Month: December 2019

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À l’occasion du festival de Cannes, Louise Bourgoin et Julianne Moore partage pour Gala et L’Oréal Paris leur vision de la beauté, et la façon dont elles appréhendent en tant qu’actrices photographiées sur les tapis rouges du monde entier.

Louise Bourgoin est une femme sensible aux multiples facettes : à la fois maman, actrice, dessinatrice… Pour la comédienne, l’artiste se doit d’être au cœur de la création, tout en conservant une certaine retenue. “C’est quelqu’un qui sait se placer en dehors, analyse-t- elle. Quelqu’un qui a un vrai point de vue, sur les choses et qui se pose en observateur du monde.” Nouvelle égérie L’Oréal Paris, l’actrice mesure l’importance de la beauté, qui passe, selon elle, par une véritable acceptation de soi. Il faut vouloir être, avant d’être belle“. 

Un avis partagé par Julianne Moore. La star américaine explique quant à elle, aimer se dessiner une jolie bouche, rouge soutenu, avant un red carpet. “Pour mes lèvres, j’aime la couleur, la brillance, confie-t- elle. Cela me donne de la confiance pour monter les marches.

Découvrez aussi les confidences beauté de Leïla Bekhti, ainsi que celles d’Isabelle Adjani.

Crédits photos : L’Oréal Paris

AlloCiné a pu longuement rencontrer le réalisateur Ted Kotcheff, qui a évoqué sa longue carrière, des coulisses de Rambo -qui ressort cette semaine dans les salles- à la série New York – Unité spéciale.

A l’occasion de son passage à Paris, AlloCiné avait rendez-vous avec le metteur en scène Ted Kotcheff, dans le bar d’un très chic hôtel. Détendu, rieur, l’escarcelle remplie d’anecdotes, le réalisateur de Rambo a évoqué pour nous la ressortie de son film le plus connu, ainsi que sa carrière, dans une interview fleuve.

Dans “Wake in Fright”, le personnage principal, John Grant, est comme Patrick McGoohan dans la série “Le Prisonnier”, incapable de s’enfuir, diriez-vous que c’est parce qu’il n’est pas “prêt”, et que la ville le garde prisonnier ?

“Oui, il est piégé. Car en Australie, personne ne veut enseigner dans l’Outback. Si vous êtes professeur, vous devez payer une caution de 1000 dollars et aller y enseigner. Si vous n’y allez pas, ils encaissent vos 1000 dollars. Et c’est le problème de ce personnage. C’est pour cela qu’il se met au jeu : pour récupérer ses 1000 dollars.”

La bière et l’alcool sont très présents, et le seul verre d’eau que Grant ingurgite de tout le film se trouve à bord du train. Est-ce symbolique : son salut se trouve loin de ces gens, loin de cette ville et de l’alcool ?

“Tout à fait. Et vous savez, il pense qu’il est supérieur à ces gens [de l’Outback]. Il les toise et il les juge.”

Pour ces gens isolés de tout, la chasse aux kangourous et la bagarre remplacent-t-elles l’amour ?

“Vous savez, si vous voulez savoir ce qui se passe dans une ville, invitez le rédacteur-en-chef local à dîner ! (rires). Je l’ai fait et je lui ai demandé : “où sont les femmes ?” Il m’a répondu “à la maison, bien sûr”. Dans les pubs, les boîtes les bars… aucune femme ! Il m’a confié qu’il y avait 1 femme pour trois hommes ! J’ai dit “où sont les bordels ?”, “il n’y en a pas”, “et les homosexuels ?” “S’ils découvrent un homosexuel, ils lui tirent dessus !” Et vous savez, que font les hommes quand il n’ont pas de femmes ? Ils se battent…”

“Wake in Fright” n’est-il pas le récit d’une introspection du personnage principal ?

“Si, tout à fait. Wake in Fright est un voyage, une découverte de soi. Grant est un homme qui ne se connaît pas (…). Beaucoup de gens ignorent qui ils sont. Et souvent se placent dans des situations dans lesquelles ils découvrent vraiment de quoi ils sont capables. Mais je pense que finalement, Grant ne partira pas, il va rester dans l’Outback. À la toute fin du film, un gars lui demande : “vous avez passé de bonnes vacances ?” et il répond : “les meilleures”. Il s’est humanisé. Et il comprend qu’il n’est pas meilleur que les autres.”

Vous savez pourquoi les studios ne donnent pas facilement les droits d’un scénario qu’ils ont dans leurs tiroirs ? Parce que si le producteur vend le script et que le film devient un succès au profit d’un autre, il est viré !”

A ce moment de l’interview, nous avons proposé à Ted Kotcheff de commenter un cliché du tournage de “Rambo” :

“Je crois que c’est moi qui ai fait ce film, non ? (rires). Sylvester Stallone était un si bon comédien. Il aimait le film. Vous savez, les gars du Vietnam ont été si durement traités, lorsqu’ils sont revenus aux Etats-Unis. Par le passé, on disait aux soldats “Bon retour, vous êtes des héros !” mais en réalité, ils étaient rejetés et vilipendés. Et les conservateurs les traitaient de “losers” qui avaient perdu la guerre. Quant aux démocrates, ils les considéraient comme des tueurs d’enfants. Donc ils étaient rejetés de toute part. La vérité c’est qu’un bon millier de vétérans du Vietnam a tenté de se suicider. Et environ un tiers y est parvenu. Donc quand le shérif voit Rambo revenir en ville, il sait qu’il va y avoir du grabuge. Et pour ce soldat, c’est une mission suicide.

“Rambo est devenu une figure iconique, comme Tarzan. Un homme qui peut survivre par lui-même dans la jungle du Vietnam et dans les bois canadiens, où j’ai tourné le film.”

Comment vous êtes-vous retrouvés avec le script de Rambo ?

“J’avais un ami haut placé chez Warner depuis plusieurs années. Il m’a dit : “Ted j’ai ce livre, je pense que ça ferait un très bon film. Lis-le et dis-moi ce que tu en penses”. J’ai lu ce livre -d’ailleurs écrit par un canadien, et j’ai adoré, donc il m’en a demandé un scénario. J’ai travaillé dessus pendant six mois, et au final, ça ressemblait beaucoup au film terminé. Donc je suis retourné chez Warner, je leur ai donné le script, et il me dit : “Ted, j’ai une mauvaise nouvelle, la direction a décidé de ne plus faire ce film. On pense que le public américain n’est pas prêt à ce qu’on lui rappelle ce colossal échec que fut le Vietnam”. J’ai répondu : “je crois que vous avez tort. Je crois que c’est ce que l’on s’inflige entre-nous qui est terrible. Les gens veulent voir ce film. Le thème du film c’est l’injustice. Et le public aime que le héros soit victime d’une injustice”. Il m’a répondu : “c’est vrai, mais on ne le fera pas quand même”.

“Un an plus tard, j’ai rencontré deux jeunes producteurs qui venaient de créer une firme. Je leur ai parlé du fait que Warner avait un super scénario, First Blood, mais qu’ils ne le donneraient pas facilement. Mais que s’ils l’obtenaient, je le tournais pour eux. Ils ont mis un an pour avoir les droits du script.”

Pourquoi avoir choisi Sylvester Stallone ?

“Ils m’ont demandé : “qui vous voulez pour le rôle principal ?” J’ai immédiatement répondu Sylvester Stallone. Les gens pensent qu’il était une grande star, mais ce n’était pas le cas. Il ne rapportait de l’argent qu’en faisant Rocky. Il avait fait quatre autres films : F.I.S.T., Les Faucons de la nuit, La Taverne de l’enfer et un autre film [À nous la victoire, NdlR] qui ont été de terribles échecs. Ils ont fini par l’accepter, et il était formidable.”

 Racontez-nous les coulisses de la fin alternative de Rambo, celle dans laquelle le personnage se suicide…

“Stallone et moi avions travaillé sur le script ensemble. Il avait de très bonnes idées, First Blood était mon premier scénario donc j’avais besoin de changer des choses. Mais ce qu’il a apporté c’est que Rambo ne tue personne. Car il a eu son compte de morts au Vietnam, y compris la mort de ses amis. La dernière chose qu’il veuille faire c’est rentrer en Amérique et tirer sur tout le monde ! Pourtant, il n’y avait plus de place pour lui aux Etats-Unis, il est rejeté, et préfère mourir.

“On a tourné la fin dans laquelle il retourne l’arme contre lui. Et Stallone vient me voir dans un coin, il me dit [en parlant de son personnage] : « on a déjà fait subir tellement de choses à ce pauvre type…et maintenant on va le tuer ? » (…) « Je lui réponds : je sais comment on va faire, attends ! » et on a tourné la scène telle qu’elle est aujourd’hui. Et mes producteurs étaient furieux : « qu’est-ce que tu fais ? », « je tourne une fin alternative » et eux : « tu dépasses le budget, le planning : on ne peut pas se le permettre ! On en a déjà discuté : c’est une mission suicide, il doit mourir à la fin ».

“Et lorsqu’on a fait une projection-test à Las Vegas, le public était à fond dedans, ils hurlaient, ils parlaient à l’écran : « attention, Rambo ! » (rires). Et après la scène de son suicide, vous auriez pu entendre une mouche voler. Et j’en entends un briser le silence et dire : « si le réalisateur de ce film est dans le cinéma, il faut le trouver le pendre au premier poteau ! » (rires). Et leurs cartons de compte-rendu disaient « c’est le meilleur film d’action que j’aie jamais vu mais LA FIN !!!! » (Kotcheff mime un soulignement hargneux). « Toutes les cartes adoraient le film mais détestaient la fin ». Je suis allé voir les producteurs et je leur ai dit « les gars, il se trouve que j’ai cette autre fin dans ma poche… » Et voilà toute l’histoire.”

A Hollywood, dans 99,99% des cas, la réponse à la question « pourquoi ? » c’est l’argent ! Les 0,01% c’est la vanité !

Retour vers l’enfer était-il un film commandé par Paramount pour capitaliser sur le succès de Rambo sorti un an auparavant ?

“Paramount est venu me voir, ils voulaient un film sur le Vietnam. L’histoire de ce père qui engage des vétérans de cette guerre pour aller dans la jungle et voir s’il s’y trouve encore son fils encore prisonnier au Laos. C’est comme ça que c’est arrivé.”

La violence est présente dans tous vos films : violence des sectes (“Split Image”), des médias (“Scoop”), de la guerre… Comment expliquez-vous la sur-représentation de ce thème dans votre filmographie ?

“Prenez Wake in Fright c’est un film centré sur la violence. Quand j’ai fait ce film, j’étais complètement déprimé. Il y avait une opposition entre Khrouchtchev et Kennedy, et on est passé à deux doigts de la fin de l’Humanité. (…) C’était une période de peur, la guerre du Vietnam faisait rage, les gens tentaient de faire disparaître leurs différences en s’entretuant. Et c’est pour cela que dans mon film les gens sont aussi dégoûtants et répugnants. Donc oui, la violence est une de mes exigences. Je ne comprends pas, nous sommes tous sur la même planète, mais on continue de se tuer au lieu d’essayer de se comprendre…”

Vous vous êtes beaucoup impliqués dans l’écriture du scénario de “North Dallas Forty” (1979), ce sujet vous tenait-il à cœur ?

“Lorsqu’on m’a proposé de faire un film sur le football américain, j’ai dit « Bah ! Pas question que je fasse ça… », puis le producteur de Paramount que je connaissais m’a dit que ce n’est pas un film sur le sport, mais sur des athlètes manipulés par des gens riches, qui les utilisent en leur mentant. J’ai écrit le scénario avec l’auteur du liivre original (Peter Gent, NdlR), mais je voudrais changer quelques dialogues sur la façon dont les joueurs se parlent. Ce qu’on a fait, et j’ai pris beaucoup de plaisir à faire North Dallas.”

Vous avez remporté l’Ours d’or de Berlin pour “L’apprentissage de Duddy Kravitz” (1974), vous attendiez-vous à un tel succès critique pour ce film avec Richard Dreyfuss ?

“Vous ne pouvez pas prédire le succès, vous faites simplement le meilleur film possible. Duddy Kravitz est un film qui m’est cher. Au moment où il écrivait cette histoire, l’auteur du roman vivait avec moi dans un appartement londonien. Il me l’a fait lire et je lui ai dit : « c’est probablement le meilleur roman canadien jamais écrit. Retournons au Canada et faisons-en un film ». C’était l’histoire d’un Juif, et j’ai trouvé un producteur qui trouvait le film formidable mais voulait en faire… un Grec ! Les gens de Hollywood sont tous juifs, moi aussi, mais ne me demandez pas pourquoi, ils ne voulaient pas faire un film sur un Juif. Je ne pouvais pas faire ce compromis, donc j’ai obtenu la moitié du financement de mon film par la Canadian Film Development Corporation, et c’est comme ça que j’ai pu le faire.”

Le western “Un Colt pour une corde” (1974) aborde le thème du métissage et de la violence envers les « sang-mêlés » comme ils sont appelés dans le film. Le western était-il pour vous le genre d’évidence pour traiter de ce thème ?

Personne n’a vu ce film excepté vous et une autre personne que j’ai croisé récemment. J’aime beaucoup ce film. Un critique à Lyon m’a dit « c’est un des meilleurs westerns ». Je lui ai répondu : « vous êtes la seule personne à l’avoir vu ! » Avec vous ça fait deux ! (rires). Vous devriez vous rencontrer et en parler ! Gregory Peck était formidable, Desi Arnaz Jr. jouait le métis du film. Et il y avait cette relation père/fils que j’adorais.

(A cet instant, madame Kotcheff nous rejoint et s’installe à nos côtés en ne quittant pas son mari des yeux tandis que nous poursuivons l’interview).

 

Vous avez été impliqué des années sur la série New York, unité spéciale, vous aviez beaucoup de guests prestigieuses ‘Sharon Stone, Isabelle Huppert… Racontez-nous le processus de création de cette série…

“On utilisait beaucoup de guests, d’ailleurs l’actrice française Leslie Caron a obtenu l’Emmy de la meilleure actrice pour la série. Nous avons employé beaucoup d’actrices. Ce qu’il y a avec les crimes sexuels, c’est que cela implique beaucoup les femmes : elles sont violées, leurs enfants sont maltraités, ce sont les deux éléments phares de la série. Nous leur avons toujours accordé une grande place. Nous écrivions très en amont, ce qui nous permettait d’avoir le temps d’avoir des guests prestigieuses. Nous avons eu Robin Williams, hélas décédé le mois dernier*.

“Vous savez, si j’ai fait New York, unité spéciale, c’est parce qu’on est venu me chercher pour que je la produise et que je la mette en scène au début. Et je l’ai fait parce que ce sujet-là n’avait jamais été abordé à la télévision : les crimes sexuels, les viols, donc au moins c’était innovant et original. Je pensais que ce serait un boulot de trois mois, et on a tout de suite eu un succès phénoménal, et c’est très difficile d’abandonner un succès. Je me suis occupé de 289 épisodes, pendant douze ans”.

J’ai le sentiment que le fil rouge de votre filmographie est le traumatisme, celui de la guerre avec Rambo, celui des policier qui oeuvrent sur les crimes sexuels de New York – Unité spéciale, certaines épreuves vous changent pour toujours et j’ai l’impression que c’est votre filmographie n’est qu’une seule histoire déclinée en différents films et série…

(C’est alors Madame Kotcheff qui prend la parole 🙂

“Oui, c’est brillant, vous êtes la seule personne à avoir perçu cela.”

Puis Monsieur Kotcheff reprend :

“C’est très bien vu, et très vrai. D’ailleurs en parlant de traumatisme, ma femme était présente dans Rambo…

Elle : – C’était de la figuration !

Lui : – Mais on a coupé beaucoup des flashbacks au Vietnam, car nous nous sommes dit que ça n’était pas vraiment nécessaire. Nous n’avions pas besoin de ça pour montrer le traumatisme des soldats.”

C’est sur cette note que s’est terminé notre entretien avec le réalisateur de Réveil dans la Terreur, film méconnu de l’oeuvre de Kotcheff, et ressorti restauré en salles ce mercredi.

*Propos recueillis par Corentin Palanchini le 17 octobre 2014 à Paris.

Rambo Bande-annonce VOST version restaurée 2015

 

 

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Le scénariste Max Landis (Chronicle) a posté sur Twitter les 4 premières pages du scénario qu’il avait développé pour sa version des 4 Fantastiques…

Alors que l’adaptation des 4 Fantastiques continue de faire parler, Max Landis, qui avait écrit Chronicle, le précédent film de Josh Trank, a posté sur Twitter “sa” version de l’adaptation du comic Marvel, ou du moins les 4 premières pages du script qu’il avait développé en indépendant il y a 4 ans :

Quatre premières pages d’introduction aux personnages et dont on entend que les voix. Encerclés par les autorités, Reed, Johnny, Ben et Sue finissent par s’envoler ! Une première scène bien différente de celle du film, se concentrant sur les jeunes années de Reed et Ben…

=> Une suite est-elle toujours possible pour “Fantastic Four” ?

Au terme de son premier week-end d’exploitation en France, Les 4 Fantastiques a déjà attiré plus de 540 000 spectateurs dans les salles obscures, malgré les sérieux remous en coulisses. L’adaptation du comic Marvel, souffrant d’une réputation difficile, attise la curiosité…

Découvrez maintenant Fantastic Stellar : “Les 4 Fantastiques” Vs “Interstellar”

AlloCiné Zap Parodies

 

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La date du 6 août 2108 sera à jamais marquée par le décès de Joël Robuchon à l’âge de 73 ans. Le célèbre chef étoilé est décédé des suites d’un cancer laissant ses proches dans une profonde tristesse. Sa fille Sophie partage d’ailleurs la même passion pour la cuisine…

Joël Robuchon est décédé à l’âge de 73 ans, comme l’a annoncé Le Figaro ce lundi 6 août. Le célèbre chef étoilé s’est éteint des suites d’un cancer après avoir perdu pas moins de 27 kilos à la suite d’un régime très strict. Mais si Joël Robuchon contrôlait ces dernières années le contenu de ses assiettes, son goût pour la gastronomie française ne l’a jamais quitté. Ce n’est donc pas un hasard s’il a souhaité transmettre cette passion à ses proches et notamment à sa fille prénommée Sophie. Père et fille ont partagé l’écran dans l’émission Planète gourmande, un magazine culinaire diffusé sur France 3 à partir de 2011.

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Un projet important pour la fille du “cuisinier du siècle”(1990) qui a accepté avec joie : “J’ai tout de suite dit oui car cela me permettait de partager un peu plus sa passion avec lui, avait-elle confié à Télé 2 Semaines. Et puis cela donne à l’émission un côté transmission de recettes et de secrets de cuisine père/fille qui me tentait assez.”

Très discret sur sa vie privée, Joël Robuchon ne commentait que très rarement sa vie de famille. Le chef étoilé a pourtant été l’heureux papa de deux enfants, Sophie et Louis, fruits de son amour avec une femme dont le prénom est resté inconnu. Cette dernière avait pourtant une place importante dans l’éducation de cette tribu : “Leur maman ne voulait pas trop que Sophie et son frère viennent avec moi, avait expliqué le principal intéressé au magazine.Elle avait bien trop peur qu’ils fassent eux aussi de la cuisine leur gagne-pain tellement elle trouvait, à raison, que c’était particulièrement prenant”. Et pourtant, Sophie Robuchon a épousé un restaurateur François Kartheiser et gère l’établissement La Cour d’Eymet en Dordogne.

Crédits photos : Sipa Press

George Washington made it a temporary position. Abraham Lincoln transformed it into the preeminent post in the nation. Theodore Roosevelt converted it into the “bully pulpit.” Franklin D. Roosevelt conceived of it as “preeminently a place of moral leadership.”

And, with his impulses, his insults and his inclination toward disruption, Donald Trump has remade the presidency into — well, what exactly? Even with an impeachment trial looming, that is one of the great unknowns of the age, and surely the most important debate in contemporary presidential studies.

“This is the big mystery in America,” said Jon D. Michaels, an expert on presidential power at the UCLA School of Law. “With the biggest classroom in America, the question is how much Donald Trump has expanded, subverted or enhanced in a regal fashion the presidency. How much or how permanently he has changed the constructional discourse while raising questions about whether presidents need to behave civilly, and whether there are the bounds in which presidents can be held responsible for their acts and remarks.”

Gone are the days when Ulysses S. Grant (president 1869-77) would work from 10 a.m. until 3 in the afternoon and then take a carriage ride, or when Chester A. Arthur (1881-85) could tell a gaggle of reporters that “I make it a habit not to talk politics with you gentlemen of the press.”

Like the country itself, the presidency is constantly evolving, continually being remade, reshaped and repositioned, mirroring America’s changing role in the world, taking on the character, personality and inclinations of the occupant of the White House.

Some presidents — like Thomas Jefferson, who expanded the country by making the United States a continental empire, and Woodrow Wilson, who expanded the American horizon by extending American power overseas — overhaul the presidency and, with it, the country.

And some, like Rutherford B. Hayes (1877-81) and Benjamin Harrison (1889-93), are among the late 19th century presidents so colorless that it is difficult to tell them apart. Those presidents by and large left the architectural pinions of the institution intact.

“The presidency defines the country and sets the mood of the country,” said Scott Reed, former executive director of the Republican National Committee. “And each president has to decide whether he’s going to move for change or retain the status quo.”

Ordinarily these questions are the preoccupation of scholars, who examine the presidency the way myrmecologists study Asian needle ants or glaciologists scrutinize ice sheets. But the last two White House occupants have transformed the study of the presidency, and debating these questions has become a national pastime practiced on cable television and at the family dinner table.

“The history of the presidency is mostly about adaptation,” said William Howell, a presidential expert at the University of Chicago. “But, boy, things look awfully different now than they did a few years ago.”

Barack Obama and Trump transformed the presidency merely by being elected, one as the first African American president, the other by gaining office without the traditional prerequisites or personality traits. By pioneering new forms of communication, harnessing new forms of presidential power, displaying new forms of presidential comportment, they have changed the office more than at any time since Franklin Roosevelt (1933-45), perhaps since Lincoln (1861-65).

That transformation began with Obama — more cerebral and yet more informal than many of his predecessors, and armed with sensibilities about race unknown in an office that prompted national shock waves when Theodore Roosevelt (1901-09) invited the black educator Booker T. Washington to dine with his family in 1901. That change accelerated under Trump.

“There are presidents who fundamentally transform the office, who reimagine what a president can and should do, and in a weird way, Trump is in that category,” said Adam Frankel, an Obama speechwriter. “It will take time to know how much of what Trump has done will be reversed or corrected, but he fits the mold of a transformer, perhaps in a perverse way.”

::

America’s greatest presidents are those who changed their office the most, which is perhaps why Franklin Roosevelt, then the Democratic presidential nominee and girding himself for the challenges of the Great Depression, said in 1932 that “all our great presidents were leaders of thought at times when certain historic ideas in the life of the nation had to be clarified.”

That is what Washington (1789-97) did when, repeating his gesture of returning to Mount Vernon after the Revolutionary War, disavowed a third term, displaying what Mount Holyoke College colonial scholar Joseph J. Ellis described as “another dramatic surrender of power in the Cincinnatus mode, his last and greatest exit.” The effect was to set a two-term limit that was broken only by FDR.

Four years after Washington’s presidency, John Adams (1797-1801) and Jefferson (1801-09) conducted the first American peaceful transfer of power, a development that Jefferson would call “as real a revolution in the principles of our government as that of 76″ because his ascendancy was “not effected indeed by the sword … but by the rational and peaceable instrument of reform, the suffrage of the people.”

Jefferson doubled the size of the country through the Louisiana Purchase, an acquisition not contemplated by the Constitution and, according to Princeton University historian James M. McPherson, “the most dramatic and far-reaching executive action ever made by an American president.”

With his commission of the Lewis and Clark expedition and his control of governments in the newly acquired inland empire, Jefferson, once a fervent exponent of limited government, substantially expanded presidential power.

The populist Andrew Jackson (1829-37) symbolized, and courted, a new genre of American: unpretentious, ambitious, striving, neither the heir of wealth nor possessed of airs. The contemporary historian Jon Meacham wrote that in the Jackson presidency, ”one marked by both democratic triumphs and racist tragedies, we can see the American character in formation and in action.”

So much so that Franklin Roosevelt would cite Jackson as a vital molder of American culture. It would never be possible, he said, for any one group to permanently control politics in America. “This heritage … we owe to Jacksonian democracy,” Roosevelt said.

Few chief executives have had such an enduring effect on the office and country as Lincoln.

William Howell, presidential expert at the University of Chicago

“A fox by training and instinct,” in the characterization of Williams College historian James MacGregor Burns, Lincoln “rose to the stature of Herodotus’ hedgehog which knew one big thing — and of Machiavelli’s lion that could command followers and frighten wolves.”

That had both a political and bureaucratic meaning. When Lincoln came into office, the presidential Cabinet had been expanding in power and autonomy, and evolved into something like the British Cabinet, seeing itself as the real policy body. “Lincoln changed that in a heartbeat,” said Gettysburg College historian Allen Guelzo.

“He made it clear the president was in charge and he told the Cabinet officers what they should do — and they had to do it,” Guelzo said. “That was a dramatic change and a complete revision of its role, and Cabinets now operate the Lincoln way.”

But Lincoln’s impact was even broader. He signed the Emancipation Proclamation. He prosecuted, and won, the Civil War. His Gettysburg Address applied the “created equal” language of the Declaration of Independence to the country’s moral vision, elevating it from aspirational to actual, transforming it from a proposition to a principle.

::

The Yale University presidential scholar Stephen Skowronek describes the presidency as “an office that routinely disrupts established power arrangements and continually opens new avenues of political activity for others.”

In his classic 1993 “The Politics Presidents Make,” he portrays the presidency as an “instrument of negation”:

“Too blunt in its disruptive effects to build securely on what has come before, it has functioned best when it has been directed toward dislodging established elites, destroying the institutional arrangements that support them, and clearing the way for something entirely new.”

That sure sounds like a description of the last three years in the White House, but Skowronek, citing Jimmy Carter (1977-81) and John Quincy Adams (1825-29), has argued that loner presidents with those goals have found the task of reordering the country too much for them. “A great disrupter who does not set a new standard of legitimacy,” he argued in a 2017 essay in the Washington Post, “will just pull things apart.”

Perhaps. But besides assailing trade pacts, withdrawing from international accords, dismantling regulations and hardening the government’s posture toward immigration, Trump has altered the personality of the presidency.

“We’ve never dealt with a figure like this in American history before,” former presidential candidate Marianne Williamson said during a Democratic debate in August. “This man, our president, is not just a politician. He’s a phenomenon.”

With late-night tweets, vulgar locutions and personal attacks, Trump has displayed comportment at odds with every previous president, including Richard Nixon (1969-74), whose expletives and private musings on ethnicity were shocking in the early 1970s.

“The question is whether he has changed the presidency or changed the values of the country,” said Susan Dunn, an expert on Franklin Roosevelt who teaches a seminar in the Art of Presidential Leadership at Williams College. “When you think about respect and decency and generosity, you have to wonder if with Trump’s grotesque, degrading tone we are at risk of losing our civility.”

Manners aside, Trump has pioneered new ways of communicating with the public, bypassing televised news conferences or addresses, which John F. Kennedy (1961-63) and Ronald Reagan (1981-89) used with a deftness that eluded Nixon and Carter. That likely will endure.

“Trump has changed the ways presidents communicate by bypassing formal channels through his use of Twitter, operating unchecked in the middle of the night and in his bathrobe,” said Tom Holliday, a USC expert in political communication. “This is the kind of communication that would get you sanctioned in a corporation. And I think, sadly, that this will persist beyond his presidency.”

So may the political content of the Trump years. David Azerrad, who directs the Simon Center for Principles and Politics at the conservative Washington-based Heritage Foundation, believes Trump’s hectoring of the news media and use of biting nicknames will disappear, but the political coalition Trump sculpted (“working-class solidarity and socially conservative sensibility,” in Azerrad’s characterization) and the confrontational political style he employed will remain a formidable force.

Trump’s dominance of Congress likely will continue if he wins a second term and if the Republicans retain control of the Senate and retake the House. It is almost axiomatic that Congress has little power when it is controlled by the same party that holds the presidency.

But, said Colby College political scientist L. Sandy Maisel, “if Trump is reelected and the Democrats take the Senate, Congress will have a lot of negative power — not so much the power to do something but instead the power to stop something from being done.”

That would have implications in budget negotiations, regulatory matters, perhaps foreign affairs, and certainly in court appointments, especially to the Supreme Court.

“Of the many ways in which Donald Trump’s presidency is likely to redefine the meaning of America — in my view, for the worse — few are likely to be as significant or as enduring as his fundamental transformation of the federal judiciary, from the Supreme Court to what the Constitution quaintly calls the ‘inferior’ federal courts,” said Laurence M. Tribe, a constitutional expert at Harvard Law School. “To think that someone as disinterested in facts and truth and as disconnected from the deepest values of America will play so major a role in so many lifetime appointments with such profound impact is, to me, little short of appalling.”

And while the Trump selections affect a range of political, social and cultural issues, his appointments have an important side effect: the potential of affecting the presidency itself if issues of separation of powers or, especially, White House actions, come before the high court.

Alexander Hamilton, one of the authors of the Federalist Papers and a figure whose views on American government are as relevant today as in 1788, believed that “energy in the executive is a leading character in the definition of good government.”

That focus on the executive underlines the significance of even the smallest changes in the nature and character of the presidency.

In his biography of Lincoln, Ronald C. White Jr. said that over time the 16th president “came to believe that each generation must define America in relation to the problems of its time,” a view expressed in Lincoln’s 1862 remark that the “dogmas of the quiet past are inadequate for the stormy future.”

That — from Jefferson to Trump — is the view of every president who has changed the presidency and in so doing both reflected and caused changes in the country.

Shribman is a special correspondent.


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SPRINGFIELD, Va. — 

Inside a hotel ballroom near the nation’s capital, a U.S. Army officer with battlefield experience told 120 state and local election officials that they may have more in common with military strategists than they might think.

These government officials are on the front lines of a different kind of battlefield — one in which they are helping to defend American democracy by ensuring free and fair elections.

“Everyone in this room is part of a bigger effort, and it’s only together are we going to get through this,” the officer said.

That officer and other past and present national security leaders had a message to convey to officials from 24 states gathered for recent training held by a Harvard-affiliated democracy project: They are the linchpins in efforts to defend U.S. elections from an attack by Russia, China or other foreign threats, and developing a military mindset will help them protect the integrity of the vote.

The need for such training reflects how elections security worries have heightened in the aftermath of the 2016 election, when Russian military agents targeted voting systems across the country as part of a multipronged effort to influence the presidential election. Until then, the job of local election officials could have been described as akin to a wedding planner who keeps track of who will be showing up on election day and ensures all the equipment and supplies are in place.

Now, these officials are on the front lines. The federal government will be on high alert, gathering intelligence and scanning systems for suspicious cyber activity as they look to defend the nation’s elections. Meanwhile, it will be state and county officials who will be on the ground charged with identifying and dealing with any hostile acts.

“It’s another level of war,” said Jesse Salinas, the chief elections official in Yolo County, Calif., who attended the training. “You only attack things that you feel are a threat to you, and our democracy is a threat to a lot of these nation-states that are getting involved trying to undermine it. We have to fight back, and we have to prepare.”

Salinas brought four of his employees with him to the training, which was part of the Defending Digital Democracy project based at the Belfer Center for Science and International Affairs at the Harvard Kennedy School. The group has been working actively with former and current military, national security, political and communications experts — many of whom dedicate their time after work and on weekends — to develop training and manuals for state and local election officials. Those involved with leading the training asked for anonymity because of their sensitive positions.

The project’s latest playbook focuses on bringing military best practices to running election day operations, encouraging state and local election officials to adopt a “battle staff” command structure with clear responsibilities and standard operating procedures for dealing with minor issues. The project is also providing officials with a free state-of-the-art incident tracking system.

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Eric Rosenbach, co-director of the Belfer Center and a former U.S. Army intelligence officer who served as chief of staff to Defense Secretary Ash Carter in the Obama administration, told the group gathered for the training that it “shouldn’t be lost on you that this is a very military-like model.”

“Let’s be honest about it,” Rosenbach said. “If democracy is under attack and you guys are the ones at the pointy end of the spear, why shouldn’t we train that way? Why shouldn’t we try to give you the help that comes with that model and try to build you up and do all we can?”

Instructors stressed the need for election officials to be on the lookout for efforts to disrupt the vote and ensure that communications are flowing up from counties to the state, down from states to the counties, as well as up and down to the federal government and across states.

Piecing together seemingly disparate actions happening in real time across geographical locations will allow the nation to defend itself, said Robby Mook, Democratic presidential nominee Hillary Clinton’s campaign manager in 2016. Mook co-founded the Defending Digital Democracy project with Matt Rhoades, Republican nominee Mitt Romney’s 2012 campaign manager.

“Find a way to input data in a consistent, efficient and reliable way to ensure you know what is going on and prevent things from falling through the cracks,” Mook told the election officials. “You got to rise above just putting out fires.”

At the training were officials from California, Colorado, Georgia, North Carolina, Oregon, Tennessee, West Virginia and other states. In one exercise, election officials were paired up as either a state or county under an election day scenario, charged with logging incidents and trying to piece together what turned out to be four different coordinated campaigns to disrupt voting.

“One of the big takeaways was just how the lack of one piece of information moving up from the counties to the state or moving from the states to counties, if either of those things don’t happen, it can have a significant impact,” said Stephen Trout, elections director for Oregon.

Trout said he would move quickly to acquire, customize and implement the incident tracking system, which would be an upgrade from the paper process currently in use. Dave Tackett, chief information officer for the West Virginia secretary of state’s office, said he will recommend some structuring changes at his state operations center, including bringing key personnel into the room and incorporating elements of the incident tracking system like mapping and the ability to assign people to specific incidents.

“Events like today are helping us zero in on how to structure ourselves better, how to really think in a different mindset so that we can carry out all the different tasks that have to be done with elections,” said Karen Brinson Bell, executive director of the North Carolina Board of Elections. “[It’s] the importance of communications, the importance of having standard operating procedures in place so all the I’s are dotted and the Ts crossed ahead of time and you are prepared for the unknown.”


ADEL, Iowa — 

Cory Booker sounded more like a preacher than a presidential candidate as he urged Democrats to vote for someone who could unite America, not just chase Donald Trump from the White House.

“Beating Donald Trump is the floor; it is not the ceiling,” Booker said, his voice soaring. “It gets us out of the valley; it doesn’t get us to the mountaintop. I am running for president because I want to get to the mountaintop!”

Murmurs of “yes!” and “mmm-hmm” rose from the audience of 80 or so, as if they were seated at a Sunday service and not a bowling alley in this speck of a town on Iowa’s Raccoon River. Several pledged to support Booker in the Feb. 3 caucuses that start the 2020 presidential balloting.

But the affirmation and Booker’s exuberant performance last week belied the candidate’s perilous standing in the Democratic race.

The New Jersey senator has been a politician to watch for nearly two decades, ever since his insurgent bid for Newark mayor was chronicled in a 2002 Hollywood documentary. However, now that he is seeking the White House, Booker has fallen well short of expectations as his message, grounded in sweetness and light, collides with the sentiments of Democrats who want to see President Trump not just beaten in 2020 but battered.

“We are not living through a normal political conversation here. This is not Barack Obama going for an open seat talking about hope and change,” said Sue Dvorsky, a former Iowa Democratic Party chairwoman who has been neutral in the race since her preferred candidate, California Sen. Kamala Harris, dropped out. “It doesn’t seem like a message of love and hope and rising is resonating. These are dark and dangerous times.”

Jeff Link, a veteran Iowa Democratic strategist, was blunter still: “Can you really love Trump to death?”

Booker, 50, is widely considered a better orator than former Vice President Joe Biden, and more charismatic than fellow Sens. Bernie Sanders of Vermont, Elizabeth Warren of Massachusetts and Amy Klobuchar of Minnesota. He has considerably more governing experience than Pete Buttigieg, the 37-year-old mayor of South Bend, Ind., a city with less than half the population of Newark.

Still, Booker is running far behind the leaders in Iowa as well as other early-voting states. His poor standing in polls cost him a place in last week’s presidential debate in Los Angeles, and it’s questionable whether he will make the stage on Jan. 14, when Iowa hosts the next face-to-face meeting.

The candidate, ever smiling, is undeterred. He sprinkles his speeches with uplift — scripture, quotes from Langston Hughes, Martin Luther King Jr. — and flatly dismisses those who say his talk of “love, grace and decency” is not just ineffective but politically tone-deaf.

“I just think that’s so wrong,” Booker told supporters at his Urbandale campaign office, before jumping on the phone and chatting merrily with several potential caucusgoers. Signs on the wall read, “Hope, hype, hustle” and “Love chooses Cory.”

Supporters agree that, in the end, the heart can win out.

Bridget Carberry Montgomery said there were few policy differences between the Democratic candidates, so character is important as she chooses among them. “I’m really looking for candidates that inspire me and will inspire our country and bring our country together,” she said.

“I am a student of faith,” the 44-year-old stay-at-home mom continued, “and he is so inspiring, and everything he says is just so on message.”

Logan Brittain, 49, was undecided until he saw Booker speak last week amid the bowling lanes and tenpins at Adel’s Family Fun Center.

“I just committed to Cory,” said Brittain, a medical device salesman here in west-central Iowa, who had been choosing between Booker, Biden and Klobuchar. “It’s just his message of unity, bringing the country back together.”

The problem is that backers like Montgomery and Brittain are relatively few and far between.

Iowa Democratic strategist Jeff Link

Part of the reason, apart from a message some find cloying, is Booker’s lack of a solid toehold in the crowded field.

“He’s not angry enough; the angry vote is divided between Warren and Sanders,” said Jim Hodges, a former South Carolina governor. “He’s not new enough; Mayor Pete has the ‘new’ vote. Biden has the establishment. He’s sort of been elbowed out of the race.”

South Carolina votes fourth in the nominating process — after Iowa, New Hampshire and Nevada — and its large black population was supposed to give Booker, who is African American, a significant boost. But he’s running far behind Biden in the Palmetto State and his chances of overtaking the front-runner, Hodges suggested, rest entirely on how well Booker does before the contest reaches South Carolina.

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“If he’s going to do anything here, he’s going to have to have some unexpected success in either Iowa or New Hampshire,” said Hodges, who is unaligned in the presidential race. “If he doesn’t have any success in those two races, he might as well get out of the race.”

Booker and his strategists are mindful of his endangered status and the need for a strong Iowa showing.

The senator was among the first candidates to build a team in the state and has spent more than a year establishing relationships with influential activists. Polling shows that more than half of likely Democratic caucus-goers have a favorable opinion of Booker and only about 1 in 4 have definitely committed to a candidate, meaning there is considerable room for growth.

Booker, in the midst of a recent 11-county, four-day bus tour, invoked former President Obama and former Sen. John F. Kerry — both of whom were far behind in Iowa before surging and winning the Democratic nomination — as he predicted a similar surprise.

“If you’re somebody polling really well … be a little worried, because that’s not what determines the outcome,” he told reporters in a bit of rose-tinted analysis. “The polls never really have.”

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Although Booker said he would like to take part in January’s debate in Des Moines, he insisted it wouldn’t be a “death knell” for his campaign if he didn’t make the cut.

The prospect certainly didn’t do anything to dampen his high spirits, which were much in evidence as he motored across Iowa in a luxury bus with his name emblazoned on one side and hundreds of red, white and blue stickers with the names of donors on the other.

He bowled two spares at the Family Fun Center, marveled over the Broadway show “Dear Evan Hansen” while discussing the production with reporters, and grazed on popcorn as he took in the new Star Wars movie in Ottumwa. He tried to coax the media into a holiday singalong and, after most reporters demurred, he FaceTimed his girlfriend, actress Rosario Dawson, who led the willing in a chorus of “Silent Night.”

Life will be just fine, Booker said with characteristic buoyancy, if he fails to win the nomination. Already, he and Dawson have begun to make plans just in case. Topping the list: more Broadway shows.

Mehta reported from Iowa and Barabak from Los Angeles.


Zlatan Ibrahimovic has reportedly found a new home. And it’s one with which the former Galaxy captain is very familiar.

According to media reports in Italy, AC Milan agreed Thursday to sign the former Swedish international to a six-month contract on a free transfer, six weeks after Ibrahimovic and the Galaxy decided on mutual separation. Terms of the deal, which could be announced as earlier as Friday, were not immediately available. Ibrahimovic, 38, played two seasons for Milan, helping the team to a Serie A title in 2010-11 and leading the league in goals the next season.

Milan was the preferred destination of Ibrahimovic and his Italian agent, Mino Raiola, from even before the player tweeted out his decision to leave the Galaxy last month. But the talks stalled over the length and value of the deal with at least one Italian newspaper saying Ibrahimovic wanted a guaranteed 18-month deal.

Milan responded with a six-month contract worth about $2.2 million dollars, or $5 million less than he made with the Galaxy in 2019.

The team didn’t appear inclined to budge, reportedly answering with a Dec. 25 deadline to accept its offer and scheduling a meeting with Raiola for Thursday.

Milan went into the Italian leagues holiday break 11th in the 20-team table, much closer to relegation than it is to first-place Inter Milan, its cross-town rival. The team’s first game of 2020 is Jan. 6 at home against Sampdoria.

Earlier this month, as the Milan talk waned, Ibrahimovic was linked to English Premier League club Everton, whose owner, British-Iranian businessman Farhad Moshiri, craves big names and saw Ibrahimovic as someone who could give his club relevance during a season in which neighborhood rivals Liverpool is running away with the title. But those rumors, never considered serious, were nixed when new Everton coach Carlo Ancelotti said earlier this week that Ibrahimovic can “come to Liverpool to enjoy he can come — but not to play.”

Ibrahimovic, just one of three active players with 500 career goals for club and country after Argentina’s Lionel Messi and Portugal’s Cristiano Ronaldo, last played in Europe with England’s Manchester United in the 2017-18 season. He spent two years in MLS, scoring 52 times in 56 regular-season matches, making two all-star teams and leading the Galaxy back to the playoffs last fall. His $7.2-million salary last season was the highest in league history.


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The college football bowl season continues through Jan. 13 when the national championship will be decided in New Orleans. Here are The Times’ picks for the College Football Playoff semifinals and the remaining bowls.

Peach Bowl: No. 1 Louisiana State vs. No. 4 Oklahoma, Saturday, ESPN, 1 p.m. PST

The Sooners, trying to avoid three straight College Football Playoff semifinal defeats, are near-two-touchdown underdogs. There’s a reason for that gap in the odds: LSU is better on both sides of the ball. Oklahoma will become 0-4 in the CFP. LSU 49-35

Fiesta Bowl: No. 2 Ohio State vs. No. 3 Clemson, Saturday, ESPN, 5 p.m. PST

In what should feel like a national championship between elite teams, this CFP semifinal will come down to which quarterback plays within himself and doesn’t make the key mistake. Trevor Lawrence’s experience will be the difference for the Tigers. Clemson 28-24

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Military Bowl: North Carolina vs. Temple, Friday, ESPN, 9 a.m. PST

North Carolina 31-21

Pinstripe Bowl: Michigan State vs. Wake Forest, Friday, ESPN, 12:15 p.m. PST

Wake Forest 24-20

Texas Bowl: No. 25 Oklahoma State vs. Texas A&M, Friday, ESPN, 3:45 p.m. PST

Oklahoma State 28-27

Holiday Bowl: No. 22 USC vs. No. 16 Iowa, Friday, FS1, 5 p.m. PST

Iowa 30-23

Cheez-It Bowl: Air Force vs. Washington State, Friday, ESPN, 7:15 p.m. PST

Air Force 42-38

Cotton Bowl: No. 17 Memphis vs. No. 10 Penn State, Saturday, ESPN, 9 a.m. PST

Penn State 34-22

Camping World Bowl: No. 15 Notre Dame vs. Iowa State, Saturday, ABC, 9 a.m. PST

Notre Dame 31-27

First Responder Bowl: Western Kentucky vs. Western Michigan, Monday, ESPN, 9:30 a.m. PST

Western Michigan 35-28

Music City Bowl: Mississippi State vs. Louisville, Monday, ESPN, 1 p.m. PST

Mississippi State 25-24

Redbox Bowl: California vs. Illinois, Monday, Fox, 1 p.m. PST

Cal 16-14

Orange Bowl: No. 9 Florida vs. No. 24 Virginia, Monday, ESPN, 5 p.m. PST

Florida 31-17

Belk Bowl: Virginia Tech vs. Kentucky, Tuesday, ESPN, 9 a.m. PST

Virginia Tech 27-24

Sun Bowl: Florida State vs. Arizona State, Tuesday, CBS, 11 a.m. PST

Arizona State 31-22

Liberty Bowl: No. 23 Navy vs. Kansas State, Tuesday, ESPN, 12:45 p.m. PST

Navy 35-28

Arizona Bowl: Georgia State vs. Wyoming, Tuesday, CBS Sports Network, 1:30 p.m. PST

Wyoming 21-19

Alamo Bowl: No. 11 Utah vs. Texas, Tuesday, ESPN, 4:30 p.m. PST

Utah 42-27

Citrus Bowl: No. 14 Michigan vs. No. 13 Alabama, Wednesday, ABC, 10 a.m. PST

Alabama 44-24

Outback Bowl: No. 18 Minnesota vs. No. 12 Auburn, Wednesday, ESPN, 10 a.m. PST

Auburn 31-26

Rose Bowl: No. 6 Oregon vs. No. 8 Wisconsin, Wednesday, ESPN, 2 p.m. PST

Oregon 24-21

Sugar Bowl: No. 5 Georgia vs. No. 7 Baylor, Wednesday, ESPN, 5:45 p.m. PST

Georgia 28-21

Birmingham Bowl: Boston College vs. No. 21 Cincinnati, Jan. 2, Thursday, ESPN, Noon PST

Cincinnati 31-14

Gator Bowl: Indiana vs. Tennessee, Jan. 2,Thursday, ESPN, 4 p.m. PST

Indiana 21-20

Idaho Potato Bowl: Ohio vs. Nevada, Jan. 3, ESPN, 12:30 p.m. PST

Ohio 34-27

Armed Forces Bowl: Southern Mississippi vs. Tulane, Jan. 4, ESPN, 8:30 a.m. PST

Tulane 35-31

LendingTree Bowl: Louisiana Lafayette vs. Miami (Ohio), Jan. 6, ESPN, 4:30 p.m. PST

Louisiana Lafayette 38-24

Last week: 7-5 . Season: 106-56


For the last two weeks, it was good to play L.A. Windward, which was missing 6-foot-8 Kijani Wright (illness) and point guard Dylan Andrews (injury). The Wildcats suffered their only two losses of the season in their absence. But they were back on Thursday for an opening game in the Platinum Division of the Classic at Damien, and what a difference they make.

The two sophomores led Windward (12-2) to a 67-58 win over Nevada Liberty. Wright scored 26 points and Andrews 14. Devin Tillis added 12 points. It sets up a huge matchup of Windward taking on St. John Bosco on Friday at 5:30 p.m. at Damien.

St. John Bosco, coming off a win over previously unbeaten St. Anthony, showed it continues to rise, routing City Section power Fairfax 64-47. Josh Camper scored 22 points. DJ Dudley had 22 points for Fairfax.

Birmingham held on for a 67-65 win over Long Beach Poly. Elisha Colfield led five players in double figures with 20 points. Wendell Caldwell had 24 points for Poly, which missed on a last-second three-point attempt to win the game.

Birmingham will face Sierra Canyon, which defeated Ribet Academy 91-58 in front of LeBron James watching from courtside seats. BJ Boston scored 19 points and Shy Odom 18.

Richmond Salesian handed St. Bernard its first defeat 71-70 in overtime. Reese Dixon-Waters made one of two free throws with two seconds left in regulation to tie the game for St. Bernard. Nick Bowden had 21 points and Dixon-Waters 19 for St. Bernard. Te’Jon Sawyer led Salesian with 21 points.

Rancho Christian defeated Dublin 73-65. Evan Mobley had 24 points. Rancho Christian will face Damien, a 93-61 winner over Hawaii Damien. Malik Thomas led Damien with 31 points.

In the gold division, the featured game saw Rolling Hills Prep improve to 11-0 with a 42-39 win over King-Drew. It was the first major test of the season for Rolling Hills Prep, coached by former Fairfax coach Harvey Kitani. Sophomore Benny Gealer scored 15 points. Rolling Hills Prep will face Valencia, an 82-67 winner over Leuzinger. Jake Hlywiak scored 31 points and made five threes.

Chaminade defeated Pasadena 72-57 behind 25 points from Keith Higgins and 18 points from Kenneth Simpson. Skyy Clark had 29 points in Heritage Christian’s 73-62 win over Westview.

Chino Hills received 15 points from Justin Bellamy in a 78-66 win over Rialto.

Elsewhere, Santa Margarita defeated Saugus 48-34 at the Holiday Classic at Torrey Pines. Nate Perez had 18 points for Saugus. Capistrano Valley received 14 points from Langston Redfield in a 47-42 win over Downey. Evan Oliver scored 30 points in Riverside Poly’s 72-57 win over Foothills Christian.

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Christian Moore and Bryaden Thomas each scored 14 points to lead Brentwood to a 75-37 win over Bakersfield.

Servite (10-2) defeated Ventura 68-47. Tajavis Miller finished with 25 points.

Freshman Mike Price scored 18 points as Crespi defeated Skyline 70-55 in the Orange tournament.

Clark Slajchert finished with 34 points in Oak Park’s 58-53 win over Canyon Crest.

Graham Alphson scored 28 points in Palisades’ 70-60 win over Providence.

Colby Brooks scored 15 points to help Loyola defeated Menlo-Atherton 60-43.

Granada Hills defeated Canyon 68-41. Kris Cook had 15 points.

Grant defeated Camarillo 60-53. Aviv Hazan scored 16 points.

Viewpoint defeated Thousand Oaks 67-56. Andrew Reyes and Dante Ogbu each had 18 points.

Sherman Oaks Notre Dame was beaten by St. Joseph Notre Dame 63-56. Ryan Engs had 15 points.

In Oregon, Santa Ana Mater Dei (9-2) defeated Oregon Jesuit 77-52. Devin Askew had 21 points and nine assists.