Born in 1916 in La Jolla, California, Gregory Peck took up acting in college on a lark that would lead to a career. In his early years, he appeared in a series of summer stock engagements and Broadway shows. He became a star within a year after arriving in Hollywood during World War II, and he won an Academy Award nomination for his second film. From the 1940s to the present, he has played some of film's most memorable and admired characters. This volume provides complete information about Gregory Peck's work in film, television, radio, and the stage. Entries are included for all of his performances, with each entry providing cast and credit information, a plot summary, excerpts from reviews, and critical commentary. A biography and chronology highlight significant events in his life, while a listing of his honors and awards summarizes the recognition he has received over the years. For researchers seeking additional information, the book includes descriptions of special collections holding material related to Peck's work, along with an extensive bibliography of books and articles.

Anyone who aspires to lead and be successful in any endeavor will profit from reading the Joe Francis story. No matter what your goals might be, you can bet that Joe Francis would encourage and support them in any way he could, even if you were a competitor of his. His credo, to make a poor man rich, came to fruition while he tread his journey and it is indelibly printed in the hearts of many of those who did become rich as a result of following Joe s lead.
Joe Francis had an iron core but was a kind and gentle man with an abundance of dignity and class. His passion was fueled by his love for his wife Flo, who was with him every inch of the way, providing new wind under wings as he faced challenges that seemed to be insurmountable.

Many life stories are represented in this book that is presented as a poetic autobiography. The author uses the poetic "voice" to announce that we are all "wonderfully made" despite being told or treated otherwise. Although there is anger, pain and protest on the pages, there is also love, pleasure and power included. The book is both cultural autobiography and poetry therapy. It is both sad and sassy. The goal is for the reader to leave the work with a new sense of priceless value. What is most interesting is that the author gets to your heart and brain with powerful poetry that can assist you with self expression and empowerment.

William Forsythe s reinvigoration of classical ballet during his 20-year tenure at the Ballett Frankfurt saw him lauded as one of the greatest choreographers of the postwar era. His current work with The Forsythe Company has gone even further to challenge and investigate fundamental assumptions about choreography itself.

William Forsythe and the Practice of Choreography presents a diverse range of critical writings on his work, with illuminating analysis of his practice from an interdisciplinary perspective. The book also contains insightful working testaments from Forsythe s collaborators, as well as a contribution from the choreographer himself.

With essays covering all aspects of Forsythe s past and current work, readers are provided with an unparalleled view into the creative world of this visionary artist, as well as a comprehensive resource for students, scholars, and practitioners of ballet and contemporary dance today.

Feathers of Color What it was like playing the Famous BigBird " An American Icon" is about the journey of a man who became one of the world's biggest stars. In this book Lionel Douglass shares the days before he reached stardom as the Sesame Street character, and the book will touch on several phases of his life, giving you a glimpse of his life's paths. This book will make you realize that we all have a destiny. Part of Lionel's destiny was to secure a spot in history, and join the ranks of those who have been affiliated with one of the biggest television shows for children. This book touches upon the life of a middle-class, small-town boy with dreams, which were answered as a young-adult by becoming one of the famous Bigbirds, on stage and screen. Learn the interesting story of how Lionel became one of the famous Bigbirds, and how Jim Henson, Caroll Spinney, Anita Mann, as well as Kermit Love helped school and condition him to represent and portray the work of this Muppet great Travel along with Lionel and find out how he was snubbed by members of the Sesame Street organization despite his vital contributions to the show's survival. Ride with him, and share his journey as he tells the world about a dreamer who embraced the opportunity to become one of the world's largest icons, and some of his fascinating adventures along the way. Just sit back and relax, and enjoy Lionel Douglass' story of an African American who relished the chance to portray such a world-renowned icon.

This is how simple the complicated music business can be I was sitting "shooting the bull" with the A&R man at Epic Records one day. He said, "You know what I would really like to find is a white kid that sings the blues like a black guy." I said, "I know a kid like that," or words to that effect. I then told him what I knew about Tim Williams.Tim was starving to death trying to run a Coffee House in Santa Barbara. He was only nineteen-years old, but very good. The problem was that I had no idea what to do with a Blues singer. Suddenly there was an answer to the question. The A&R man said, "Bring him down " which meant to his office in Hollywood.When the day came to go to Hollywood we went in my car. I didn't think he had one that would make it down and back. He showed up in a pair of dark brown corduroy pants and a dark polo-type shirt, both clean, but covered with white lint. I was embarrassed to "showcase" him that way, but it could have been a sensitive subject so away we went. I didn't have a clue what to expect when we arrived at the office. In the now familiar get-to-the-point fashion the man said, "Let's hear something" after a few minutes of visiting. Tim opened his guitar case, took out his twelve string guitar and began playing as if the outcome didn't make a damn bit of difference to him. Mr. A&R man asked him to do some old standard, then something original that Tim had written. Then suddenly he said, "Sounds good, let's do a thing, make a record " Just like that

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

Sidemen-professional musicians hired to perform with groups of which they are not regular members-are essential to bands and orchestras, but most remain anonymous for their entire lives. A few music aficionados might know their names, and sometimes a sideman becomes a star for compositions or for exceptional performances. Even so, few ever achieve fame or an identity separate from the organizations with whom they perform. My Best to You ...captures a glimpse of Kasper "Stranger" Malone, a musician struggling to survive in the early days of recorded music. In his own words, Malone documents, names, places, and personalities of that era. He played in every musical genre, from early recorded country music with Gid Tanner and the Skillet Lickers to silent movie orchestras, from live radio to jazz recordings with Benny Goodman, Pee Wee Hunt, and Jack Teagarden. He played with symphony orchestras in San Francisco, Denver, Tucson, and Rome, Georgia, finally ending his long career full circle playing folk and bluegrass in North Georgia. With a Founder's Award from the Atlanta Country Music Hall of Fame, a Guinness World Records acknowledgement of his unprecedented seventy-seven year recording history, and a recently released documentary of his life, in his old age he found he had achieved an uncomfortable fame. Presented here is his history and biography, edited by his daughter, Patricia Poos and filled with fascinating details of a long and historic career.

Su Friedrich (b. 1954) has been described as an autobiographical filmmaker, an experimental filmmaker, a documentary filmmaker, an independent filmmaker, a feminist filmmaker, and a lesbian filmmaker-labels that she sprucely dodges, insisting time and again she is, quite simply, a filmmaker. Nevertheless, the influences of the experimental film culture and of the feminist and lesbian political ethos out of which she emerged resonate across her films to the present day. Su Friedrich: Interviews is the first volume dedicated exclusively to Friedrich and her work. The interviews collected here highlight the historical, theoretical, political, and economic dimensions through which Friedrich's films gain their unique and defiantly ambiguous identity. The collection seeks to give a comprehensive view of Friedrich's diverse body of work, the conditions in which her films were made, and how they have circulated and become understood within different contexts. The volume contains fifteen interviews-two previously unpublished-along with three autobiographical writings by Friedrich. Included are canonical early interviews, but a special focus is given to interviews that address her less-studied film production in the twenty-first century. Echoing across these various pieces is Friedrich's charmingly sardonic and defiant personality, familiar from her films. Her occasional resistance to an interviewer's line of questioning opens up other, unexpected lines of inquiry as it also provides insight into her distinct philosophy. The volume closes with a new interview conducted by the editors, which illuminates areas that remain latent or underdiscussed in other interviews, including Friedrich's work as a film professor and projects that supplement Friedrich's filmmaking, such as Edited By, an online historical resource dedicated to collecting information about and honoring the contributions of women film editors.

The Austrian composer Hanns Eisler was Bertolt Brecht's closest friend and most politically committed collaborator. In these conversations with Hans Bunge which took place over a period of four years, from 1958 until his death in 1962, Eisler offers a compelling and absorbing account of his and Brecht's period of exile in Europe and the USA between 1933 and 1947, and of the quality of artistic, social and intellectual life in post-war East Germany. Brecht, Music and Culture includes a discussion of a number of Brecht's principal plays, including Life of Galileo and The Caucasian Chalk Circle, considers the place of music in Brecht's work and discusses the time that Brecht was brought before The House of Un-American Activities Committee. It includes lively accounts of Brecht's meetings with key cultural figures, including Arnold Schoenberg, Charlie Chaplin and Thomas Mann, and offers throughout a sustained response to the question of the purpose of art in a time of political turmoil. Throughout the conversations, Eisler provides illuminating and original insights into Brecht's work and ideas and gives a highly entertaining first-hand account of his friend's personality and attitudes. First published in Germany in 1975, and now published in English for the first time, the conversations provide a fascinating account of the lives and work of two of the twentieth century's greatest artists.

With a lifelong love of music dating back to his childhood, author Don Tolle dreamed about achieving fame as a recording artist. But it was in 1973, after a tour in Vietnam, that he finally took the leap, picked up the telephone, and called record companies about his songs. It was a fateful day in his career, one that reverberates even today. In For the Record, Tolle shares his career as a music man, beginning in the record business of the wide-open 1970s, when everything seemed possible. The story follows his career from its beginnings in an entry-level position at a record company to his eventual founding of a record company and production of his own hit records, winning multiple awards in the process. Tolle also shares the story of his precipitous fall from the summit of success. For the Record describes his walk through the long shadows of the valley, where he wandered lost and alone before staging a remarkable comeback that ultimately led to his greatest triumph and the realization of the misplaced, but not forgotten, dream of his youth. Filled with the experiences, memories, revelations, and reflections of an amazing career during the golden age of the music business, this memoir offers an insider's view of the music world filled with unique personalities.

Tiberio Fiorilli, also known as Scaramouche, (November 9, 1608 - December 7, 1694) was an Italian actor of commedia dell'arte, popular in France for his role of Scaramouche. He was the director of the troop of the Comediens Italiens, which shared with the troop of his friend Moliere the Theatre of the Petit-Bourbon, and the Theatre of the Palais-Royal. This biography of Fiorilli by his fellow-actor Angelo Constantini was published in Paris in 1695, shortly after the actor's death. The English translation by the dance scholar and historian Cyril W Beaumont, presented here, includes detailed explanatory notes and background information.

Love, Please is a memoir of a timeless love story between a man and a woman from opposite sides of the world. They meet in Tokyo when she is there on tour, and each immediately realizes they are soul-mates. Their story unfolds over a period of seventeen years, from the mid seventies to the early nineties, chronicling the extraordinary adventure of their lives together. Satoru Oishi is a architect and sculptor who works with Jasper Johns and Phillip Johnson. Susana Hayman-Chaffey is a soloist with the Merce Cunningham Dance Company. The backdrop is their Manhattan loft, from which they travel around the world making a living any way they can, and learning about life through dramatic, often humorous, ups and downs. It is a voyage of love between two people, their families, friends and children. It encourages and inspires us to keep faith in the midst of what seems to be an impossible life journey, proving that, with courage and determination, anything can be accomplished. It is a human story told simply and honestly about life and love.

SHOWTIME is the follow-up book to Monologues: Dramatic Monologues For Actors. It is contains 16 hilarious comedic scenes for two actors that range from one to ten minutes in length. All of the scenes are original and are taken from selected plays, films, and television pilots from Gregory's body of work. Like Monologues, SHOWTIME was written to fill a much needed void for comedic scenes for black and minority actors; although this book was written for actors of all races. There are the many unique characteristics in this book that separates it from similar books. The characters can be performs by anyone and there are plenty of scenes for males and females, males and males, older males and younger males, and so on. There are scenes that are appropriate for middle school actors all the way to professional actors. It is the perfect book to produce a show consisting of short comedic scenes for two actors. Also, it is the perfect book for directing funny scenes or shows at high school, colleges, or professional level. SHOWTIME was written to be a comedic actor and director's dream. The characters in each scene allow the actors to explore a different character through: researching, exploring, and understanding the motivation and objective necessary to bring the character to life. For the director, it allows him/her to utilize, enhance, broaden, and develop many of their skills necessary for directing full-scale productions. As a literary resource for educators, SHOWTIME includes: a chapter on vernacular, commonly used vernacular terms, a chapter on copyright infringement, a chapter on stage terminology, a chapter on film/television terminology and more. It is an excellent resource to teach: acting, scene study, and character development. SHOWTIME is original, the characters are diverse, very funny and lots of fun for acting, directing, or teaching.