in this draft for a good long time and not taken until very late. It seems a little boring to give him the top spot yet again, but any objective examination tells me that there really is no other choice. Arguably the most famous human face of the last 50 years or so.

 
70s sports stars:

20 pts- Muhammad Ali

19 pts- Pele

18 pts- Billie Jean King

17 pts- Reggie Jackson

16 pts- Jack Nicklaus

15 pts- Evil Knievel

14 pts- Kareem Abdul Jabbar

13 pts- Hank Aaron

12 pts- Richard Petty

11 pts- Pete Rose

10 pts- Nolan Ryan

9 pts- Terry Bradshaw

8 pts- Bobby Orr

Athletes born in Africa tomorrow.

 
Excellent. Thanks Tim, Krista, BL, for finishing ths up (well, one more to go).

2 20's in a row - can't complain about that.

 
12 pts- Richard Petty

Like ice hockey, NASCAR in the 1970s was largely a regional sport. But Petty gets the nod here and is placed much higher than Orr because it's an individual rather than a team sport. Petty is arguably the first NASCAR superstar. Because it was regional I can't place him any higher on this list, much as he might deserve it.
Petty was extremely popular in the 70s, and his popularity was NOT regional. There was even a movie made about him in the 70s.
 
12 pts- Richard Petty

Like ice hockey, NASCAR in the 1970s was largely a regional sport. But Petty gets the nod here and is placed much higher than Orr because it's an individual rather than a team sport. Petty is arguably the first NASCAR superstar. Because it was regional I can't place him any higher on this list, much as he might deserve it.
Petty was extremely popular in the 70s, and his popularity was NOT regional. There was even a movie made about him in the 70s.
Look at the names above him on this list- who would you rank him over?
 
12 pts- Richard Petty

Like ice hockey, NASCAR in the 1970s was largely a regional sport. But Petty gets the nod here and is placed much higher than Orr because it's an individual rather than a team sport. Petty is arguably the first NASCAR superstar. Because it was regional I can't place him any higher on this list, much as he might deserve it.
Petty was extremely popular in the 70s, and his popularity was NOT regional. There was even a movie made about him in the 70s.
Look at the names above him on this list- who would you rank him over?
There's nobody I'd move.
 

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