Caleb Swanigan is one of the most dominant players in college basketball.
The 6-foot-9, 245-pound sophomore for the Purdue Boilermakers has been having an unstoppable season, averaging 18.5 points and 12.5 rebounds per game.
Swanigan’s athleticism is all the more impressive when you consider all that he’s overcome to get to this point. He spent his childhood alternating between an abusive home and a homeless shelters in Indianapolis and Utah while his father struggled with drug addiction and legal troubles, Espn reports.
Purdue basketball F Caleb Swanigan wins Big Ten Player of the Week — again https://t.co/MTKSsy7u5o pic.
The 6-foot-9, 245-pound sophomore for the Purdue Boilermakers has been having an unstoppable season, averaging 18.5 points and 12.5 rebounds per game.
Swanigan’s athleticism is all the more impressive when you consider all that he’s overcome to get to this point. He spent his childhood alternating between an abusive home and a homeless shelters in Indianapolis and Utah while his father struggled with drug addiction and legal troubles, Espn reports.
Purdue basketball F Caleb Swanigan wins Big Ten Player of the Week — again https://t.co/MTKSsy7u5o pic.
- 1/26/2017
- by tiaredunlap1
- PEOPLE.com
A spellbinding documentary about the Mississippi blues, ''Deep Blues, '' hosted by former New York Times music critic Robert Palmer and commissioned by British rocker Dave Stewart, is veteran filmmaker Robert Mugge's best film to date.
Not merely a record of a musical tradition, the film is actually a discovery, both of extraordinary musicians who have never seen the inside of a recording studio -- including the nearly legendary Junior Kimbrough -- and of a reblossoming of a music with clearly discernible African roots.
It is in Los Angeles for a one-week run at the Grande as part of the AFI USA Independent Showcase, but further exposure, via cable, public television, video, or even further theatrical distribution, could well prove profitable.
The film opens on the gentrified streets of Memphis' old blues quarter, where Palmer and Stewart meet and talk about the background of the musicians they are going to record. The pair then travel to the back hills of Northern Mississippi, a region long scanted by record makers in favor of the Delta region to the south.
It is here that the film makes its most intriguing stops, not just at Kimbrough's jumping, backroads juke joint -- where the guitarist performs an astonishing number, part propulsive, part haunting -- but at the home of guitarist Booker T. Lawry. At a large picnic, we see Jessie Mae Hemphill's Fife and Drum band, a trio whose performance layers elements of traditional American music over a stong African base.
As the film progresses, Palmer explains in a non-pedantic manner the folk, social and religious roots of the music, some trends of which combine in the appearance of young Lonnie Pitchford, who demonstrates the primitive ''diddleybow'' and performs a classic Robert Johnson song, a song taught him in youth by the legendary bluesman's stepson, Robert Junior Lockwood.
This easy melding of performance and history marks the film, which follows the Mississippi south to the Delta region, and concludes with a look at the performers of Greenville, Clarksdale, and other famed towns in the musically and agriculturally fertile region.
These performers, including Roosevelt Barnes and Big Jack Johnson, who perform in relatively large clubs in full-size bands, get the movie's most extended playing times.
The film's notes promise a soundtrack album, a welcome addition given the lack of exposure many of these musicians have received. Meanwhile, the movie -- which features excellent sound recording -- should serve as their best calling card.
DEEP BLUES
Radio Active Films and Oil Factory Ltd.
Producers Eileen Gregory, John Stewart
Executive producer David A. Stewart
Director-editor Robert Mugge
Writer, interviewer, music director Robert Palmer
Director of photography Erich Roland
Sound recording William Barth
Line producer Robert Maier
Color
With: Junior Kimbrough, Jessie Mae Hemphill, Roosevelt ''Bubba'' Barnes, Big Jack Johnson, Lonnie Pitchford
Running time -- 91 minutes
No MPAA rating
(c) The Hollywood Reporter...
Not merely a record of a musical tradition, the film is actually a discovery, both of extraordinary musicians who have never seen the inside of a recording studio -- including the nearly legendary Junior Kimbrough -- and of a reblossoming of a music with clearly discernible African roots.
It is in Los Angeles for a one-week run at the Grande as part of the AFI USA Independent Showcase, but further exposure, via cable, public television, video, or even further theatrical distribution, could well prove profitable.
The film opens on the gentrified streets of Memphis' old blues quarter, where Palmer and Stewart meet and talk about the background of the musicians they are going to record. The pair then travel to the back hills of Northern Mississippi, a region long scanted by record makers in favor of the Delta region to the south.
It is here that the film makes its most intriguing stops, not just at Kimbrough's jumping, backroads juke joint -- where the guitarist performs an astonishing number, part propulsive, part haunting -- but at the home of guitarist Booker T. Lawry. At a large picnic, we see Jessie Mae Hemphill's Fife and Drum band, a trio whose performance layers elements of traditional American music over a stong African base.
As the film progresses, Palmer explains in a non-pedantic manner the folk, social and religious roots of the music, some trends of which combine in the appearance of young Lonnie Pitchford, who demonstrates the primitive ''diddleybow'' and performs a classic Robert Johnson song, a song taught him in youth by the legendary bluesman's stepson, Robert Junior Lockwood.
This easy melding of performance and history marks the film, which follows the Mississippi south to the Delta region, and concludes with a look at the performers of Greenville, Clarksdale, and other famed towns in the musically and agriculturally fertile region.
These performers, including Roosevelt Barnes and Big Jack Johnson, who perform in relatively large clubs in full-size bands, get the movie's most extended playing times.
The film's notes promise a soundtrack album, a welcome addition given the lack of exposure many of these musicians have received. Meanwhile, the movie -- which features excellent sound recording -- should serve as their best calling card.
DEEP BLUES
Radio Active Films and Oil Factory Ltd.
Producers Eileen Gregory, John Stewart
Executive producer David A. Stewart
Director-editor Robert Mugge
Writer, interviewer, music director Robert Palmer
Director of photography Erich Roland
Sound recording William Barth
Line producer Robert Maier
Color
With: Junior Kimbrough, Jessie Mae Hemphill, Roosevelt ''Bubba'' Barnes, Big Jack Johnson, Lonnie Pitchford
Running time -- 91 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 11/15/1991
- The Hollywood Reporter - Movie News
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