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Hollywood has been remaking movies since the beginning. And with a few notable exceptions, most of these films have failed to capture the magic of the original. Even today directors seem convinced that they can produce Hollywood magic by creating an endless array of sequels, remakes, and reboots. Nevertheless, there still exists that rare category of film screaming to be remade.
One such movie is The Thomas Crown Affair. Neither the 1968 original nor the 1999 remake manages to surpass the other. Whilst the original excels at style and sexual tension, it is overshadowed by the remake’s plot and music score. Both films are essentially “style” movies. They rely heavily upon atmosphere to draw in an audience. The cool jazz of the 1999 remake is a massive improvement over the original. There can be no denying that Nina Simone’s “Sinnerman” is better suited to the film than the original’s “Windmills of Your Mind.”
But what the remake wins in music, it loses in style and sex appeal. From Faye Dunaway’s wardrobe to Steve McQueen’s three-piece suits, the style of The Thomas Crown Affair (1968) has become an iconic part of 20th century style. The tailored suits and designer skirts lend themselves to the film’s upmarket atmosphere and help enhance the sexual tension, which is far more palpable here despite the remake’s decision to show more explicit sex.
The 1999 film makes enormous improvements on the original’s plot. In the original film, the audience is never granted a satisfactory explanation as to why a wealthy, sophisticated gentleman would waste his time organising a bank robbery (the explanation that he does it for kicks barely passes muster). In the remake, the director, John McTiernan and the screenwriters, Leslie Dixon and Kurt Wimmer, decide to make Crown an art thief. It is a crime that makes Crown seem intelligent, cultured, and sympathetic.
At the centre of both versions of The Thomas Crown Affair is the relationship between Thomas Crown and Vicki Anderson (Faye Dunaway)/ Catherine Banning (Rene Russo). In the original film, Crown and Vicki compete as equals causing a sexual tension to pulsate through the entire film. Similarly, in the remake Crown and Banning act as mirror images of one another. Unlike the original, however, the sexual tension quickly fizzles out when the pair form a romantic attachment to one another. At this moment, the erotically-charged battle of wits is replaced with a soap opera-style romance that is, frankly, embarrassing to watch.
In both versions of the film, Thomas Crown is presented as an elegant, sophisticated alpha-male who amassed his wealth thanks to a shrewd business mind and a willingness to take extreme risks. When Crown isn’t making multi-million-dollar deals at the corporate board table, he’s pursing hobbies like polo, gliding, yachting, and golf.
Both Steve McQueen and Pierce Brosnan portray Thomas Crown as a bored millionaire playboy: the type of man with an almost insatiable need for adrenaline. There are, however, marked differences in the way each actor portrays the character. Steve McQueen plays Crown with the kind of roguish charm that made him the “King of Cool” in the sixties and seventies. By contrast, Pierce Brosnan plays Crown as a charmer, the kind of man who feels comfortable in country clubs and golf courses because he’s lived around them his entire life.
As mentioned before, competing against Thomas Crown are the insurance investigators Vicki Anderson and Catherine Banning. Both are largely similar characters. Both have resided in Europe, both are sophisticates, and both come to suspect Thomas Crown merely because they find him attractive. In terms of characterisation, Catherine Banning is certainly the more nuanced of the two.
There is one area, however, where Vicki Anderson excels over Catherine Banning. Sex appeal. At the age of forty-five, Rene Russo (who, it must be said, is a perfectly fine actress) looks too old to be playing the part of a sultry sex kitten who is supposed to be the source of all men’s fantasies. (Faye Dunaway, by contrast, was only twenty-seven and looks every part the sex kitten). Better choices would have been Sharon Stone, Catherine Zeta-Jones, Kim Basinger, Kate Winslet, Emanuelle Béart, and Monica Bellucci.
In 2016, Variety reported that Michael B. Jordan was set to star in a second remake of The Thomas Crown Affair. Those wishing to remake the film should heed the following advice. They should combine McQueen and Brosnan’s portrayals of Crown to create a character a witty, urbane, charming, and roguish anti-hero. They should retain the style and sex appeal of the original film, but follow the remake’s lead when it comes to music and plot. And, finally, they should make absolutely certain that they cast the right actress as the female lead. Only then will we get the film we truly deserve.
One of the great joys of my life is watching speeches and interviews given by great intellectuals. It was in pursuing this pleasure that I happened upon an episode of the ABC’s panel discussion show, Question and Answers. Coming out of the Festival of Dangerous Ideas, the four people on the panel – the traditional conservative, Peter Hitchens; the feminist writer, Germaine Greer; the American writer, Hanna Rosin; and the gay rights activist, Dan Savage – spent an hour discussing tops ranging from western civilisation to modern hook-up culture.
It became quickly apparent that the intellectual stature of the four panellists was not evenly matched. Hanna Rosin and Dan Savage were less rational, less mature, and more ignorant than Peter Hitchens and Germaine Greer. By comparison, Hitchens and Greer gave carefully considered answers to most of the questions asked. Hitchens, in particular, gave responses based on careful consideration, rational thought, fact, and wisdom. (This is not to say one is required to agree with him)
It was the behaviour of the audience that proved the most alarming, however. Like most Questions and Answers audiences, it was comprised mostly of idealistically left-wing youth. Their primary purpose for being there was to have their ideological presuppositions reinforced. With no apparent motivation to listen to the answers to their questions, these youngsters would clap and cheer like trained seals whenever someone makes an ideologically-correct statement.
How has our society become so stupid? Why do we no longer see being wise and knowledgeable as virtues in and of themselves? Part of the answer comes from a culture of self-hate and contempt promulgated by left-wing intellectuals. Accordingly, Christianity is regarded as archaic (unless, of course, it promotes left-wing beliefs), inequality is caused by capitalism, and the problems of women come as the result of the “patriarchy.” Even the Killing Fields of the Khmer Rouge are rather conveniently blamed on “trauma” emanating from the Vietnam War (rather than the actions of Pol Pot and his band of murderous, communist brutes).
This continuous, unrelenting assault on Western civilisation has led to a general estrangement from Western culture. The common people have been robbed of their inheritance because scholars and intellectuals have reduced their culture into a caricature to be dismantled at will. As a result, they are no longer exposed to the great works of art, architecture, literature, music, philosophy, poetry, sculpture, theology, and theatre that the Western world has produced.
The modern proclivity for ignorance and stupidity comes out of a very special kind of arrogance. It is the kind of arrogance that makes people believe that all those who came before them must be dumber than they are. It does not acknowledge that our modern “enlightenment” is built on the works of those who came before us. Our forebears would be dumbfounded to find a world where, despite having greater access to information than anyone else in history, people have closed their minds to learning.
What all this boils down to is a rejection of wisdom. If you believe that all those who came before you are dumber than yourself you are unlikely to believe they have anything worthwhile to contribute. As such, you are unlikely to believe in wisdom as a universal good. As Neel Burton over at Psychology Today pointed out: “in an age dominated by science and technology, by specialisation and compartmentalisation, it [wisdom] is too loose, too grand, and too mysterious a concept.”
We have made phenomenal advancements in all areas of human knowledge. Sadly, our successes have also made us arrogant and self-righteous. If we are to take full advantage of our potential, we need to reignite our cultural past and find the humility to learn from those who went before us.
For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.
It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.
This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.
Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.
Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.
Modern Movies Lack Originality
The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.
The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.
A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.
Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.
Modern Movies Lack Artistic Merit
The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.
With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.
Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.
Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.
The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.
Modern Movies are Left-Wing Propaganda
The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.
The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.
Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.
The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.
There is more to life than just politics. And in the spirit of such a sentiment, this article will take a light-hearted focus on an aspect of popular culture. In specific, it will examine the stars, personalities, and faces that are featured in the 1941 Merrie Melodies cartoon, Hollywood Steps Out.
The cartoon takes place in Ciro’s Nightclub, which is located from 1940 to 1957 on Sunset Boulevard. A neon sign ironically advertises a meal for $50.00 (US$860.00 in today’s money). The first two stars we see are Claudette Colbert (1903 – 1996), famous for playing sophisticated women in light-hearted comedies and emotional dramas, and Don Ameche (1908 – 1993), a film and radio personality who played debonair men. Seated behind them are Adolphe Menjou (1890 – 1963) and Norma Shearer (1902 – 1983), who played spunky and sexually liberated women.
The first interaction occurs between Cary Grant (1904 – 1986), iconic for playing debonair leading men, and the Swedish-American film star, Greta Garbo (1905 – 1990), who is acting as the cigarette girl.
In the next scene, we are introduced to Edward G. Robinson (1893 – 1973), who rose to fame playing gangsters in films like Little Caesar, talking to Ann Sheridan (1915 – 1967). Robinson makes reference to the fact that Sheridan had been voted the actress with the most “oomph” by asking her how her “oomph” is.
The cartoon then pans across a series of tables. At the first table is Henry Binder and Leon Schlesinger (1884 – 1949), both of whom were Warner Brothers staffers. The next three tables are empty. The first is reserved for Bette Davis (1908 – 1989), famous for playing unsympathetic, sardonic characters. The second is reserved for Kate Smith (1907 – 1986), the corpulent American signer. The third is reserved for the cast of Blondie, a radio sitcom that ran from 1939 to 1950. Finally, a fire hydrant has been reserved for Daisy the Dog.
The cartoon then takes us to the cloaking room. Johnny Weissmuller (1904 – 1984), an Olympic swimming champion best known for playing Tarzan (the famous Tarzan yell is his), hands Paulette Goddard (1910 – 1990), a former Ziegfeld girl and film star, his coat. Following Weissmuller is the burlesque dancer, Sally Rand (1904 – 1979). Rand hands Goddard her famous feathers and leaves, presumably naked.
At the bar sits James Cagney (1899 – 1986), famous for playing gangsters, Humphrey Bogart (1899 – 1957), famous for playing cynical and hardboiled characters in film noir pictures, and George Raft (1901 – 1980), also famous for playing gangsters. They are depicted drinking, planning a crime, and pitching pennies.
Harpo Marx (1888 – 1964), the famous prankster of the Marx Brothers, is seen lighting a match under Greta Garbo’s feet.
Next, Clark Gable (1901 – 1960), the undisputed King of Hollywood and star of films like Gone with the Wind, is depicted sitting alone at a table.
Bing Crosby (1903 – 1977), a famous crooner known for songs like “White Christmas, introduces the composer Leopold Stokowski (1882 – 1977) as the evening’s entertainment. Stokowski was best known for his work on Disney’s Fantasia.
In the restaurant, Dorothy Lamour (1914 – 1986), an actress and singer, asks James Stewart (1908 – 1997), known for playing shy, everyman characters, if he would dance with her. Stewart runs away after seeing Lamour dance and leaves behind a sign saying, “Mr. Smith Goes to Washington” (a reference to one of Stewart’s films).
Several famous stars are depicted on the dance floor. Tyrone Power (1914 – 1958), known for playing swashbuckling and romantic leads, dances with the Olympic champion figure skater and film star, Sonja Hennie (1912 – 1969). Frankenstein is depicted dancing mechanically. The Three Stooges, one of the most iconic slapstick comedy groups of all time, poke and slap each other in rhythm. Oliver Hardy (1892 – 1957), the fatter half of the Laurel and Hardy comedy duo, dances with two women at the same time. Finally, Caesar Romero (1907 – 1994), dances with Rita Hayworth (1918 – 1987), star of films like Gilda.
Mickey Rooney (1920 – 2014), who found fame playing Andy Hardy, and Judy Garland (1922 – 1969), a notable singer, dancer, vaudevillian, and film star best remembered for playing Dorothy in The Wizard of Oz. Rooney asks Lewis Stone (1879 – 1953), an American character actor, if he can have a “heart to heart talk” with him.
For the next performance, Crosby introduces Sally Rand (he introduces her as Sally Strand, no doubt for legal reasons) and her famous bubble dance. The radio personality and bandleader, Kay Kyser (1905 – 1985), calls to his students. These are William Powell (1892 – 1984), known for playing debonair men, Spencer Tracy (1900 – 1967), known for his natural style and versatility, Ronald Colman (1891 – 1958), Errol Flynn (1909 – 1959), the Australian-American film star famous for playing swashbuckling heroes, Wallace Beery (1885 – 1949), and the English cricketer and film star, C. Aubrey Smith (1863 – 1948).
The Austro-Hungarian born actor, Peter Lorre (1904 – 1964), known for playing creepy and cowardly characters, is depicted sitting at a table by himself. Henry Fonda (1907 – 1982), known for playing characters brimming with heroic integrity, sits at the next table. The voice that calls out “Hen-ree” is a reference to Alice Aldrich of the Aldrich family. Finally, J. Edgar Hoover (1895 – 1972), the legendary first director of the Federal Bureau of Investigation, is depicted repeating “g” over and over again.
At the next table is Boris Karloff (1887 – 1972), most famous for playing Frankenstein, Arthur Treacher (1894 – 1975), a comedian best known for playing stereotypical Englishmen, Buster Keaton (1895 – 1966), a silent-era comedian who legendary status is bettered only by Charlie Chaplin (1889 – 1977), and the Russian-American film star, Mischa Auer (1905 – 1967). The man who asks them if they are enjoying themselves is Ned Sparks (1883 – 1957), a Canadian character actor known for playing serious characters.
At the next table is Jerry Colonna (1904 – 1986), a well-known musician and comedian, sitting with the invisible man. Finally, the woman Clark Gable has spent the entire cartoon chasing is revealed to be none other than Groucho Marx (1890 – 1977).
Culture is more important than politics. However, in the hierarchy of priorities, many conservatives rank it somewhere between checking their privilege and meeting diversity and inclusion quotas. They simply do see it as being of any importance.
Conservatives mistakenly believe that the culture is less important than politics and economics. In their mind, culture is akin to leisure, something that is relegated to times to relaxation. However, as the late Andrew Breitbart (1969 – 2012), was fond of pointing out: politics is downstream of culture. It is culture – art, film, theatre, literature, sports, video games, news media, and comic books, among other things – that informs public opinion long before policy is announced to the public or even made.
The left has realised this. They have made it a key aspect of their long-term strategy to dominate the culture and exclude conservatives. It has spent decades infiltrating the halls of culture, politics, and academia with little to no opposition from conservatives who, much to their detriment, have failed to realise the importance of these institutions.
To understand the importance of culture it is necessary to understand what culture is. Culture communicates ideas through art, literature, literature, film, and so forth. It is from culture that ideas and beliefs are popularised or dismissed. And it is from culture that our worldview is formed.
The difference between left-wing culture and right-wing culture is that left-wing culture expresses false ideas, whilst the ideas expressed by right-wing culture tend to be truthful.
Just take a look at conservative art compared with left-wing art. Left-wing art champions communism: a political ideology that has killed and enslaved tens-of-millions of people, Conservative art champions Christian values, honour, patriotism, love, and freedom. The Brady Bunch featured a two-parent family (admittedly blended, but that doesn’t really matter) and espoused the virtues of duty, honour, and responsibility whereas a show like Gilmore Girls glorified single motherhood and self-centredness.
If conservatives wish to promote good and truthful ideas, they must be prepared to invest more in the culture. They must be prepared to create businesses, establish grants, and more in order to finance and distribute conservative art. In doing so, they can prevent left-wing censorship and can ensure that good, truthful ideas continue to be promoted.
There can be little doubt that technology is going to transform our world in ways that will make it unrecognisable to us fifty years from now. Technology is going to transform our lives, our work, and our relationships in ways that we, in our mortal and limited wisdom, will prove unable to comprehend. What we consider science fiction today, we will consider reality tomorrow.
The most obvious clue has been the internet. This medium is, indeed has, changed the world in ways we cannot even begin to fathom. Virtually every home in the developed world has the internet. Most of us carry it around with us in the form of smartphones and tablets. It has revolutionised the way we learn, do business, commit crimes, and communicate with one another.
Then there’s television. The shows featured on mainstream television can be described, accurately, as formulaic, petty, cheap, and shallow. It’s news and current affairs programs provide little in the way of real or, for that matter, interesting information. Likewise, their fictional programming features staid and one-dimensional characters in cliché plots and scenarios.
By contrast, paid subscription services like Netflix and Hulu feature shows that appeal to a wide variety of temperaments and interests. By contrast, the shows on paid subscription services like Netflix and Hulu appeal to a wide variety of temperaments and interests. Their shows captivate the imagination by featuring intriguing plots, complex characters, inspired cinematography, beautiful set designs, and state-of-the-art special effects. Just take a look at some of the titles: Archer, Suits, Spartacus, Mindhunter, House of Cards, Rick and Morty, Game of Thrones, and so forth.
One night of watching mainstream television followed by a single night of watching a paid subscription service should be proof positive to anyone that television is slowly, but surely, fading away.
Finally, there is music. Digital music outlets like I-Tunes and Spotify has revolutionised the way in which listen (and, more sinisterly, steal) music. Where once our grandparents were limited to their vinyl record collection, today’s music lover has access to thousands of songs at his or her fingertips.
Allow me to reiterate what I said before: the high-tech world that pervaded the imaginations of storytellers and filmmakers will no longer be a fantasy, it will be a reality.
I, for one, can easily envision a world in which an omnipresent house computer reads our body temperature and regulates the climate in our home without us being consciously aware of it. I can envision a world where a computer-controlled kitchen cooks our food with little intervention us. I can envision a world of driverless cars, endless self-serve checkouts, and more.
The future will be digital. The challenge for the human race is to be able to embrace this change without losing our individual autonomy.
This week for our cultural article, we will be celebrating the life of Fats Domino: the legendary New Orleans rock ‘n’ roller who died last Tuesday at the age of eighty-nine.
Fats Domino was born Antoine Dominique Domino, Jr. on February 26th, 1928, in New Orleans, Louisiana. He was the youngest of Antoine Caliste Domino’s (1879 – 1964) and Marie-Donatille Gros’ (1886 – 1971) eight children. and introduced him to New Orleans’ music scene, which would be a major influence on his later music. Fats’ came from a musical family. At seven-years-old, he was taught to play the piano by his brother-in-law, Harrison Verret (1907 – 1965). Additionally, Verret also introduced Fats to the New Orleans’ music scene, which would become a major influence on his later music.
By the age of ten, Fats was performing as a singer and a pianist. Four years later, he dropped out of school completely to pursue a career in music. To support himself during this time, Fats took on odd jobs – factory work, hauling ice, and so forth. By 1946, Fats had begun playing leading piano with the well-known New Orleans bass player and bandleader, Billy Diamond (1916 – 2011). It was Diamond who gave Domino the nickname, “Fats”. Years later, Diamond would reminisce:
“I knew Fats from hanging out at a grocery store. He reminded me of Fats Waller and Fats Pichon. Those guys were big names and Antoine—that’s what everybody called him then—had just got married and gained weight. I started calling him ‘Fats’ and it stuck.”
Diamond’s audiences were impressed by Fat’s rare talents and by the end of the 1940s the New Orleans’ pianist had attracted a very substantial following. As a musician, Fats was versed in numerous musical styles – blues, boogie-woogie, ragtime – and had drawn inspiration from pianists like Meade Lux Lewis (1895 – 1964) and singers like Louis Jordan (1908 – 1975).
In 1949, Fats met his long-term collaborator, Dave Bartholomew (1920 – ). Around the same time, Fats signed a record contract with Imperial Records. Fats’ first song with the label, The Fat Man (a play on his own nickname), would sell a million copies and reach number two on the Rhythm and Blues Charts.
Fats stood out as a performer due to the combination of his baritone voice, unique piano-playing style, the saxophone rifts of Herbert Hardesty (1925 – 2016), and the drum after-beats of Earl Palmer (1924 – 2008). The release of Ain’t That A Shame in 1955 exposed Fats to the mainstream public and helped make him the most popular African American rock ‘n’ roll artist. His upward trajectory continued with two film performances in 1956: Shake, Rattle and Rock, and the Girl Can’t Help It, and the recording of five top-forty hits, including, My Blue Heaven, and Blueberry Hill (which reached number two).
By the early 1960s, however, Fats music had lost much of its original popularity. In 1963, he moved to ABC-Paramount Records and parted ways with his long-time collaborator, Dave Bartholomew. The arrangement would be short lived with Fats parting ways with ABC-Paramount, returning to New Orleans, and rekindling his professional relationship with Dave Bartholomew in 1965.
Fats and Bartholomew would collaborate until 1970, culminating in the 1968 cover of The Beatles’ Lady Madonna (ironically, a tribute to Fats Domino in and of itself). During this time, Fats failed to experience significant chart success. In 1986, Fats was inducted into the Rock and Roll Hall of Fame as part of their inaugural lists.
Fats retired from touring following a health scare in Europe in 1995. Outside of the occasional performance at the New Orleans’ Jazz and Heritage Festival, he lived a mostly private life with his wife, Rosemary Hall (1930 – 2008), and his eight children. In 1998, Fats accepted a National Medal of the Arts from President Bill Clinton (1946 – ).
Fats refused to leave New Orleans – and abandon his sick wife – during Hurricane Katrina. His home was badly flooded and he lost most of his possessions. He was rescued by the Coast Guard on September First. Following the disaster, Fats released Alive and Kicking and donated a proportion of the sales to the Tipitana Foundation which helped New Orleans’ struggling musicians.
Following the album’s release, Fats retreated back into private life and largely shunned publicity. In 2008, Rosemary Hall, his wife of fifty years, died of chronic illness. Fats joined her on October 26th, 2017, at the age of eighty-nine.
Fats Domino must be credited as a key pioneer of rock ‘n’ roll. Together with Jerry Lee Lewis (1935 – ) and Little Richard (1932 – ), Fats style of piano playing helped define the new genre of music and inspired dozens of future musicians. No wonder The Rolling Stone Record Guide likened him to Benjamin Franklin (1706 – 1790).
The gunman opened fire from his thirty-second-floor hotel room during a performance by country music star, Jason Aldean, at the three-day Route 91 Harvest Festival – an event attended by twenty-five thousand people. Witness reports suggest that the gunman used at least one automatic weapon in the attack. Fifty-four-year-old Steve Smith of Phoenix commented that the gunfire “just kept going on.”
It took an hour for Las Vegas police to break into the gunman’s hotel room after being alerted to the attack. There they found an arsenal of weapons, including ten rifles, and the gunman dead from a suspected self-inflicted gunshot wound.
The gunman responsible has been identified as sixty-four-year-old Stephen Paddock of Mesquite, Nevada. While police are yet to finalise a background check on Mr. Paddock, it is known that he was a wealthy property owner who resided in the local retirement community. A regular at Las Vegas casinos, Mr. Paddock possessed no significant criminal record and was not known to have links to any militant group.
Mr. Paddock’s brother, Eric, told the Daily Mail that his family was “shocked” by the action’s of his brother and there had been “absolutely no indication” of what he was capable of. “Something happened, he snapped or something”, Eric Paddock commented.
Reactions to the mass shooting have been quick and immense. Jason Aldean stated on Instagram:
“Tonight has been beyond horrific. I still dont [sic] know what to say but wanted to let everyone know that Me and my Crew are safe. My Thoughts and prayers go out to everyone involved tonight. It hurts my heart that this would happen to anyone who was just coming out to enjoy what should have been a fun night. #heartbroken #stopthehate.”