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DJ Kool Herc
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DJ Kool Herc
DJ Kool Herc in New York, 2006.
Background information
Birth name
Clive Campbell
Also known as
Kool DJ Herc
Kool Herc
Father of Hip-Hop
Born
(1955-04-16) April 16, 1955 (age 62)[1][2]
Kingston, Jamaica, West Indies
Origin
The Bronx, New York City, New York, U.S.
Genres
Hip–Hop
Occupation(s)
DJ
Years active
1967–present
Associated acts
Russell Simmons
Grandmaster Flash
Afrika Bambaataa
Grand Wizzard Theodore
Coke La Rock
Kurtis Blow
Melle Mel
Grandmaster Caz
DJ Kool
Website
djkoolherc.com
Clive Campbell (born April 16, 1955[3]), better known by his stage name DJ Kool Herc, is a Jamaican–American DJ who is credited with helping originate hip hop music in the early–1970s in The Bronx, New York City. Known as the "Founder of Hip-Hop" and "Father of Hip-Hop", Campbell began playing hard funk records of the sort typified by James Brown as an alternative both to the violent gang culture of the Bronx and to the nascent popularity of disco in the 1970s. Campbell began to isolate the instrumental portion of the record, which emphasized the drum beat—the "break"—and switch from one break to another.
Using the same two turntable set-up of disco DJs, Campbell used two copies of the same record to elongate the break. This breakbeat DJing, using hard funk and records with Latin percussion, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhymed spoken accompaniment now known as rapping. He called his dancers "break-boys" and "break-girls", or simply b-boys and b-girls. Campbell's DJ style was quickly taken up by figures such as Afrika Bambaataa and Grandmaster Flash. Unlike them, he never made the move into commercially recorded hip hop in its earliest years.
Contents
[hide]
1 Biography
1.1 Early life and education
1.2 The Break
1.3 B-boys and b-girls
1.4 Move to the streets
1.5 Influence on artists
1.6 Later years
1.7 Serious illness
2 Discography
2.1 Guest appearances
3 Notes
4 References
5 External links
Biography[edit]
Early life and education[edit]
The front of 1520 Sedgwick Ave., where Campbell lived with his family and threw his first parties.
Clive Campbell was the first of six children born to Keith and Nettie Campbell in Kingston, Jamaica. While growing up, he saw and heard the sound systems of neighborhood parties called dance halls, and the accompanying speech of their DJs, known as toasting. He emigrated with his family at the age of 12 to The Bronx, New York City in November 1967,[4] where they lived at 1520 Sedgwick Avenue.
Campbell attended the Alfred E. Smith Career and Technical Education High School in the Bronx, where his height, frame, and demeanor on the basketball court prompted the other kids to nickname him "Hercules". He began running with a graffiti crew called the Ex-Vandals, taking the name Kool Herc.[5] Herc recalls persuading his father to buy him a copy of "Sex Machine" by James Brown, a record that not a lot of his friends had, and which they would come to him to hear.[6] He and his sister, Cindy, began hosting back-to-school parties in the recreation room of their building, 1520 Sedgwick Avenue.[7] Herc's first soundsystem consisted of two turntables connected to two amplifiers and a Shure "Vocal Master" PA system with 2 speakers columns, on which he played records such as James Brown's "Give It Up or Turnit a Loose", Jimmy Castor's "It's Just Begun" and Booker T. & the M.G.'s' "Melting Pot".[5] With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to a demographic distinct from teenagers in the Bronx, Herc's parties had a ready-made audience.[5][8][9]
The Break[edit]
DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the record to focus on a short, heavily percussive part in it: the "break". Since this part of the record was the one the dancers liked best, Herc isolated the break and prolonged it by changing between two record players. As one record reached the end of the break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into "five-minute loop of fury".[10] This innovation had its roots in what Herc called "The Merry-Go-Round," a technique by which the deejay switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because according to Herc, it takes one "back and forth with no slack."[11] Herc told The New York Times that he first introduced the Merry-Go-Round into his sets in 1972.[12] The earliest known Merry-Go-Round involved playing James Brown's "Give It Up or Turnit a Loose" (with its refrain, "Now clap your hands! Stomp your feet!"), then switching from that record's break into the break from a second record, "Bongo Rock" by The Incredible Bongo Band. From the "Bongo Rock"'s break, Herc used a third record to switch to the break on "The Mexican" by the English rock band Babe Ruth.[13] Kool Herc also contributed to developing the rhyming style of hip hop by punctuating the recorded music with slang phrases, announcing: "Rock on, my mellow!" "B-boys, b-girls, are you ready? keep on rock steady" "This is the joint! Herc beat on the point" "To the beat, y'all!" "You don't stop!"[14][15] For his contributions, Herc is called a "founding father of hip hop,"[16][17] a "nascent cultural hero,"[18] and an integral part of the beginnings of hip hop by Time.[19][20]
On August 11, 1973, DJ Kool Herc was a disc jockey and emcee at a party in the recreation room at Sedgwick Avenue.[21] Specifically, DJ Kool Herc:
extended an instrumental beat (breaking or scratching) to let people dance longer (break dancing) and began MC'ing (rapping) during the extended breakdancing. ... [This] helped lay the foundation for a cultural revolution.
—  History Detectives[21]
According to music journalist Steven Ivory, in 1973, Herc placed on the turntables two copies of Brown's 1970 Sex Machine album and ran "an extended cut 'n' mix of the percussion breakdown" from "Give It Up or Turnit Loose", signaling the birth of hip hop.[22]
B-boys and b-girls[edit]
The "b-boys" and "b-girls" were the dancers to Herc's breaks, who were described as "breaking". Herc has noted that "breaking" was also street slang of the time meaning "getting excited", "acting energetically," or "causing a disturbance".[23] Herc coined the terms "b-boy", "b-girl," and "breaking" which became part of the lexicon of what would be eventually called hip hop culture. Early Kool Herc b-boy and later DJ innovator Grandmixer DXT describes the early evolution as follows:
" ... [E]verybody would form a circle and the B-boys would go into the center. At first the dance was simple: touch your toes, hop, kick out your leg. Then some guy went down, spun around on all fours. Everybody said wow and went home to try to come up with something better."[14]
In the early 1980s, the media began to call this style "breakdance," which in 1991 the New York Times wrote was "an art as demanding and inventive as mainstream dance forms like ballet and jazz."[24] Since this emerging culture was still without a name, participants often identified as "b-boys," a usage that included and went beyond the specific connection to dance, a usage that would persist in hip hop culture.[25]
Move to the streets[edit]
With the mystique of his graffiti name, his physical stature, and the reputation of his small parties, Herc became a folk hero in the Bronx. He began to play at nearby clubs including the Twilight Zone[7] Hevalo, Executive Playhouse, the PAL on 183rd Street,[5] as well as at high schools such as Dodge and Taft.[26] Rapping duties were delegated to Coke La Rock[27] and Theodore Puccio.[28] Herc's collective, known as The Herculoids, was augmented by Clark Kent and dancers The ##### Twins.[5] Herc took his soundsystem (the herculords) —still legendary for its sheer volume[29]—to the streets and parks of the Bronx. Nelson George recalls a schoolyard party:
"The sun hadn't gone down yet, and kids were just hanging out, waiting for something to happen. Van pulls up, a bunch of guys come out with a table, crates of records. They unscrew the base of the light pole, take their equipment, attach it to that, get the electricity – Boom! We got a concert right here in the schoolyard and it's this guy Kool Herc. And he's just standing with the turntable, and the guys were studying his hands. There are people dancing, but there's as many people standing, just watching what he's doing. That was my first introduction to in-the-street, hip hop DJing."[30]
Influence on artists[edit]
In 1975, the young Grandmaster Flash, to whom Kool Herc was, in his words, "a hero", began DJing in Herc's style. By 1976, Flash and his MCs The Furious Five played to a packed Audubon Ballroom in Manhattan. Venue owners were often nervous of unruly young crowds, however, and soon sent hip hop back to the clubs, community centres and high school gymnasiums of the Bronx.[31]
Afrika Bambaataa first heard Kool Herc in 1973. Bambaataa, at that time a general in the notorious Black Spades gang of the Bronx, obtained his own soundsystem in 1975 and began to DJ in Herc's style, converting his followers to the non-violent Zulu Nation in the process. Kool Herc began using The Incredible Bongo Band's "Apache" as a break in 1975. It became a firm b-boy favourite—"the Bronx national anthem"[14]—and is still in use in hip hop today.[12] Steven Hager wrote of this period:
"For over five years the Bronx had lived in constant terror of street gangs. Suddenly, in 1975, they disappeared almost as quickly as they had arrived. This happened because something better came along to replace the gangs. That something was eventually called hip-hop."[14]
In 1979, the record company executive Sylvia Robinson assembled a group she called The Sugarhill Gang and recorded "Rapper's Delight". The hit song ushered in the era of commercially released hip hop. By that year's end, Grandmaster Flash was recording for Enjoy Records. In 1980, Afrika Bambaataa began recording for Winley. By this time, DJ Kool Herc's star had faded.
Grandmaster Flash suggests that Herc may not have kept pace with developments in techniques of cueing (lining up a record to play at a certain place on it).[32] Developments changed techniques of cutting (switching from one record to another) and scratching (moving the record by hand to and fro under the stylus for percussive effect) in the late 1970s. Herc said he retreated from the scene after being stabbed at the Executive Playhouse while trying to intercede in a fight, and the burning down of one of his venues. In 1980, Herc had stopped DJing and was working in a record shop in South Bronx.
Later years[edit]
Herc spins records in the Hunts Point section of the Bronx at a 28 February 2009 event addressing the "West Indian Roots of Hip-Hop."
Kool Herc appeared in Hollywood's motion picture take on hip hop, Beat Street (Orion, 1984), as himself. In the mid-1980s, his father died, and he became addicted to crack cocaine. "I couldn't cope, so I started medicating", he says of this period.[33]
In 1994, Herc performed on Terminator X & the Godfathers of Threatt's album, Super Bad.[5] In 2005, he wrote the foreword to Jeff Chang's book on hip hop, Can't Stop Won't Stop. In 2005 he appeared in the music video of "Top 5 (Dead or Alive)" by Jin from the album The Emcee's Properganda. In 2006, he became involved in getting Hip Hop commemorated at the Smithsonian Institution museums.[34] He participated in the 2007 Dance parade.
Since 2007, Herc has worked in a campaign to prevent 1520 Sedgwick Avenue from being sold to developers and withdrawn from its status as a Mitchell-Lama affordable housing property.[35] In the summer of 2007, New York state officials declared 1520 Sedgwick Avenue the "birthplace of hip-hop", and nominated it to national and state historic registers.[7] The city's Department of Housing Preservation and Development ruled against the proposed sale in February 2008, on the grounds that "the proposed purchase price is inconsistent with the use of property as a Mitchell-Lama affordable housing development". It is the first time they have so ruled in such a case.[36]
Serious illness[edit]
According to a DJ Premier fan blog,[37] The Source's website[38] and other sites, DJ Kool Herc fell gravely ill in early 2011 and was said to lack health insurance.[39] He had surgery for kidney stones, with a stent placed to relieve the pressure. He needed follow-up surgery but St. Barnabas Hospital in the Bronx, the site that performed the previous surgery, has requested that he make a deposit toward the next surgery, because he has missed several follow-up visits. The hospital said it would not turn away uninsured patients in the emergency room.[40] DJ Kool Herc and his family set up an official website on which he describes his medical issue and the larger goal of establishing the DJ Kool Herc Fund to pioneer long-term health care solutions.[41] In April 2013, Campbell recovered from surgery and moved into post-medical care.[41]
Discography[edit]
Guest appearances[edit]
Terminator X – "Herc's Message" from Super Bad (1994)[42]
The Chemical Brothers – "Elektrobank" from Dig Your Own Hole (1997)[43]
Substantial – "Sacrifice" from Sacrifice (2008)[44]
Notes[edit]
Jump up ^ OldSchool Hip-Hop - Kool Herc
Jump up ^ XX:L Magazine - Today In Hip Hop - DJ Kool Herc Celebrates 58th Birthday - April 16, 2013
Jump up ^ BlackPast - DJ Kool Herc
Jump up ^ Chang, pp. 68–72
^ Jump up to: a b c d e f Shapiro, pp. 212–213
Jump up ^ Ogg, p. 13
^ Jump up to: a b c Roug, Louise. "Hip-hop may save Bronx homes", Los Angeles Times, 24 February 2008. Link retrieved 9 September 2008.
Jump up ^ Ogg, p. 14, p. 18.
Jump up ^ Toop, p. 65
Jump up ^ Chang, p. 79
Jump up ^ falkmanbeatz -break bboy / bgirl channel- (2014-01-08), The Freshest Kids: The History of the B-Boy (Full Documentary), retrieved 2017-04-26
^ Jump up to: a b Hermes, Will. "All Rise for the National Anthem of Hip-Hop", New York Times, 29 October 2006. Retrieved on 9 September 2008.
Jump up ^ Ogg, pp. 14–15.
^ Jump up to: a b c d Hager, in Cepeda, p. 12–26. Cepeda writes that this article was the first appearance of the term hip hop in print, and credits Bambaataa with its coinage (p. 3).
Jump up ^ Toop, p. 69
Jump up ^ Karon, Tony (22 September 2000). "'Hip-Hop Nation' Is Exhibit A for America's Latest Cultural Revolution". Time. Time Inc. Retrieved 1 January 2009.
Jump up ^ Farley, Christopher John (18 October 1999). "Rock's New Spin". Time. Time Inc. Retrieved 1 January 2009.
Jump up ^ "5 Fine Books You Missed (We Did)". Time. Time Inc. 11 June 2006. Retrieved 1 January 2009.
Jump up ^ Farley, Christopher John (9 July 2001). "DJ Craze". Time. Time Inc. Retrieved 1 January 2009.
Jump up ^ "Dancehall Days". Time. Time Inc. 11 June 2003. Retrieved 1 January 2009.
^ Jump up to: a b Tukufu Zuberi ("detective"), BIRTHPLACE OF HIP HOP, History Detectives, Season 6, Episode 11, New York City, found at PBS official website. Accessed 24 February 2009.
Jump up ^ Ivory, Stephen (2000). The Funk Box (CD box set booklet). Hip-O Records. p. 12. 314 541 789-2.
Jump up ^ Kool Herc, in Israel (director), The Freshest Kids, QD3, 2002.
Jump up ^ Dunning, Jennifer. "Nurturing Onstage the Moves Born on the Ghettos' Streets", New York Times, 26 November 1991.
Jump up ^ See for example Suggah B in Cross, p. 303: "I'm a B-girl till I die, when they bury me they're gonna bury me with some shelltoes on my feet and some gold around my neck because that is how I feel."
Jump up ^ Ogg, p. 14, p. 17.
Jump up ^ "www.blackawarenessfoundation.com/?p=3885". www.blackawarenessfoundation.com. Retrieved 2017-08-23.
Jump up ^ "Breaks, Bronx, Boogie, Beat: What Is Bboying?". breakdancedecoded.com. Retrieved 2017-08-23.
Jump up ^ Toop, p. 18–19 et al.
Jump up ^ Ogg, p. 17
Jump up ^ Toop, pp. 74–76.
Jump up ^ Toop, p. 62.
Jump up ^ Gonzales, Michael A. "The Holy House of Hip-hop: How the Rec Room Where Hip-hop Was Born Became a Battleground For Affordable Housing", New York, 6 October 2008.
Jump up ^ Sisario, Ben (1 March 2006). "Smithsonian's Doors Open to a Hip-Hop Beat". The New York Times. The New York Times Company. Retrieved 1 January 2009.
Jump up ^ Gonzalez, David (21 May 2007). "Will Gentrification Spoil the Birthplace of Hip-Hop?". The New York Times. The New York Times Company. Retrieved 1 January 2009.
Jump up ^ Lee, Jennifer 8. "City Rejects Sale of Building Seen as Hip-Hop’s Birthplace", The New York Times, 4 March 2008.
Jump up ^ "Update-Donations To Kool Herc Via Paypal Now Available". Retrieved 30 January 2010.
Jump up ^ "DJ Kool Herc – Health, Condition". Archived from the original on 3 February 2011. Retrieved 30 January 2010.
Jump up ^ Headlines, Democracy Now, 1 February 2011. Retrieved 1 February 2011.
Jump up ^ Gonzales, David (31 January 2011). "Kool Herc Is in Pain, and Using It to Put Focus on Insurance". The New York Times. Retrieved 16 April 2011.
^ Jump up to: a b "Official DJ Kool Herc Website". DJKoolHerc.com. 2 February 2011. Retrieved 2 February 2011.
Jump up ^ Marshall, Wayne (2007). "Kool Herc". In Hess, Mickey. Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. Greenwood Publishing Group. p. 23. ISBN 978-0-313-33902-8.
Jump up ^ Wade, Ian (2011). "The Chemical Brothers – Dig Your Own Hole – Review". BBC. Retrieved 16 July 2015.
Jump up ^ Cooper, Roman (30 January 2008). "Substantial – Sacrifice". HipHopDX. Retrieved 16 July 2015.
References[edit]
Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. St. Martin's Press, New York: 2005. ISBN 978-0-312-42579-1
Cross, Brian. It's Not About A Salary...Rap, Race and Resistance in Los Angeles. New York: Verso, 1993. ISBN 978-0-86091-620-8
Hager, Steven, "Afrika Bambaataa's Hip-Hop", Village Voice, 21 September 1982. Reprinted in And It Don't Stop! The Best American Hip-Hop Journalism of the Last 25 Years. Cepeda, Raquel (ed.). New York: Faber and Faber, Inc., 2004. ISBN 978-0-571-21159-3
Ogg, Alex, with Upshall, David. The Hip Hop Years, London: Macmillan, 1999 ISBN 978-0-7522-1780-2
Shapiro, Peter. Rough Guide to Hip-Hop, 2nd. ed., London: Rough Guides, 2005 ISBN 978-1-84353-263-7
Toop, David. Rap Attack, 3rd. ed., London: Serpent's Tail, 2000 ISBN 978-1-85242-627-9
External links[edit]
Find more aboutDJ Kool Hercat Wikipedia's sister projects
Media from Wikimedia Commons
Quotations from Wikiquote
Official Website of DJ Kool Herc
DJ Kool Herc at AllMusic
DJ Kool Herc discography at Discogs
DJ Kool Herc on IMDb
A biography of DJ Kool Herc at OldSchoolHipHop.com
Lengthy Kool Herc bio @ hiphop.sh
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Mega Shark Versus Giant Octopus
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Mega Shark Versus Giant Octopus
DVD cover
Directed by
Jack Perez (as Ace Hannah)
Produced by
David Michael Latt
David Rimawi
Paul Bales
Written by
Jack Perez (as Ace Hannah)
Starring
Deborah Gibson
Lorenzo Lamas
Mark Hengst
Sean Lawlor
Russ Kingston
Stephen Blackehart
Music by
Chris Ridenhour
Cinematography
Alexander Yellen
Edited by
Marq Morrison
Distributed by
The Asylum
Release date
May 19, 2009 (2009-05-19) (US)
August 7, 2009 (2009-08-07) (UK)
Running time
90 minutes
Country
United States
United Kingdom
Language
English
Mega Shark Versus Giant Octopus is a 2009 American-British monster disaster film distributed by The Asylum, released on May 19, 2009, in the United States and on August 7, 2009, in the United Kingdom. It was directed by Ace Hannah and stars singer Deborah Gibson and actor Lorenzo Lamas. The film is about the hunt for two prehistoric sea monsters causing mayhem and carnage at sea, and is the first installment in the Mega Shark series of films.
Contents
1 Plot
2 Cast
3 Production
4 Release and reception
5 Sequels
6 See also
7 References
8 External links
Plot[edit]
Off the coast of Alaska, oceanographer Emma MacNeil (Deborah Gibson) is studying the migration patterns of whales aboard an experimental submarine she took without permission from her employer. Meanwhile, a military helicopter drops experimental sonar transmitters into the water, causing a pod of whales to go out of control and start ramming a nearby glacier. In the chaos, the helicopter crashes into the glacier, and the combined damage breaks the glacier open, thawing two hibernating, prehistoric creatures. MacNeil narrowly avoids destruction as, unknown to her, a giant shark and octopus are freed. Some time later, a drilling platform off the coast of Japan is attacked by the octopus, which has tentacles large enough to wrap around the entire structure. After returning to Point Dume, California, MacNeil investigates the corpse of a beached whale covered with many bloody wounds. Her employer Dick Richie (Mark Hengst) believes them to be from a tanker propeller, but MacNeil insists they appear to be from a creature. Later, she extracts what appears to be a shark’s tooth from one of the wounds. Elsewhere, the huge shark leaps tens of thousands of feet into the air from the ocean and attacks a commercial aircraft, forcing it to crash into the water.
A review board convenes and fires MacNeil from the oceanographic institute for stealing the submarine. She brings the shark tooth to her old professor, former U.S. Navy pilot Lamar Sanders (Sean Lawlor), who believes it belonged to a Megalodon, an enormous species of shark believed to have become extinct 1.5 million years ago. The duo is visited by Dr. Seiji Shimada (Vic Chao), a Japanese scientist trying to determine what attacked the drilling platform. The three review a videotape recorded during MacNeil’s submarine voyage, finding images of both the megalodon and a gigantic octopus. MacNeil reflects on the polar ice caps melting due to man-made global warming, and wonders if the creatures are mankind’s “comeuppance”. Meanwhile, a U.S. "naval destroyer" engages the megalodon, but is destroyed after its guns fail to destroy the shark. MacNeil, Sanders, and Shimada are arrested by a team of soldiers and taken to government official Allan Baxter (Lorenzo Lamas), a rude and racist man who demands their help in destroying the creatures. The three agree to help, in exchange for the government trying to capture the creatures for study rather than destroy them.
While working at a naval laboratory to develop a method for luring the creatures, MacNeil and Shimada become attracted to each other and have sex in a utility closet. The incident makes them realize they can attract the creatures using chemicals. MacNeil and Sanders agree to place a trap for the shark in San Francisco Bay, while Shimada returns to Tokyo to attract the octopus. MacNeil and Sanders barely escape the shark after placing the trap with a mini-submarine. The plan fails, however, when the shark destroys another destroyer sent by Baxter. The shark then resurfaces and bites off a large portion of the Golden Gate Bridge, killing many civilians on the bridge. Later, Shimada contacts the Americans and says the Japanese trap, having the same disaster, only succeeded in angering the octopus, which has escaped despite multiple artillery and missile hits. Baxter suggests using nuclear weapons against the creatures, which MacNeil, Sanders, and Shimada strongly oppose due to the risk of marine devastation, coastal damage and human casualties. As an alternative, MacNeil suggests using the same pheromone traps to create a “Thrilla in Manila” by drawing the two creatures together. She believes that because the two creatures were frozen in ice locked in combat, they must be natural rivals and their aggressiveness towards one another will cause them to fight to the death if they're lured together. MacNeil, Sanders, and Baxter are assigned to a submarine to find the shark and lure it to the North Pacific Ocean.
After a short search, the submarine brings both the shark and the octopus to an ice trench off the Alaskan coast, where MacNeil first encountered the creatures. Sanders himself ends up piloting the sub after the original pilot loses his nerve and pulls a gun on the captain (Dean Kreyling) before he is overtaken. The octopus and shark begin to fight, Giant Octopus, wraps around Mega Shark, and tries to suffocate him. Mega Shark bites the tentacles to get free. They separate. Mega Shark attacks the submarine. dragging it in its mouth. MacNeil, Sanders, and Baxter man a mini-submarine and detach just as the shark bites the larger submarine in half, killing the rest of the crew. The shark nearly destroys the mini-submarine, but they are saved when a Japanese sub with Shimada on board fires torpedoes at it. The octopus entangles the Japanese submarine and nearly destroys it, but the sub is released after the octopus is attacked by the shark. The two creatures engage in a fierce battle, at the end of which, the octopus strangles the shark after the shark dismembers some of its tentacles, causing it to bleed to death. The two sink, dead, still locked from their battle. McNeil and the others, after watching the showdown between the two monsters, discover Shimada and his sub survived the octopus attack. The film ends with MacNeil, Sanders, and Shimada deciding to visit the North Sea after receiving infrared images of mysterious organic life there.
Cast[edit]
Deborah Gibson as Emma MacNeil
Lorenzo Lamas as Allan Baxter
Vic Chao as Dr. Seiji Shimada
Mark Hengst as Dick Richie
Sean Lawlor as Lamar Sanders
Dean Kreyling as U.S. Sub Captain
Stephen Blackehart as U.S. Sub Sonar Chief
Larry Wang Parrish as Japanese Typhoon Captain
Douglas N. Hachiya as Japanese Sonar Tech
Jay Beyers as Pilot Officer
Stefanie Gernhauser as Sub Cmdr. Francoise Riley
Jonathan Nation as Vince
Russ Kingston as Admiral Scott
Cooper Harris as U.S. Destroyer Sonar Tech
Dustin Harnish as U.S. Sub Helmsman
Colin Broussard as Radioman
Production[edit]
Efforts to convert the movie into 3D were scrapped when the studio failed to acquire adequate funding for 3-D film.[citation needed]
Principal photography took place over the course of twelve days in January 2009. Much of the film was shot at the AES Alamitos power station near Long Beach, CA, and at Laurel Canyon Stages in Arleta, CA. Other locations included the Long Beach pier and Leo Carillo State Beach in Malibu, CA.
Release and reception[edit]
The theatrical trailer released in mid-May 2009 became a viral hit, scoring over a million hits on MTV.com and another million more on YouTube upon launch, prompting brisk pre-orders of the DVD.[1]
The film was met with mostly negative reviews, with a 15% rating on Rotten Tomatoes (an average score of 3.3 out of 10), and the consensus stating "With shoddy FX, acting and directing. This isn't so bad it's good. It's just so bad it's terrible."[2] Peter Whittle of The Sunday Times gave the film one out of five stars and considered it "Unwatchable, almost unreviewable, this stupid monster movie makes the Béla Lugosi swan song Plan 9 from Outer Space look like a masterpiece."[3] Philip French of The Observer said in his review that "The risible special effects and the clumsy acting recall not Roger Corman productions but the ineptitude of Ed Wood, though the result is far less endearing."[4] Kim Newman of Empire magazine gave it two out of five stars, calling it "Daft, plain daft. With a few daft but spectacular stunts."[5] Scott Mendelson of The Huffington Post also gave the film two out of five stars, saying that "the actors are all appropriately terrible and the story is completely absurd."[6]
On the other hand, Bill Gibron of PopMatters gave the film an 8 out of 10, saying that "Schlock may be an acquired taste, like caviar, foie gras, and Arby's, but it's hard to see how anyone wouldn't enjoy this extremely tacky dish." He also praised Gibson's performance in the film.[7] Despite criticizing the overall film quality, Stephen of The Three Rs gave the film a 7 out of 10, calling the plane attack scene "the epitome of monster awesome."[8]
Sequels[edit]
Main articles: Mega Shark Versus Crocosaurus, Mega Shark Versus Mecha Shark, and Mega Shark vs. Kolossus
Following the buzz generated by the release of the film's trailer, Gibson hinted on an interview that a sequel may be in the works. "Because God knows what else is in the ocean", she said. "I thought maybe a Seahorse? Maybe a 500-foot (150 m) Lobster would be good. But yes, there is the potential for a sequel, and I would absolutely love it."[9]
In mid-2010, The Asylum updated their catalog with Mega Shark Versus Crocosaurus, which was released on December 21, 2010. The cast and director of Mega Shark Versus Giant Octopus did not return in the sequel; instead, the film was directed by Christopher Douglas-Olen Ray and featured a new cast led by Jaleel White, Gary Stretch and Robert Picardo.[10]
The Asylum released the third chapter in the series titled Mega Shark Versus Mecha Shark on January 28, 2014, with Gibson reprising her role as Emma MacNeil.[11][12] The fourth Mega Shark was confirmed in February 2015 Mega Shark vs. Kolossus,[13] had a premiere date on July 7, 2015.[14]
A fifth instalment, Mega Shark vs. Moby Dick will have Mega Shark face off against the albino sperm whale from The Asylum's earlier film Moby Dick.
See also[edit]
List of killer shark films
List of killer octopus films
References[edit]
Jump up ^ People.com - Deborah Gibson Becomes a Viral Video Star Archived 2011-05-11 at the Wayback Machine.
Jump up ^ Rotten Tomatoes - Mega Shark vs. Giant Octopus
Jump up ^ Times Online - Mega Shark vs. Giant Octopus Review
Jump up ^ The Observer - Mega Shark vs. Giant Octopus Review
Jump up ^ Empire Magazine - Review of Mega Shark vs. Giant Octopus
Jump up ^ The Huffington Post - Mega Shark vs. Giant Octopus Review
Jump up ^ PopMatters.com - Mega Shark vs. Giant Octopus Review
Jump up ^ The Three Rs - Mega Shark vs. Giant Octopus Review Archived 2009-05-16 at the Wayback Machine.
Jump up ^ Jacks, Brian (May 13, 2009). "EXCLUSIVE: Door Open For 'Mega Shark Vs. Giant Octopus' Sequel, Says Deborah Gibson". MTV. Archived from the original on May 16, 2009.
Jump up ^ "Mega Shark vs. Crocosaurus". The Asylum. Retrieved 2010-08-25.
Jump up ^ Bishop, Bryan (2013-12-07). "Machine Battles Nature in This Insane Trailer for Mega Shark vs. Mecha Shark". The Verge. Retrieved 2013-12-08.
Jump up ^ Connelly, Brendon (2013-12-07). "Mega Shark vs. Mecha Shark Is the Pacific Rim of Asylum Shark Movies". Bleeding Cool. Retrieved 2013-12-08.
Jump up ^ Connelly, Brendon (2013-12-07). "Megashark to Put the Bite on Kolossus". Bleeding Cool. Retrieved 2013-12-08.
Jump up ^ Foy, Scott (Foywonder) (2013-12-07). "Mega Shark vs. Kolossus is directed by Christopher Olen Ray and surfaces on July 7th.". Dread Central. Retrieved 2013-12-08.
External links[edit]
Mega Shark Vs. Giant Octopus at The Asylum
Mega Shark Versus Giant Octopus on IMDb
Mega Shark Versus Giant Octopus at Rotten Tomatoes
Mega Shark Versus Giant Octopus at AllMovie
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