A little over a week ago Black Knight, a six-episode dystopian series set in Korea, began streaming on Netflix.
It’s 2071, decades earlier a comet struck Earth. The Korean peninsula is now a dunes-covered desert, only one percent of the population survived the disaster. Earth’s atmosphere is poisonous. Most of landmass of Earth is underwater,
The government is a corporatist dictatorship. The corporation is the Cheonmyeong Group, led by Chairman Ryu (Nam Kyung-eub), but run by his evil son, Ryu Seok (Song Seung-heon). The Republic of Korea–presumably North Korea and the Kim family didn’t survive the blast–is led by a president (Jin Kyung), but Ryu Seok is really in charge. He’s a Rahm Emanuel-style “Never let a crisis go to waste” type.
That tiny population is divided into four groups, castes really, and the top group is the Core, which consists of the Cheonmyeong Group and the top tier of the government, and a couple of middle classes, General and Special. But the majority of the survivors are classified as refugees, who for the most part scrape out a miserable survival in the ruins of the former city of Seoul.
The Core of course enjoy a luxurious existence.
All but the refugees have coveted QR codes tattooed on a hand that allows them entrance into restricted areas–and to purchase desperately needed supplies, especially oxygen.
Is there a way out from the misery for the refugees? Yes, the legit path is to become a deliveryman, a truck driver for the Cheonmyeong Group, transporting those vital supplies. Think of Mad Max in The Road Warrior driving a semitrailer as the wheeled army of Humongous follows him around the Wasteland, only for a post-apocalypse Korean Amazon. The greatest of these deliverymen is 5-8 (Kim Woo-bin). In the post-apocalyptic Korea, deliveryman eschew their birthnames in exchange for the numbered district they service. By the way, there are some female deliverymen.
The other way for the refugees to escape their bleak lives is the criminal path–becoming Hunters. Once again, think of the mobile gangs of the Mad Max franchise. These Black Nights fire back–and 5-8 even electrocutes a pair of them who make the mistake of climbing onto his truck.
Yoon Sa-wol (Kang You-seok) is a mischievous refugee teen who idolizes 5-8–he even plays a 5-8 computer game–and he and dreams of becoming a deliveryman. Sa-wol is illegally living with two sisters, one of them is Major Jung Seol (Esom). The sisters, I believe, are classified as Special, one notch down from Core.
Sa-wol is an orphan–so yes, he’s yet another “chosen one,” along the lines of Luke Skywalker, Harry Potter, and Frodo Baggins.
Predictably, the paths of 5-8, Seol, and Sa-wol cross. 5-8 has learned that he has much more to offer Korea than being a deliveryman, even one who is already a folk hero.
Black Knight is an enjoyable Netflix diversion. There is of course an abundance of action but also some subtle humor. For instance, 5-8, despite breathing poisoned air, still smokes cigarettes.
More direct humor is offered by Sa-wol’s pals, with the unusual names of Dummy (Jung Eun-seong), Dumb-Dumb (Lee Sang-jin), and Useless (Lee Joo-seung), who live with a clever mechanic and inventor, Grandpa (Kim Eui-sung).
But if you are looking for a romantic storyline, look elsewhere. There are no love stories in Black Knight.
If you are a connoisseur of compelling cinematography and sharp CGI, then you’ll love Black Knight.
And if you drive a delivery truck for UPS, a grocer, and especially Amazon, then let your imagination run wild and dream away as you watch, and presumably love, this series.
Black Knight is rated TV-MA by Netflix for violence and smoking. It is available for viewing in Korean with subtitles, in English, and several other languages. I watched it in Korean.
When does a local crime story become a national one? Outside of a mass shooting, a local crime story becomes a national one when there is a race element.
On May 1, a deranged homeless man, Jordan Neely, was threatening passengers on a New York subway train. A former marine, Daniel Penny, aided by two other passengers, placed Neely, who by the way had 42 prior arrests, in a chokehold. Penny has since charged with second-degree manslaughter. I’m sure that you know these details: Penny is white, Neely is black.
The mainstream media, to use an old radio term, still has the Neely killing on heavy rotation.
On May 6 a much more troubling homicide occurred on Chicago’s South Side. Aréanah Preston, a Chicago police officer, had just finished her shift. As she exited her car in front of her home, Preston, who was still in uniform, was shot to death. Jakwon Buchanan, 18, two 19-year-olds Trevell Breeland and Joseph Brooks, and a 16-year-old, Jaylen Frazier, have been charged with her murder.
Preston, 24, was to have been awarded her master’s degree from Loyola University on Saturday.
By now you probably know why the murder of Preston is not a national news story. Preston, and the alleged killers, are African American. If the accused murderers were white, reports about this homicide would dominate the news outlets, particularly MSNBC and CNN, who would introduce each segment on the cop killing with a custom graphic and somber music.
There are additional chilling details about the alleged perpetrators, all of whom are in jail, bail has been denied.
Their crime spree began early on the morning of May 6, according to a Cook County assistant state’s attorney, because the girlfriend of Jakwon Buchanan needed money for a barbecue. That’s right, a barbecue. Buchanan, by the way, has a pending carjacking case in juvenile court.
First, the four teens, who were dressed in black and wore face masks, stole a Kia Forte, after robbing a woman of her charge cards, her smart phone, and a Louis Vuitton belt. As for the youths’ look and their criminality, think Alex and his “Droogs” from A Clockwork Orange crossed with ninja warriors from a 1980s action film. Next, a 62-year-old woman and her son’s girlfriend were robbed by at least three of the teens of a phone and a Coach purse. Then two of the accused allegedly robbed a man as he was leaving his car.
Then Preston was murdered. Her gun was taken and one of the accused allegedly sold her weapon.
I can describe the four accused killers with two words, ones that the holier-than-thou media has deemed racist: “Career criminals,” despite their youth, and “super-predators.” Remember how CWB Chicago portrayed the four, “all with extensive juvenile criminal backgrounds.” And CWB Chicago, citing a law enforcement source, said of two of the accused, “Brooks and Buchanan ‘are by far in the top 10 for prolific juvenile carjackers over the last two years.'”
On Monday, Brandon Johnson, a Democrat who is essentially a creation of the far-left Chicago Teachers Union, will be sworn in as mayor of Chicago. Until his mayoral campaign began Johnson was a “defund the police” guy. Among other things, Johnson favors sending social workers, instead of cops, to domestic disturbances. After a riot last month in downtown Chicago, the mayor-elect had this to say about the creeps, “It is not constructive to demonize youth who have otherwise been starved of opportunities in their own communities.”
Sheesh.
If people do demonic things, they can expect to be demonized.
A few days later, Johnson doubled down on those initial remarks about the rioters. “They’re young,” Johnson said. “Sometimes they make silly decisions! They do. So we have to make sure that we are investing to make sure that young people know that they are supported.”
Investing?
Johnson is a big proponent of summer jobs programs for young people. I don’t believe such employment would cause youths like Buchanan, Frazier, Brooks, and Breeland to alter their destructive life decisions for $15-an-hour make-work jobs.
Chicago is stacked with career criminals and super-predators. My solution to the city’s crisis is simple, aggressively prosecute these lawbreakers and imprison them when they are found guilty. Johnson, Cook County’s so-called prosecutor Kim Foxx, and Cook County Circuit Court chief judge Tim Evans don’t agree with me. They’re “root causes” people.
Sadly, even though some moms rise to their challenge, there is one root cause the media and left-wing politicians refuse to discuss. Over eighty percent of African American births in Chicago are to single mothers.
I don’t know what the solution to that problem is. But admitting there is a problem is the first step in confronting it.
On Wednesday, four days after she was to receive her master’s diploma from Loyola, the funeral for Preston will be held.
John Ruberry regularly blogs five miles north of Chicago at Marathon Pundit.
The Kinks are celebrating the 60th anniversary of their founding. In March, the legendary band released a two-CD compilation, The Journey – Part 1 (1964-1975), which is a great place to acquaint yourself with these wonderful performers.
To further immerse yourself with the Kinks, I have determined what I believe are their ten-best albums.
By the way, what is one test to ascertain if someone is intelligent? Well, if a person is a Kinks fan, then you found smart guy or gal.
The Kinks were founded in 1963 in Muswell Hill in North London. The heart of the band are the Davies (pronounced Davis) brothers, Ray, the principal songwriter, lead vocalist, and rhythm guitarist, and Dave, lead guitarist, and occasional songwriter, who sometimes sings lead. Mick Avory is the drummer.
The band broke up in the 1990s, Avory departed the band in 1984. Over the years the Kinks, first a quartet then a quintet, had a series of bassists and keyboardists. Although they haven’t toured or recorded since then, the Davies brothers reformed the Kinks in 2018, Avory is included as a member.
Last summer, at Skokie’s Backlot Bash, an annual event held near my home north of Chicago–the festival coincidentally honors another English phenomenon–Charlie Chaplin–local band Tribotosaurus put on a Kinks show. In his introductory remarks, the band’s lead singer remarked, “The Kinks are the forgotten band of the British Invasion.” Quite true.
Early Kinks tours were tumultuous affairs as they fought each other and anyone else in their way. “At the height of our success in the 1960s,” the narrator in Ray’s solo song ‘Invaders’ explained, “the Kinks were banned from touring the USA for four years, when we did return, we toured the USA relentlessly, tour after tour. Year after year. To win back what we’d lost.”
Who was behind that ban? The American Federation of Musicians. And those years spanned from 1965-1969, musically they were transformational years when rock was transformed from being pop music into an art form.
Here is one account about why the ban occurred, but there are many others.
While what became into the holy trilogy of British rock–the Beatles, the Rolling Stones, and the Who–looked outward musically, Ray and the Kinks turned introspective during their ban from America. For inspiration, they turned to the British music hall songs they learned from the parents. Music hall, the UK version of vaudeville, also describes a style of music. Famous music hall tunes that you probably have heard include, “It’s a Long Way to Tipperary,” “Pack Up Your Troubles in Your Old Kit-Bag,” and “I’m Henery the Eighth, I Am.” Hermans Hermits scored a hit with the last one in 1965.
That sounds horrible for the Kinks, right?
Wrong. The Kinks’ best work was recorded during their “lost period” in America. Only two Kinks singles charted in the United States from 1967-1969, and they peaked deep in the bottom half of Billboards’ Hot 100. But the hits kept coming in Britain and elsewhere.
The Kinks have been cursed with bad luck– and some of those wounds were self-inflicted. In their last album with new material, the mostly-live album To The Bone, Ray looked back in his introduction to their song, “I’m Not Like Everyone Else.” Of that composition he said, “It kind of sums up what we’re all about, the Kinks, because everyone expects us to do wonderful things, and we mess it all up, usually.”
The Kinks’ bad luck even extended to that Tributosaurus gig in Skokie. The band pumped out four great classic Kinks songs, but then a Caddyshack-level thunderstorm struck, which forced the rest of the show, as well as the final night of the Backlot Bash, to be cancelled.
Even if the Kinks’ career consisted of one song, “You Really Got Me,” their international hit from 1964, their place in rock and roll history would be secure. That power cord classic inspired four rock genres, heavy metal, hard rock, punk rock, and new wave.
But there is so much more to the Kinks.
Let the countdown begin.
Not before, that is, a big shout out to the USA-only compilation The Kink Kronikles. That collection not only does a great job covering the Kinks’ “lost years” in America, but it contains such wondrous non-album singles such as “Wonderboy,” “Autumn Almanac,” and “Days.” Those singles, however, often appear on extended versions of some of these albums you’ll soon learn about.
But I’m reviewing the original releases.
10) Give the People What They Want (1981): There are some strong tracks here, particularly “Destroyer,” where Ray rips off himself with an homage to the Kinks’ earlier hit, “All Day and All of the Night.” The Kinks were firmly ensconced in the arena rock phrase of their career when this collection was released, and “Around the Dial” captures that era in just under five minutes. On the other hand, the best track here, “Better Things,” reaches back to that “lost period.” The Pretenders’ Chrissie Hynde, with whom Ray had a romantic relationship at the time, contributes background vocals on four songs.
9) Schoolboys in Disgrace (1975): Beginning in the early 1970s the Kinks recorded a series of concept albums. During supporting tours, these efforts were presented as low-budget stage shows. The last such Kinks “musical” offers a huge helping of 1950s-styles rock, along with a look back at the Kinks power-chord early days. But it betrays Kinks bad luck too. The “rock and roll revival,” rocks first nostalgia movement, which was partially inspired by the Beatles White Album, had run its course by 1975. Power chord music would bounce back in the late 1970s. Wrong place, wrong time. “The Hard Way” would have been a hit in 1979, the same year the Knack scored a number one smash with “My Sharona.” Ironically, the next year the Knack covered “The Hard Way.” Other strong tunes here include “Education,” “No More Looking Back,” and “Jack the Idiot Dunce.”
8) Sleepwalker (1977): The Kinks’ first non-thematic album in nearly a decade, Sleepwalker was a mainstream effort that proved that the band could still rock as well as anyone else. The title track, “Juke Box Music,” “Life on the Road,” and “Life Goes On” are the best tracks.
7) The Kink Kontroversy (1965): In the mid-1970s, Van Morrison recorded an album titled A Period of Transition. That would be fitting moniker for this collection, the Kinks’ third album. “Till the End of the Day” was their last power chord hit. Very early in their career the Kinks recorded many blues rock songs, and there are some on this offering, the best of which here is “Gotta Get the First Plane Home.” Another shining moment, “Where Have All the Good Times Gone,” is sung from the perspective of a middle-aged man, but written by Ray, who was 21 at the time. It foreshadows future greatness.
6) Muswell Hillbillies (1971): We’ll hear about the predecessor to this collection, Lola Versus Powerman and the Moneygoround, Part One soon, but that album brought the Kinks back to prominence and a well-deserved place, albeit briefly, at the head table of rock’s elite. You remember Ray’s remark about the Kinks–that “everyone expects us to do wonderful things, and we mess it all up, usually.” Not that Muswell Hillbillies is bad. Far from it. But the “Lola” album was mostly a hard rock effort, and the Kinks certainly confused its new American fan base with Muswell’s country rock and music hall flavor. Besides the title tune, “20th Centry Man,” “Oklahoma USA,” and “Have a Cuppa Tea” are standouts.
5) Face to Face (1966): Ray emerged as a first-rate storyteller here. While not a concept album, a minor narrative can be found on Face to Face with “A House in the Country,” “Most Exclusive Residence for Sale,” and “Sunny Afternoon,” the Kinks last American hit until 1970. “Holiday in Waikiki” was composed during the Kinks’ disastrous 1965 tour. And had Buddy Holly not taken that fateful airplane flight in 1959 in Iowa, he may have been writing songs like “I’ll Remember” in 1966.
4) Something Else by the Kinks (1967): This is the Kinks most-music hall album. “Harry Rag” might be the most typical of this collection, as “Harry Rag” is old British slang for a cigarette and it’s a sing-a-long tune, and many music hall tunes were written with audience participation in mind. Dave sings lead in a Ray/Dave composition, “Death of a Clown.” But “Waterloo Sunset,” a smash hit just about everywhere except in America, is the best song here, and arguably the Kinks’ greatest recording.
3) Lola Versus Powerman and the Moneygoround, Part One (1970): In the United States, other than “You Really Got Me,” the sorta-title track “Lola,”which is about a strange encounter with what we now call a transgendered woman, is the Kinks best-known song. It was an international hit–and a second single from this album, “Apeman,” also did well as a single. A Dave tune, “Strangers,” is an eerie song about friendship that is one of the Kinks most covered works. This album is yet another band “mess up,” because there was never Part Two. Oh, I nearly forgot, “Get Back in Line” tells the story of worker who a capricious union boss refuses to hire. Yes, it’s a musical punch at the American Federation of Musicians.
2) Arthur (Or the Decline and Fall of the British Empire) (1969): It wasn’t their fault, but here’s another Kinks “mess up,” albeit a brilliant one. Arthur is the soundtrack for a television movie, but that film was never made, although it’s not the fault of the Davies et al. This wondrous collection starts off with the rollicking “Victoria,” the band’s hardest rocker since 1965. “Shangri-La,” a sprawling epic, looks, not so fondly, at the British class system. “Some Mother’s Son” ranks with the best anti-war songs ever written.
And number 1 is:
The Kinks Are the Village Green Preservation Society (1968): Released the same day as the Beatles White Album, VGPS, another music hall-inspired gem, has Ray telling stories about a sleepy English village. Like the central character of his “Autumn Almanac,” in regard to the title track, it’s difficult to fathom if Ray is celebrating, presumably at least, the little old ladies who are members of the Village Green Preservation Society, or mocking them, as he sings, “God save little shops, china cups and virginity.” Don’t forget, we’re in 1968 here. “Do You Remember Walter” looks at the inevitable disappointment when childhood dreams don’t match up with adult reality. The mellotron driven “Phenomenal Cat” is about a legendary, in the imagination of “idiot boys,” flying feline, who, after traveling the world, decides the best life him is to live in a tree and pursue obesity. While “Animal Farm,” which has nothing to do with the George Orwell novel, views rural life more fondly.
There is no rock album quite like VGPS. XTC’s masterpiece, “Skylarking,” thematically comes close.
If you don’t like my choices, well, that’s why we have a comments section here.
And finally, God save the Kinks.
John Ruberry has seen the Kinks twice in concert, both times in Champaign, Illinois. He usually blogs at Marathon Pundit.
Late in 2021, the father of Chicago Tribune City Hall reporter Gregory Pratt, died. Father and son shared the same name, but the younger Pratt hadn’t seen his dad since he was five. That is, until shortly before the passing of the older Pratt, which the reporter, in a behind-the-pay-wall column, movingly wrote about in the Tribune.
Last week, the Chicago City Wire, a newspaper often dismissed as “fake” and “pink slime” by liberals, noticed something in Pratt’s column, a link to a GoFundMe page organized by a cousin for the reporter, to defray the senior Pratt’s medical bills, That GoFundMe link should have immediately raised eyebrows. But it was the “fake” source that got the scoop.
The Chicago Tribune’s lead City Hall reporter Gregory Pratt solicited and received at least $1,790 in donations in a GoFundMe.com fundraiser benefiting his family from sources he covers– including elected officials, political consultants and lobbyists.
The donors included Cook County State’s Attorney Kim Foxx, who gave him $150, along with Evelyn Chinea-García, the wife of recent mayoral candidate, U.S. Rep. Jesus “Chuy” Garcia ($500) and former Illinois Deputy Governor and State Attorney General candidate Jesse Ruiz ($100).
Three members of the Chicago City Council Pratt covers – Ald. Gil Villegas (36th), Ald. Samantha Nugent (39th) and Ald. Matt O’Shea (19th)– also contributed to Pratt, along with Metropolitan Water Reclamation District Commissioner and lobbyist Michael Alvarez ($250) and Chicago political operatives Rebecca Carroll, Eli Stone, Carolyn Grisko and Joanna Klonsky, who recently worked for Chicago Mayor Lori Lightfoot.
Chicago City Wire, and several other papers, are published by Local Government Information Services, which was founded by conservative activist and WIND-AM radio personality Dan Proft in 2016.
A Twitter fight between Proft and Pratt ensued, which led former Chicago Tribune columnist John Kass to respond in the comments thread, “When a news organization gives editorial control to billionaire Bolshevik like George Soros, that news organization has no credibility. Any comment @chicagotribune @CTGuild @royalpratt???
When a news organization gives editorial control to billionaire Bolshevik like George Soros, that news organization has no credibility. Any comment @chicagotribune@CTGuild@royalpratt ???
Kass’ referral to @CTGuild is in regard to the Chicago Tribune Guild, the union representing Trib reporters. It is the organization that fought with the longtime conservative columnist at the Tribune over a 2020 column highly critical of Kim Foxx–you know, Jussie Smollett’s protector–where Kass brings up how Foxx and other big city Democratic catch-and-release prosecutors are funded by leftist billionaire George Soros. The Guild, of which Kass was not a member, in a biased manner deemed that column as anti-Semitic. The Guild’s protest led to a de facto demotion for Kass.
Pratt, whose Twitter handle is @royalpratt, displays the Chicago Tribune Guild logo on his Twitter page.
As legendary baseball announcer Mel Allen used to say, “How about that?”
To be fair, for all I know, Kass and Pratt are best pals. Then again, probably not.
Proft and Kass’ objections to the GoFundMe linkage are fair. Could those donors who work in politics, and who Pratt is expected to cover without bias, expect more sympathetic coverage if he knows they contributed to his dad’s GoFundMe page?
I don’t know.
Here’s what the New York Times, on its ethics page, says about possible improprieties.
Personal relations with sources: Relationships with sources require the utmost in sound judgment and self discipline to prevent the fact or appearance of partiality. Cultivating sources is an essential skill, often practiced most effectively in informal settings outside of normal business hours. Yet staff members, especially those assigned to beats, must be sensitive that personal relationships with news sources can erode into favoritism, in fact or appearance. And conversely staff members must be aware that sources are eager to win our good will for reasons of their own.
Which brings me to beat reporting. Years ago, the Trib used to move around reporters in a seemingly bizarre fashion. For instance, Bruce Buursma went from the religion beat to covering the Chicago White Sox. Such transfers create more-rounded journalists –and since Chicago’s two baseball teams went nearly a century for one–and over a century for the other–between World Series titles, a faith reporter might have been just what baseball fans reading the Tribune needed at that time.
Sadly, for reporters coving elected officials, mostly but not exclusively on the left, politics is their religion. They are not journalists, they’re activists playing on the same team.
Here’s one more old story. Jay McMullen, who later married Chicago mayor Jane Byrne, was for over twenty years was the City Hall reporter for the Chicago Daily News and the Chicago Sun-Times. Eventually his bosses viewed McMullen as being too cozy with the pols he covered–so he was exiled to the real estate page. McMullen later worked for his wife during her single term in office.
Note: Two days ago, I emailed Gregory Pratt about my intention to write a blog post about the GoFundMe page controversy. I received an out-of-office reply that suggested I contact another person. As of the evening of April 30, I have not received a non-automated response from either of them.
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