text:
List of ambassadors of Japan to the United States
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Incorporates translated material from the corresponding Japanese Wikipedia article
The Ambassador of Japan to the United States (駐アメリカ日本大使or駐米日本大使) has existed since 1860, interrupted by disagreements and wars during World War II.
Shinsuke J. Sugiyama is the current Japanese ambassador to the United States, having presented his credentials on March 28th, 2018.
Contents
1 Special Charge d'Affaires
2 Envoy Extraordinary and Minister Plenipotentiary
3 Ambassador
4 See also
5 References
Special Charge d'Affaires[edit]
Arinori Mori, 1870-1872
Saburō Takagi, 1872-1873
Jirō Yano, 1873-1874
Envoy Extraordinary and Minister Plenipotentiary[edit]
Kiyonari Yoshida, 1874-1882
Munenori Terashima, 1882-1884
Ryūichi Kuki, 1884-1888
Viscount Munemitsu Mutsu, 1888-1890
Gōzō Tateno, 1891-1894
Shin'ichirō Kurino, 1894-1896
Tōru Hoshi, 1896-1898
Jutarō Komura, 1898-1900
Baron Kogorō Takahira, 1900-1906 (1st time)
Ambassador[edit]
Viscount Shūzō Aoki, 1906-1908
Baron Kogorō Takahira, 1908-1909 (2nd time)
Viscount Kōsai Uchida, 1909-1911[1]
Viscount Sutemi Chinda, 1912-1916
Aimaro Satō, 1916-1918
Viscount Kikujirō Ishii, 1918-1919
Baron Kijūrō Shidehara, 1919-1922
Masanao Hanihara, 1922-1924
Tsuneo Matsudaira, 1924-1928
Katsuji Debuchi, 1928-1934
Hiroshi Saitō, 1934-1939
Kensuke Horinouchi, 1938-1940
Kichisaburō Nomura, 1941-1944
Saburō Kurusu, 1941-1945
No representation during Allied occupation of Japan (1945-1952)
Eikichi Araki, 1952-1953
Sadao Iguchi, 1954-1956
Masayuki Tani, 1956-1957
Kōichirō Asakai, 1957-1963
Ryūji Takeuchi, 1963-1967
Takesō Shimoda, 1967-1970
Nobuhiko Ushiba, 1970-1973
Takeshi Yasukawa, 1973-1975
Fumihiko Tōgō, 1975-1980
Yoshio Ōkawara, 1980-1985
Nobuo Matsunaga, 1985-1989
Ryōhei Murata, 1989-1992
Takakazu Kuriyama, 1992-1995
Kunihiko Saitō, 1995-1999
Shunji Yanai, 1999-2001
Ryōzō Katō, 2001-2008
Ichirō Fujisaki, 2008-2012[2]
Ken'ichirō Sasae, 2012-2018
Shinsuke J. Sugiyama, 2018-present
See also[edit]
Japanese Embassy to the United States (1860)
Embassy of Japan in Washington, D.C.
United States Ambassador to Japan
Japan–United States relations
Convention of Kanagawa
Treaty of Amity and Commerce (United States–Japan)
Security Treaty Between the United States and Japan
Treaty of San Francisco
Treaty of Mutual Cooperation and Security between the United States and Japan
United States Forces Japan
U.S.–Japan Status of Forces Agreement
Foreign relations of Japan
Foreign relations of the United States
Ambassadors of the United States
Embassy of the United States in Tokyo
References[edit]
Jump up ^ Mochizuki, Kotaro. Japan To-day. A Souvenir of the Anglo-Japanese Exhibition held in London, 1910. Tokyo: Liberal News Agency/Methodist Publishing House, 1910, p. 19.
Jump up ^ Sweet, Lynn. "Japan Amb. Fujisaki Hits Chicago: Speech, Gov. Quinn Meeting, Desiree Rogers Dinner." Chicago Sun-Times. June 13, 2010 Archived April 30, 2013, at the Wayback Machine., accessed 2013-06-18; Staihar, Janet. "Japanese Ambassador to Retire." Georgetown Dish. September 20, 2012, accessed 2013-06-18.
This article related to government in Japan is a stub. You can help Wikipedia by expanding it.
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text:
Keeping up with the Joneses
From Wikipedia, the free encyclopedia
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For other uses, see Keeping up with the Joneses (disambiguation).
Keeping up with the Joneses is an idiom in many parts of the English-speaking world referring to the comparison to one's neighbor as a benchmark for social class or the accumulation of material goods. To fail to "keep up with the Joneses" is perceived as demonstrating socio-economic or cultural inferiority. The phrase originated in a comic strip of the same name.[1][2]
Contents
1 Origins
2 Social effects
3 In popular culture
4 See also
5 References
Origins[edit]
Comic strip by Pop Momand, 1921.
The phrase originates with the comic strip Keeping Up with the Joneses, created by Arthur R. "Pop" Momand in 1913. The strip ran until 1940 in The New York World and various other newspapers. The strip depicts the social climbing McGinis family, who struggle to "keep up" with their neighbors, the Joneses of the title. The Joneses were unseen characters throughout the strip's run, often spoken of but never shown. The idiom keeping up with the Joneses has remained popular long after the strip's end.[1][2][3][4][5]
Use of the name Jones for neighbors involved in social comparison predates Momand's comic strip. In 1879, English writer E. J. Simmons wrote in Memoirs of a Station Master of the railroad station as a place for social exchange: "The Joneses, who don't associate with the Robinsons, meet there."[1] American humorist Mark Twain made an allusion to Smith and Jones families with regard to social custom in the essay "Corn Pone Opinions," written in 1901 but first published in 1923. "The outside influences are always pouring in upon us, and we are always obeying their orders and accepting their verdicts. The Smiths like the new play; the Joneses go to see it, and they copy the Smith verdict."[6] Starting in 1908, D.W. Griffith directed a series of comedy shorts starring The Biograph Girl, Florence Lawrence, featuring the people next door, The Joneses.
An alternative explanation is that the Joneses of the saying refer to the wealthy family of Edith Wharton's father, the Joneses.[7] The Joneses were a prominent New York family with substantial interests in Chemical Bank as a result of marrying the daughters of the bank's founder, John Mason.[8] The Joneses and other rich New Yorkers began to build country villas in the Hudson Valley around Rhinecliff and Rhinebeck, which had belonged to the Livingstons, another prominent New York family to whom the Joneses were related. The houses became grander and grander. In 1853, Elizabeth Schermerhorn Jones built a 24-room gothic villa called Wyndcliffe described by Henry Winthrop Sargent in 1859 as being very fine in the style of a Scottish castle, but by Edith Wharton, Elizabeth's niece, as a gloomy monstrosity.[9] The villa reportedly spurred more building, including a house by William B. Astor (married to a Jones cousin), a phenomenon described as "keeping up with the Joneses". The phrase is also associated with another of Edith Wharton's aunts, Mary Mason Jones, who built a large mansion at Fifth Avenue and 57th Street, then undeveloped. Wharton portrays her affectionately in The Age of Innocence as Mrs. Manson Mingott, "calmly waiting for fashion to flow north".
A slightly different version is that the phrase refers to the grand lifestyle of the Joneses who by the mid-century were numerous and wealthy, thanks to the Chemical Bank and Mason connection. It was their relation Mrs William Backhouse Astor, Jr who began the "patriarchs balls", the origin of "The Four Hundred", the list of the society elite who were invited. By then the Joneses were being eclipsed by the massive wealth of the Astors, Vanderbilts and others but the four hundred list published in 1892 contained many of the Joneses and their relations—old money still mattered.
Social effects[edit]
The philosophy of "keeping up with the Joneses" has widespread effects on some societies. According to this philosophy, conspicuous consumption occurs when people care about their standard of living in relation to their peers.[10] The term was re-introduced in 1976 when an article about parenting included it[citation needed] and has remained a commercial and cultural watchword ever since.
According to Roger Mason, "the demand for status goods, fueled by conspicuous consumption, has diverted many resources away from investment in the manufacture of more material goods and services in order to satisfy consumer preoccupations with their relative social standing and prestige".[11]
Social status once depended on one's family name; however, the rise of consumerism in the United States gave rise to social mobility. With the increasing availability of goods, people became more inclined to define themselves by what they possessed and the quest for higher status accelerated. Conspicuous consumption and materialism have been an insatiable juggernaut ever since.[12] The desire to increase one's position in the social hierarchy is responsible for much of the social mobility in America. The upward mobility over the past few decades in America is due in part to the large number of women joining the labor force. U.S. women have slowly and steadily increased their participation in the labor force from 46% of all women (age 16+) in 1974 to almost 60% in 2004.[13]
Even in countries where the desire for upward social mobility via consumerism and conspicuous consumption is strong, the poor may not be able to better themselves. Doug Henwood observed that "both the US and British poor were more likely to stay poor for a long period of time: almost half of all people who were poor for one year stayed poor for five or more years, compared with 30% in Canada and 36% in Germany. And, despite claims of great upward mobility in the United States, 45% of the poor rose out of poverty in a given year, compared with 45% in the UK, 53% in Germany, and 56% in Canada. And of those who did exit poverty, 15% of Americans were likely to make a round trip back under the poverty line, compared with 16% in Germany, 10% in the UK, and 7% in Canada".[14] The level of income inequality in a country has an inverse relationship with social mobility according to the authors of The Spirit Level.[15]
Inability to "keep up with the Joneses" might result in dissatisfaction, even for people whose status is high.[16]
One area in which "living above one's means" has caused negative social effects is that of credit card use. In the first quarter of 2002, total credit debt was $660 billion. By 2005, the total credit card debt had increased to $735 billion.[17] America's average credit card debt in 2007 was $8,400 per household. By the end of 2007, consumer debt in America had risen to $2.5 trillion.[18]
In popular culture[edit]
In the 1936 book The Next 100 Years, Clifford C. Furnas writes that the phenomenon of "'Keeping up with the Joneses' ... is descended from the spreading of the peacock's tail."[19]
The phrase is also referenced in the song "Luckenbach, Texas (Back to the Basics of Love)" by Waylon Jennings.
In the UK, when Princess Margaret married the fashionable photographer Anthony Armstrong-Jones in 1960, the media would sometimes mention 'keeping up with the Armstrong-Joneses'.
Ahmad Lewis has a song off his hit record called "The Joneses."
The phase appears in the song "I Wanna Go Back" by Christian singer David Dunn on his 2017 album "Yellow Balloons."
Dominic West makes reference to the phrase “Keeping up with the Joneses” in the 2003 film Mona Lisa Smile.
See also[edit]
Affluenza
Anthropological theories of value
Conspicuous consumption
Herd behavior
The Joneses
Keeping Up with the Joneses
Keeping up with the Kardashians
Relative deprivation
Status Anxiety
Symbolic capital
Transformative asset
Veblen good
Diderot Effect
References[edit]
^ Jump up to: a b c Safire, William (November 15, 1998). "On Language; Up the Down Ladder". The New York Times. Retrieved June 23, 2016.
^ Jump up to: a b Markstein, Don (2010). "Keeping Up with the Joneses". www.toonpedia.com. Don Markstein's Toonopedia. Retrieved June 23, 2016.
Jump up ^ "Stripper's Guide". Retrieved 12 September 2015.
Jump up ^ Robert Hendrickson, The Encyclopedia of Word and Phrase Origins.
Jump up ^ "Why are We Keeping Up with the Joneses?". Man of 300. Retrieved 20 May 2018.
Jump up ^ Mark Twain, "Corn Pone Opinions"
Jump up ^ Lee, Hermione (2013). Edith Wharton. Random House. p. 22. ISBN 978-1-84595-201-3.
Jump up ^ de Troubiand Post, Marie Caroline (1913). The descendants of John Jones and John Mason.
Jump up ^ Wharton, Edith (1934). A Backward Glance. D. Appleton-Century Company Incorporated.
Jump up ^ Galí, Jordi (1994). "Keeping up with the Joneses: Consumption Externalities, Portfolio Choice, and Asset Prices". Journal of Money, Credit and Banking. 26 (1): 1–8. JSTOR 2078030.
Jump up ^ Mason, Roger (2000). "Conspicuous Consumption and the Positional Economy: Policy and Prescription since 1970". Managerial and Decision Economics. 21 (3/4): 123–132. doi:10.1002/mde.977.
Jump up ^ "Possessions 2" Archived 2008-03-07 at the Wayback Machine., Notre Dame magazine
Jump up ^ "Redirect Page". Retrieved 12 September 2015.
Jump up ^ Henwood, Doug. After the New Economy, pp. 136-7
Jump up ^ Pickett, Richard Wilkinson, Kate (2009). The spirit level: Why more equal societies almost always do better. London: Allen Lane. ISBN 1-84614-039-0.
Jump up ^ "Money Only Makes You Happy If It Makes You Richer Than Your Neighbors", Science Daily, March 2010
Jump up ^ Joanne Laurier (15 January 2004). "US consumer debt reaches record levels - World Socialist Web Site". Retrieved 12 September 2015.
Jump up ^ "Credit Counseling Statistics". CreditCounselingBiz.com. Archived from the original on 2007-12-24.
Jump up ^ Furnas, C. C., The Next 100 Years. Reynal and Hitchcock. Book. 1936
Look up keep up with the Joneses in Wiktionary, the free dictionary.
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text:
Heartbreaker (Dionne Warwick song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Heartbreaker"
Single by Dionne Warwick
from the album Heartbreaker
B-side
"I Can't See Anything (But You)" (Barry Gibb, Albhy Galuten, Maurice Gibb)
Released
September 1982
Recorded
1982, Middle Ear, Miami Beach; Media Sound, New York
Genre
Pop, R&B, soul, disco, adult contemporary
Length
4:16
Label
Arista
Songwriter(s)
Barry, Robin & Maurice Gibb
Producer(s)
Gibb-Galuten-Richardson
Dionne Warwick singles chronology
"For You"
(1982) "Heartbreaker"
(1982) "Take the Short Way Home"
(1983)
"For You"
(1982) "Heartbreaker"
(1982) "Take the Short Way Home"
(1983)
"Heartbreaker" is a 1982 single released by American pop and soul singer Dionne Warwick. The song was written by Bee Gees' Barry, Robin and Maurice Gibb, with Barry Gibb's backing vocal being heard on the chorus. It was released from her fourth Arista label studio album of the same name in 1982.
Contents
[hide]
1 Background
2 Outcome
3 Chart performance
3.1 Weekly charts
3.2 Year-end charts
4 See also
5 Cover versions
5.1 Bee Gees version
5.2 Barry Gibb version
5.3 Other versions
6 References
7 External links
Background[edit]
Warwick admitted in The Billboard Book of Number One Adult Contemporary Hits by Wesley Hyatt that she was not fond of "Heartbreaker" (regarding the song's international popularity, she quipped, "I cried all the way to the bank"), but recorded it because she trusted the Bee Gees' judgment that it would be a hit. It turned out to be Dionne's most successful solo hit of the 1980s. The Bee Gees recorded a version, with Barry Gibb on lead vocals, which was featured on the album Their Greatest Hits: The Record, as well as their Love Songs album.
Maurice Gibb, who was a co-writer of this song commented, "I cried my eyes out after we wrote it. I drove home and thought, 'We should be doing this one', and when she did it, it was brilliant. We sang on it, and it still became like a duet between the Bee Gees and Dionne Warwick".[1]
Outcome[edit]
The song reached the top of charts around the world and stands as one of Warwick's biggest career hits. It made the Top 10 on the US Billboard Hot 100 chart in January 1983. The track reached #14 on Billboard's R&B chart and was also Dionne's eighth #1 Adult Contemporary hit.[2]
It was ranked as Billboard magazine's 80th biggest US hit of 1983. In the UK Singles Chart, the track reached number 2 for two weeks in November 1982.
Chart performance[edit]
Weekly charts[edit]
Chart (1982–83)
Peak
position
Austria 10
Australia 2
Canada 15
Denmark 2
France 17
Germany 10
Ireland [3] 2
Italy 24
Netherlands 5
New Zealand[4] 4
Norway 2
Spain 3
Sweden 1
Switzerland 4
United Kingdom[5] 2
US Billboard Hot 100[6] 10
US Billboard Hot Black Singles 14
US Billboard Adult Contemporary[7] 1
US Cash Box Top 100 15
Year-end charts[edit]
Chart (1982)
Rank
Netherlands [8] 66
UK [9] 18
US Cash Box [10] 94
Chart (1983)
Rank
Australia[11] 18
US American Top 40[12] 60
US Billboard Hot 100[13] 80
See also[edit]
List of number-one hits (Sweden)
List of number-one adult contemporary singles of 1982 (U.S.)
Cover versions[edit]
"Heartbreaker"
Song by Bee Gees
from the album Their Greatest Hits: The Record
Released
2001
Format
7" single, CD single
Recorded
1994 at
Middle Ear, Miami Beach, Florida
Genre
Pop, adult contemporary
Length
4:25
Label
Polydor (UK)
Universal (US)
Songwriter(s)
Barry, Robin & Maurice Gibb
Producer(s)
Barry Gibb, Robin Gibb, Maurice Gibb
"Heartbreaker"
Song by Barry Gibb
from the album The Heartbreaker Demos
Released
November 2006
Format
Digital download
Recorded
February 1982 at
Miami Beach, Florida
Genre
R&B
Length
4:32
Songwriter(s)
Barry, Robin & Maurice Gibb
The Heartbreaker Demos track listing
"Heartbreaker"
(1) "It Makes No Difference
(2)
Bee Gees version[edit]
The Bee Gees' own version was recorded during the sessions for Still Waters in 1994. It was originally planned for an album called Love Songs to be released in 1995. It was eventually released in 2001 on Their Greatest Hits: The Record.[14]
Barry Gibb version[edit]
"Heartbreaker" was originally recorded by Barry Gibb for Dionne Warwick, for her album Heartbreaker released in 1982. This demo version was not released until 2006.
This song blended the two Gibb brothers schools of songwriting: it has the clear verse and chorus structure favored by Robin and Maurice, yet also has the longer spun-out verses Barry now preferred, both well balanced, so that it has instant appeal but takes repeated listenings to fully appreciate. The melody is reminiscent of "Living Eyes", but the song has a much stronger forward motion. Maurice said later that he wished they had saved it for themselves.[15]
Personnel
Barry Gibb – vocals, guitar
Albhy Galuten – piano, synthesizer
Uncredited – drums
Other versions[edit]
In 2004, J-pop singer Junichi Inagaki released a Japanese-language cover version of "Heartbreaker" on his album Revival II. In 2005, the German reggae-pop band Blue Lagoon included a cover version of "Heartbreaker" on their album Clublagoon
References[edit]
Jump up ^ Hughes, Andrew. The Bee Gees - Tales of the Brothers Gibb. Retrieved 15 February 2015.
Jump up ^ Whitburn, Joel (2007). Top Adult Contemporary: 1961–2006. Record Research. p. 254.
Jump up ^ The Irish Charts, 7 November 1982
Jump up ^ NZ Top 40 Singles Chart, 2 January 1983
Jump up ^ UK Official Charts, 23 October 1982
Jump up ^ "Dionne Warwick Chart History (Hot 100)". Billboard.
Jump up ^ Billboard Adult Contemporary Music Chart, December 18, 1982
Jump up ^ https://www.top40.nl/bijzondere-lijsten/top-100-jaaroverzichten/1982
Jump up ^ Rees, Dafydd; Lazell, Barry; Jones, Alan (1983). "The Top 100 UK Singles". Chart File Volume 2. London, England: Virgin Books. pp. 80–81. ISBN 0-907080-73-1.
Jump up ^ "Archived copy". Archived from the original on 2016-03-04. Retrieved 2016-04-12.
Jump up ^ Steffen Hung. "Forum - Top 100 End of Year AMR Charts - 1980s (ARIA Charts: Special Occasion Charts)". Australian-charts.com. Archived from the original on 2014-10-06. Retrieved 2016-10-31.
Jump up ^ "American Top 40 Year-End Survey 1983". Lionking.org. 2004-12-28. Retrieved 2016-10-31.
Jump up ^ http://www.musicoutfitters.com/topsongs/1983.htm
Jump up ^ "Gibb Songs : 1994". Columbia.edu. Retrieved 2012-09-02.
Jump up ^ "Gibb Songs : 1982". Columbia.edu. Retrieved 2012-09-02.
External links[edit]
"The Dionne Warwick Channel" – YouTube site containing over 100 Dionne Warwick tunes with rare photos and information on each tune, including "Heartbreaker"
Gibbs Songs: 1982
Lyrics of this song at MetroLyrics
[show]
v
t
e
Dionne Warwick
Discography
Studio albums
Presenting Dionne Warwick (1963)
Anyone Who Had a Heart (1964)
Make Way for Dionne Warwick (1964)
The Sensitive Sound of Dionne Warwick (1965)
Here I Am (1965)
Here Where There Is Love (1966)
On Stage and in the Movies (1967)
The Windows of the World (1967)
Dionne Warwick in Valley of the Dolls (1968)
Promises, Promises (1968)
Soulful (1969)
I'll Never Fall in Love Again (1970)
Very Dionne (1970)
Dionne (1979)
No Night So Long (1980)
Friends in Love (1982)
Heartbreaker (1982)
How Many Times Can We Say Goodbye (1983)
Finder of Lost Loves (1985)
Friends (1985)
Reservations for Two (1987)
Friends Can Be Lovers (1993)
My Friends & Me (2006)
Live albums
Dionne Warwick in Paris (1966)
Hot! Live and Otherwise (1981)
Christmas in Vienna II (1993)
Compilation albums
The Love Collection (2008)
Singles
"Don't Make Me Over"
"Wishin' and Hopin'"
"Anyone Who Had a Heart"
"Walk On By"
"You'll Never Get to Heaven (If You Break My Heart)"
"A House Is Not a Home"
"Reach Out for Me"
"Who Can I Turn To?"
"Are You There (With Another Girl)"
"Message to Michael"
"I Just Don't Know What to Do with Myself"
"Alfie"
"The Windows of the World"
"I Say a Little Prayer"
"(Theme from) Valley of the Dolls"
"Do You Know the Way to San Jose"
"(There's) Always Something There to Remind Me"
"This Girl's in Love with You"
"You've Lost That Lovin' Feeling"
"I'll Never Fall in Love Again"
"Make It Easy on Yourself"
"The Good Life"
"Then Came You"
"By the Time I Get to Phoenix
"Only Love Can Break a Heart"
"I'll Never Love This Way Again"
"Déjà Vu"
"After You"
"No Night So Long"
"Easy Love"
"Heartbreaker"
"All the Love in the World"
"Run to Me"
"That's What Friends Are For"
"Love Power"
"It's All Over"
"What the World Needs Now Is Love"
Book
[show]
v
t
e
Demis Roussos
Discography
Studio albums
On the Greek Side of My Mind (a.k.a. Fire and Ice)
Forever and Ever
My Only Fascination
Auf Wiedersehn
Souvenirs
Happy to Be...
Die Nacht und der Wein
The Roussos Phenomenon (EP)
Kyrila – Insel der Träume
The Demis Roussos Magic
Demis Roussos
Man of the World
Attitudes
Reflection
The Story of Demis Roussos
Time
Compilations
Greatest Hits
Golden Hits
Life & Love
Insel der Zärtlichkeit – Demis Roussos und seine 20 Welterfolge
The Phenomenon 1968–1998 (a.k.a. Forever and Ever – 40 Greatest Hits)
Forever and Ever – Definitive Collection
Collected
Singles
"We Shall Dance"
"My Reason"
"Goodbye, My Love, Goodbye"
"Forever and Ever"
"Velvet Mornings"
"My Friend the Wind"
"Schönes Mädchen aus Arcadia"
"Someday Somewhere"
"My Only Fascination"
"Auf Wiedersehn"
"With You"
"Manuela"
"Schön wie Mona Lisa (Wenn ich ein Maler wär')"
"From Souvenirs to Souvenirs"
"Perdoname"
"Vagabund der Liebe"
"Happy to Be on an Island in the Sun"
"Die Bouzouki, die Nacht und der Wein"
"Can't Say How Much I Love You"
"When Forever Has Gone"
"Because"
"Kyrila"
"Ainsi soit-il"
"That Once in a Lifetime"
"L.O.V.E. Got a Hold of Me"
"Lost in Love"
"Follow Me"
"Love Me Tender"
"Summerwine"
"Quand je t'aime"
"Rain and Tears"
"It's Five O'Clock"
"On écrit sur les murs"
Related topics
Aphrodite's Child
Vangelis
Blade Runner soundtrack
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The Devil's Candy
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Devil's Candy
Theatrical release poster
Directed by
Sean Byrne
Produced by
Jess Calder
Keith Calder
Written by
Sean Byrne
Starring
Ethan Embry
Shiri Appleby
Kiara Glasco
Pruitt Taylor Vince
Craig Nigh
Marco Perella
Music by
Mads Heldtberg
Michael Yezerski
Sunn O)))
Cinematography
Simon Chapman
Edited by
Andy Canny
Production
company
Snoot Entertainment
Distributed by
IFC Midnight
Release date
September 13, 2015 (2015-09-13) (TIFF)
March 17, 2017 (2017-03-17) (United States)
Running time
90 minutes
(Festival cut)[1]
79 minutes
(Theatrical cut)[1]
Country
United States
Language
English
The Devil's Candy is a 2015 American horror film written and directed by Sean Byrne. The film stars Ethan Embry, Shiri Appleby, Kiara Glasco, Pruitt Taylor Vince, Craig Nigh and Marco Perella. The film was released by IFC Midnight on March 17, 2017.
Contents
[hide]
1 Plot
2 Cast
3 Release
4 Reception
5 References
6 External links
Plot[edit]
Late at night in a countryside house, Raymond Smilie hears a voice. He reacts by playing his red Flying V loudly in front of a crucifix. His mother enters his room and unplugs the guitar. When Ray awkwardly explains he plays to avoid hearing "Him," she says he needs to return to the hospital. Ray continues to hear the voice and kills his mother, who falls down the stairs. Shortly after, a man enters the house and sees the dead woman.
Some time later, the house is sold to Jesse Hellman, a struggling painter. Jesse, along with his wife Astrid and daughter Zooey, move into the house. Elsewhere, Ray checks into a motel. He listens to tapes preaching about the Devil, and plays his guitar. When a noise complaint brings a police officer to his room, Ray stops playing.
After settling in, Jesse starts hearing voices. Inspired, he paints a black and white painting based on an upside down cross motif. Jesse later approaches Belial, an art gallery whose owner Leonard previously turned away his portfolio. At his insistence, the receptionist looks at the scan of the painting and appears pleased. One evening, Ray shows up and has a brief conversation with Zooey, who tells him she loves to have a Flying V. Ray wants to enter the house, but a disturbed Jesse turns him away.
The next morning, Zooey and Jesse find Ray's Flying V outside their house, but Jesse refuses to let her keep it. Elsewhere, Ray kidnaps a young boy. He carries the boy to a motel room, cuts up his body and puts it in a suitcase. Ray buries the boy in a hole already filled with several suitcases. Meanwhile, Jesse paints a new painting with distorted faces of kids - including the one Ray killed. Immersed in his work, he forgets to pickup Zooey at school, and to appease her, he lets her keep Ray's guitar. Jesse keeps working on the painting, which depicts the kids' heads being devoured by a black creature, and adds Zooey being burned alive. He tells a horrified Astrid that the he feels the kids inside him screaming to be let out.
At night, Ray sneaks into Zooey's bedroom. He covers her mouth and explains that "He" wants her, but Ray is trying to avoid hurting her. Zooey agrees to stay quiet, but then screams, alerting Astrid and Jesse. Ray flees. The Hellmans go to the police, who begin identifying the man.
The next day, Leonard arrives to see Jesse's latest work. Pleased with the painting, Leonard offers him some wine. Despite his initial hesitation as he needs to pick up Zooey at school, Jesse drinks with Leonard. As he rushes to Zooey's school, his car tires blows out and he runs to the school, but Zooey is nowhere to be found. In Ray's motel bathroom, Zooey is tied up with duct tape. Ray tells Zooey that he can no longer resist "Him," and that "He" considers her "the sweetest candy." While Ray prepares to kill her, Zooey frees herself and escapes. At the police station, the Hellmans are united. The police tells Jesse of Ray's identity and history of mental illness. Ray explained that he served the Devil, and that the murdered children were the His candy. The Hellmans are escorted home, and two policemen are stationed outside the house, with the intention of placing them under witness protection the following day.
That same night, Ray kills the two policemen and takes a gun from them. He shoots Jesse and Astrid, drags Zooey upstairs into her room, splashes gasoline on the floor then sets the room on fire. Astrid, still alive, wakes Jesse up and the two leave the house. Jesse climbs through Zooey's bedroom window, fights Ray and bludgeons him to death with his own guitar.
Jesse gets Zooey safely to the ground. He walks to a spot near the house, where he finds the kids' bodies that Ray had buried. As the sun rises, Jesse looks to the sky, smiles, and starts to cry.
Cast[edit]
Ethan Embry as Jesse Hellman
Shiri Appleby as Astrid Hellman
Kiara Glasco as Zooey Hellman
Pruitt Taylor Vince as Ray Smilie
Craig Nigh as Realtor
Marco Perella as Sgt. Investigator Davis
Oryan West as Deputy Hernandez
Mylinda Royer as Deputy Winnie
Release[edit]
The film premiered at the 2015 Toronto International Film Festival on September 13, 2015.[2][3] The film was released on March 17, 2017, by IFC Midnight.[4]
Reception[edit]
The film has received largely positive reviews. Rotten Tomatoes has the film at 92% fresh with 36 reviews. The site's consensus says, "The Devil's Candy playfully subverts horror tropes while serving up more than enough stylish thrills to satisfy genre enthusiasts."[5] Metacritic, which assigns a normalized rating of 0-100%, gives the film a 72, based on 10 reviews, which indicates "generally favorable reviews"[6]. Clem Bastow of The Guardian said of the film "this is a horror film made in the true spirit of metal: just like the music it’s inspired by, it’s loud and sometimes gruesome but also winningly earnest."[7] Mark L. Miller of Ain't It Cool News called it "a fantastic film" and "an absolute treasure trove of scares!"[8] Perri Nemiroff of Collider.com called the film "a standout" and awarded it an A- rating.[9]
On the other hand, Dennis Harvey writing for Variety called the film "a bit of a sophomore slump" and said it was "ultimately a lively but underdeveloped B-horror-thriller."[2] David Rooney of The Hollywood Reporter called the film a "decently acted, disappointingly generic follow-up."[3]
References[edit]
^ Jump up to: a b Rife, Katie (16 March 2017). "The Devil’s Candy plays its heavy-metal horror riff fast and loud". The A.V. Club. The Onion. Retrieved 17 March 2017.
^ Jump up to: a b Harvey, Dennis (September 17, 2015). "Toronto Film Review: ‘The Devil’s Candy’". Variety. Retrieved February 20, 2017.
^ Jump up to: a b Rooney, David (September 15, 2015). "'The Devil's Candy': TIFF Review". The Hollywood Reporter. Retrieved February 20, 2017.
Jump up ^ Miska, Brad (February 15, 2017). "‘The Devil’s Candy’ Trailer Worships the Beast". Bloody Disgusting. Retrieved February 20, 2017.
Jump up ^ The Devil's Candy at Rotten Tomatoes
Jump up ^ Devil's Candy, The
Jump up ^ Bastow, Clem (June 13, 2016). "The Devil's Candy review – old-fashioned thrill ride packed with heavy metal horror". The Guardian. Retrieved February 20, 2017.
Jump up ^ Miller, Mark L. (October 30, 2015). "AICN HORROR looks at THE DEVIL’S CANDY! CRIMSON PEAK! UNNATURAL! BLOODY KNUCKLES! THE LAST BUCK HUNT! Fulci’s THE BLACK CAT! SCAREWAVES! THE DEATH OF APRIL! THE HORROR NETWORK! THE EXORCISM OF MOLLY HARTLEY! HUMAN CENTIPEDE II (FULL SEQUENCE)! & SPOOKY SIGHTS!". Ain't It Cool News. Retrieved February 20, 2017.
Jump up ^ Nemiroff, Perri (September 14, 2015). "‘The Devil’s Candy’ Review: Worth the 6 Year Wait Since ‘The Loved Ones’". Collider.com. Retrieved February 20, 2017.
External links[edit]
The Devil's Candy on IMDb
The Devil's Candy at Rotten Tomatoes
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Devil%27s_Candy&oldid=805028393"
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