Douglas Preston — Impact — Videos

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Impact by Douglas Preston–Audiobook Excerpt

Author Interview with Douglas Preston on his book, Blasphemy

Interview with Suspense Author Doug Preston

Douglas Preston: The Lost City of the Monkey God

Ask Amy: Ken Follett- Interview by Douglas Preston

Douglas Preston

From Wikipedia, the free encyclopedia
Douglas Preston
Born Douglas Jerome Preston
May 20, 1956 (age 60)
Cambridge, Massachusetts
Occupation Novelist, journalist
Nationality American
Alma mater Pomona College
Genre Thriller, Techno-thriller, Adventure, Non-Fiction
Notable works Agent Pendergast Series, The Monster of Florence, Wyman Ford series, Gideon Crew series
Spouse Christine Preston
Relatives Richard Preston, David Preston
Website
www.prestonchild.com

Douglas Jerome Preston (born May 20, 1956) is an American author of techno-thriller and horror novels. He has written numerous novels, and although he is most well known for his collaborations with Lincoln Child (including the Agent Pendergast series and Gideon Crew series), he has also written six solo novels, primarily including the Wyman Ford series. He also has authored a number of non-fiction books on history, science, exploration, and true crime.

Life and career

Preston was born in Cambridge, Massachusetts. A graduate of the Cambridge School of Weston in Weston, Massachusetts, and Pomona College in Claremont, California, Preston began his writing career at the American Museum of Natural History in New York.

From 1978 to 1985, Preston worked for the American Museum of Natural History in New York City as a writer, editor, and manager of publications. He served as managing editor for the journal Curator and was a columnist for Natural History magazine.[1] In 1985 he published a history of the museum, Dinosaurs In The Attic: An Excursion into the American Museum of Natural History, which chronicled the explorers and expeditions of the museum’s early days. The editor of that book at St. Martin’s Press was his future writing partner, Lincoln Child.[2] They soon collaborated on a thriller set in the museum titled Relic. It was subsequently made into a motion picture by Paramount Pictures starring Penelope Ann Miller, Tom Sizemore, and Linda Hunt.

In 1986, Preston moved to New Mexico and began to write full-time. Seeking an understanding of the first moment of contact between Europeans and Native Americans in America, he retraced on horseback Francisco Vásquez de Coronado‘s violent and unsuccessful search for the legendary Seven Cities of Gold. That thousand mile journey across the American Southwest resulted in the book Cities of Gold: A Journey Across the American Southwest. Since that time, Preston has undertaken many long horseback journeys retracing historic or prehistoric trails, for which he was inducted into the Long Riders’ Guild.[3] He has also participated in expeditions in other parts of the world, including a journey deep into Khmer Rouge-held territory in the Cambodian jungle with a small army of soldiers, to become the first Westerner to visit a lost Angkor temple. He was the first person in 3,000 years to enter an ancient Egyptian burial chamber in a tomb known as KV5 in the Valley of the Kings.[4] In 1989 and 1990 he taught nonfiction writing at Princeton University. Currently, he’s an active member of the Authors Guild,[5] as well as the International Thriller Writers organization.[6]

Writing career

With his frequent collaborator Lincoln Child, he created the character of FBI Special Agent Pendergast, who appears in many of their novels, including Relic, The Cabinet of Curiosities, Brimstone, and White Fire. Additional novels by the Preston and Child team include Mount Dragon, Riptide, Thunderhead, and The Ice Limit. Later, the duo created the Gideon Crew series, which consists of Gideon’s Sword, Gideon’s Corpse, and The Lost Island.

For his solo career, Preston’s fictional debut was Jennie, a novel about a chimpanzee who is adopted by an American family. His next novel was The Codex, a treasure hunt novel with a style that was much closer to the thriller genre of his collaborations with Child. The Codex introduced the characters of Tom Broadbent and Sally Colorado. Tom and Sally return in Tyrannosaur Canyon, which also features the debut of Wyman Ford, an ex-CIA agent and (at the time) a monk-in-training. Following Tyrannosaur Canyon, Ford leaves the monastery where he is training, forms his own private investigation company, and replaces Broadbent as the main protagonist of Preston’s solo works. Ford subsequently returns in Blasphemy, Impact, and The Kraken Project.

In addition to his collaborations with Child and his solo fictional universe, Preston has written several non-fiction books of his own, mainly dealing with the history of the American Southwest. He has written about archaeology and paleontology for The New Yorker magazine and has also been published in Smithsonian, Harper’s, The Atlantic, Natural History, and National Geographic.[7][8][9][10][11]

In May, 2011, Pomona College conferred on Preston the degree of Doctor of Letters (Honoris Causa).[12] He is the recipient of writing awards in the United States and Europe.[citation needed]

Involvement in the “Monster of Florence” case

Main article: Monster of Florence

In 2000, Preston moved to Florence, Italy with his young family and became fascinated with an unsolved local murder mystery involving a serial killer nicknamed the “Monster of Florence“. The case and his problems with the Italian authorities are the subject of his 2008 book The Monster of Florence, co-authored with Italian journalist Mario Spezi. The book spent three months on the New York Timesbestseller list and won a number of journalism awards in Europe and the United States.[citation needed] It is being developed into a movie by 20th Century Fox, produced by George Clooney. Clooney will play the role of Preston.[13][14]

Involvement in the Amanda Knox case

Preston has criticized the conduct of Italian prosecutor Giuliano Mignini[15] in the trial of American student Amanda Knox, one of three convicted, and eventually cleared,[16] of the murder of British student Meredith Kercher in Perugia in 2007. In 2009, Preston argued on 48 Hours on CBS that the case against Knox was “based on lies, superstition, and crazy conspiracy theories”.[17] In December 2009, after the verdict had been announced, he described his own interrogation by Mignini on Anderson Cooper 360° on CNN. Preston said of Mignini, “this is a very abusive prosecutor. He makes up theories. He’s … obsessed with satanic sex.”[18]

“Operation Thriller” USO Tour

In 2010, Preston participated in the first USO tour sponsored by the International Thriller Writers organization,[19] along with authors David Morrell, Steve Berry, Andy Harp, and James Rollins. After visiting with military personnel at National Navy Medical Center and Walter Reed Army Medical Center, the group spent several days in Kuwait and Iraq, marking “the first time in the USO’s 69-year history that authors visited a combat zone.”[20] Of the experience, Preston said, “As always, we learn a great deal from all of the amazing and dedicated people we meet.”[21]

Authors United

In 2014, during a disagreement over terms between Hachette Book Group and Amazon.com, Inc.,[22] Preston initiated an effort which became known as Authors United.[23] During the contract dispute, books by Hachette authors faced significant shipment delays, blocked availability, and reduced discounts on the Amazon website.[24] Frustrated with tactics he felt unjustly injured authors who were caught in the middle, Preston began garnering the support of like-minded authors from a variety of publishers. In the first open letter from Authors United, over 900 signatories urged Amazon to resolve the dispute and end the policy of sanctions, while calling on readers to contact CEO Jeff Bezos to express their support of authors.[25][26]Not long after, a second open letter, signed by over 1100 authors, was sent to Amazon’s board of directors asking if they personally approved the policy of hindering the sale of certain books.[27]

Describing the motivation behind the campaign, Preston explained: “This is about Amazon’s bullying tactics against authors. Every time they run into difficulty negotiating with a publisher, they target authors’ books for selective retaliation. The authors who were first were from university presses and small presses… Amazon is going to be negotiating with publishers forever. Are they really going to target authors every time they run into a problem with a publisher?”[28]

Bibliography

Novels

  • Preston, Douglas (1994). Jennie. New York: St. Martin’s Press.

Tom Broadbent Novels

Wyman Ford Novels

Collaborations with Lincoln Child

Agent Pendergast series
Gideon Crew series
Short fiction
  • “Gone Fishing” from Thriller: Stories to Keep You Up All Night (2006)
  • “Extraction” [eBook] (2012)
  • “Gaslighted: Slappy the Ventriloquist Dummy vs. Aloysius Pendergast” [eBook] (2014) [35]

Non-fiction

  • Dinosaurs In the Attic: An Excursion into the American Museum of Natural History (1986)
  • Cities of Gold: A Journey Across the American Southwest in Pursuit of Coronado (1992) [36]
  • Talking to the Ground: One Family’s Journey on Horseback Across the Sacred Land of the Navajo (1996)
  • The Royal Road: El Camino Real from Mexico City to Santa Fe (1998)
  • Ribbons of Time: The Dalquest Research Site [photography by Walter W. Nelson, text by Preston] (2006)
  • The Monster of Florence: A True Story [with Mario Spezi] (2008)
  • Trial By Fury: Internet Savagery and the Amanda Knox Case [Kindle Single eBook] (2013)
  • Preston, Douglas (May 6, 2013). “The El Dorado machine : a new scanner’s rain-forest discoveries”. Our Far-Flung Correspondents. The New Yorker. 89 (12): 34–40.
  • The Black Place: Two Seasons [photography by Walter W. Nelson, essay by Preston] (2014)
  • The Lost City of the Monkey God: A True Story (2017)

See also

ttps://en.wikipedia.org/wiki/Douglas_Preston

Impact (novel)

From Wikipedia, the free encyclopedia
Impact
Impact-bookcover.jpg

Hardcover edition
Author Douglas Preston
Country United States
Language English
Series Wyman Ford
Genre Thriller, Science fiction
Publisher Forge Books
Publication date
January 5, 2010
Media type Print (hardback)
Pages 368 pp
ISBN 978-0-7653-1768-1
Preceded by Blasphemy
Followed by The Kraken Project

Impact is a science fiction thriller novel by American writer Douglas Preston, published on January 5, 2010 by Forge Books. The novel is the third book in the Wyman Ford series.[1][2] The book was reviewed on All Things Considered in February 2010.[citation needed]

Plot summary

Ex-CIA agent Wyman Ford returns to Cambodia to investigate the source of radioactive gemstones and uncovers an unusual impact crater. A young woman on the other side of the world photographs a meteoroid‘s passage in the atmosphere with her telescope and deduces that it must have struck on one of the islands just offshore from Round Pond, Maine. A NASA scientist analyzing data from the Mars Mapping Orbiter (MMO) spots unusual spikes in gamma ray activity. These threads intersect with discovery of an alien device that has apparently been on Deimos, one of the two moons of Mars, for at least 100 million years. Something has caused it to activate and fire a strangelet at Earth, setting off the events in the novel.

Timeline

The events in this novel follow those of The Codex, Tyrannosaur Canyon, and Blasphemy. As such, Wyman Ford is the protagonist once again (having appeared in Tyrannosaur Canyon and Blasphemy), and the character of Stanton Lockwood III (who debuted in Blasphemy) also returns.

See also

References

External links

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Ella Fitzgerald — Videos

Posted on February 5, 2017. Filed under: American History, Art, Culture, Entertainment, history, Music, Music, People, Photos, Video, Wisdom, Writing | Tags: , , , , , , |

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Ella Fitzgerald – My Funny Valentine (High Quality – Remastered)

Benny Goodman & Ella Fitzgerald – Goodnight My Love (1937)

Manhattan – Ella Fitzgerald lyrics

Ella Fitzgerald – The Very Thought Of You (lyrics on screen)

Ella Fitzgerald- “It Don’t Mean A Thing If It Ain’t Got That Swing” 1957 (RITY Archives)

Ella Fitzgerald – Midnight Sun – LIVE 1958

Ella Fitzgerald in Copenhagen 1965

Ella Fitzgerald – Summertime (1968)

Summertime,
And the livin’ is easy
Fish are jumpin’
And the cotton is high

Oh, Your daddy’s rich
And your mamma’s good lookin’
So hush little baby
Don’t you cry

One of these mornings
You’re going to rise up singing
Then you’ll spread your wings
And you’ll take to the sky

But ’til that morning
There’s a’nothing can harm you
With your daddy and mammy
Standing by
Don’t you cry

Ella Fitzgerald How High is the moon

Ella Fitzgerald and Louis Armstrong – Summertime

Ella & Louis – Cheek to Cheek

Ella Fitzgerald & Louis Armstrong: Dream A Little Dream Of Me

Ella Fitzgerald & Louis Armstrong – Stars Fell On Alabama (1956)

Ella Fitzgerald & Louis Armstrong – Tenderly (Verve Records 1956)

E.Fitzgerald & L.Armstrong, Duets and more (full album)

Let’s Do It (Let’s Fall In Love) by Ella Fitzgerald

Ella Fitzgerald – Mack The Knife (High Quality)

Ella Fitzgerald – Misty

Ella Fitzgerald and The Inkspots – Into Each Life Some Rain Must Fall

Ella Fitzgerald – Hello Dolly (live)

Ella Fitzgerald – The Girl From Ipanema

Ella Fitzgerald – For Once In My Life (Live in Berlin 1968)

Ella Fitzgerald – Live At Ronnie Scott’s (!974)

ELLA FITZGERALD LIVE IN TOKYO (1983)

Ella Fitzgerald LIVE IN MILANO, ITALY 1984

Ella Fitzgerald – Night and Day (w/ lyrics)

Frank Sinatra – The Lady Is A Tramp ft. Ella Fitzgerald

Ella Fitzgerald – Blue Skies (High Quality – Remastered)

Ella Fitzgerald – Cry me a river

Ella Fitzgerald-How deep is the ocean?

Ella Fitzgerald “One Note Samba”

How High The Moon 1958

Ella Fitzgerald British TV 1961 Mr Paganini

Mr Paganini

Ella Fitzgerald – Round Midnight

Ella Fitzgerald The Man I love

Ella sings “Stormy Weather” with Joe Pass, Hannover 1975

Ella Fitzgerald – Sammy Davis Jr. 60th Anniversary Celebration (1990)

Karen Carpenter/Ella Fitzgerald medley, recorded for “Music,Music,Music

Ella Fitzgerald & Joe Pass – Once in a While

Ella Fitzgerald – My Heart Belongs to Daddy

Marilyn Monroe and Ella Fitzgerald sing “My Heart Belongs To Daddy”

Marilyn Monroe And Ella Fitzgerald Sing LAZY Together

Marilyn Monroe Talking About Ella Fitzgerald, Frank Sinatra And Sammy Davis jr

The Best Of Ella Fitzgerald

Ella Fitzgerald – All the Best (FULL ALBUM)

Ella Fitzgerald Greatest hits playlist – Collection HD/HQ

Ella Fitzgerald Interview 1974 Brian Linehan’s City Lights

Ella Fitzgerald kicked off a plane because of her race: CBC Archives | CBC

What’s My Line? – Ella Fitzgerald

Kennedy Center Honors Ella Fitzgerald 1979

ELLA FITZGERALD RECEIVES THE PRESIDENT’S AWARD

ELLA FITZGERALD BIOGRAPHY PART 1

ELLA FITZGERALD BIOGRAPHY PART 2

ELLA FITZGERALD BIOGRAPHY PART 3

ELLA FITZGERALD BIOGRAPHY PART 4

ELLA FITZGERALD BIOGRAPHY PART 5

ELLA FITZGERALD BIOGRAPHY PART 6

ELLA FITZGERALD BIOGRAPHY PART 7

ELLA FITZGERALD BIOGRAPHY PART 8

ELLA FITZGERALD BIOGRAPHY PART 9

ELLA FITZGERALD BIOGRAPHY PART 10

ELLA FITZGERALD BIOGRAPHY PART 11

Ella Fitzgerald

From Wikipedia, the free encyclopedia
Ella Fitzgerald
Ella Fitzgerald (Gottlieb 02871).jpg

Fitzgerald in November 1946
Born Ella Jane Fitzgerald
April 25, 1917
Newport News, Virginia, U.S.
Died June 15, 1996 (aged 79)
Beverly Hills, California, U.S.
Cause of death Diabetes mellitus
Spouse(s) Benny Kornegay
(m. 1941; annulled 1943)
Ray Brown
(m. 1947; div. 1953)
Children Ray Brown Jr.
Musical career
Genres
Occupation(s) Singer, actress
Instruments Vocals
Years active 1934–1994
Labels
Website ellafitzgerald.com

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazzsinger often referred to as the First Lady of Song, Queen of Jazz and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a “horn-like” improvisational ability, particularly in her scat singing.

After tumultuous teenage years, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country, but most often associated with the Savoy Ballroom in Harlem. Fitzgerald’s rendition of the nursery rhymeA-Tisket, A-Tasket” helped boost both her and Webb to national fame. Taking over the band after Webb died, Fitzgerald left it behind in 1942 to start a solo career that would last effectively the rest of her life.

Signed with manager and Savoy co-founder Moe Gale[1] from early in her career, she eventually gave managerial control for her performance and recording career to Norman Granz, who built up the label Verve Records based in part on Fitzgerald’s vocal abilities. With Verve she recorded some of her more widely noted works, particularly her interpretation of the Great American Songbook.

While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced recognizable songs like “Dream a Little Dream of Me“, “Cheek to Cheek“, “Into Each Life Some Rain Must Fall“, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)“. In 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, following years of decline in her health. After her passing, Fitzgerald’s influence lived on through her fourteen Grammy Awards, National Medal of Arts, Presidential Medal of Freedom, and tributes in the form of stamps, music festivals, and theater namesakes.

Early life

Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of William Fitzgerald and Temperance “Tempie” Fitzgerald.[2] Her parents were unmarried but lived together for at least two and a half years after she was born. In the early 1920s Fitzgerald’s mother and her new partner, a Portuguese immigrant named Joseph Da Silva,[2] moved to the city of Yonkers, in Westchester County, New York, as part of the first Great Migration of African Americans.[2] Initially living in a single room, her mother and Da Silva soon found jobs. Her half-sister, Frances Da Silva, was born in 1923.[3] By 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area.[3] She began her formal education at the age of six and proved to be an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School from 1929.[4]

Fitzgerald had been passionate about dancing from third grade, being a fan of Earl “Snakehips” Tucker in particular, and would perform for her peers on the way to school and at lunchtime.[5] Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school.[5] The church provided Fitzgerald with her earliest experiences in formal music making, and she may also have had a short series of piano lessons during this period.[6]

During this period Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, and The Boswell Sisters. Fitzgerald idolized the Boswell Sisters’ lead singer Connee Boswell, later saying, “My mother brought home one of her records, and I fell in love with it….I tried so hard to sound just like her.”[7]

In 1932, her mother died from serious injuries she received in a car accident [8] when Fitzgerald was 15 years of age. This left her at first in the care of her stepfather but before the end of April 1933, she had moved in with her aunt in Harlem.[9]This seemingly swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of her stepfather’s “ill treatment” of Fitzgerald, leaves him to speculate that Da Silva might have abused her.[9]

Regardless, following these traumas, Fitzgerald began skipping school and letting her grades suffer. During this period she worked at times as a lookout at a bordello and with a Mafia-affiliated numbers runner.[10] Ella Fitzgerald never talked publicly about this time in her life.[11] When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, Bronx.[12] However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory located about 120 miles north of New York City. Eventually she escaped and for a time she was homeless.

Early career

A young Fitzgerald, photographed by Carl Van Vechten in 1940

While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important amateur singing debut at age 17 on November 21, 1934, in one of the earliest of the famous Amateur Nights at the Apollo Theater.[13][14] She had originally intended to go on stage and dance, but, intimidated by a local dance duo called the Edwards Sisters, she opted to sing instead.[14][15] Performing in the style of Connee Boswell, she sang “Judy” and “The Object of My Affection” and won the first prize of $25.00.[16] In theory, she also won the chance to perform at the Apollo for a week but, seemingly because of her disheveled appearance, the theater never gave her that part of her prize.[17]

In January 1935 Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House.[13] Around this same time, she was introduced to the drummer and bandleader Chick Webb, who had asked his recently signed singer Charlie Linton to help find him a female singer. Though Webb was, as The New York Times later wrote, “reluctant to sign her….because she was gawky and unkempt, a ‘diamond in the rough,'”[7] he offered her the opportunity to test with his band when they played a dance at Yale University.[13]

Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb’s orchestra and soon gained acclaim as part of the group’s renowned performances at Harlem’s Savoy Ballroom.[13] Fitzgerald recorded several hit songs with them, including “Love and Kisses” and “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)“.[13] But it was her 1938 version of the nursery rhyme, “A-Tisket, A-Tasket,” a song she co-wrote, that brought her wide public acclaim.[18][19] Later that year Ella recorded her second hit, “I Found My Yellow Basket.”

Webb died of spinal tuberculosis on June 16, 1939,[20] and his band was renamed Ella and her Famous Orchestra, with Fitzgerald taking on the role of nominal bandleader.[21] Fitzgerald recorded nearly 150 songs with Webb’s orchestra between 1935 and its final end in 1942. In her New York Times obituary of 1996, Stephen Holder echoed the conventional critical view of the time in describing “the majority” of her recordings during this period as “novelties and disposable pop fluff”.[7] In addition to her work with Webb, Fitzgerald performed and recorded with the Benny Goodman Orchestra. She had her own side project, too, known as Ella Fitzgerald and Her Savoy Eight.

Decca years

Fitzgerald performing with Dizzy Gillespie, Ray Brown, Milt Jackson and Timme Rosenkrantz in September 1947, New York

In 1942, Fitzgerald left the band to begin a solo career.[22] Continuing under contract to the Decca label that she had worked with while part of Webb’s orchestra, she had several popular hits while recording with such artists as Bill Kenny & the Ink Spots,[23] Louis Jordan,[24] and the Delta Rhythm Boys.[25]

With Decca’s Milt Gabler as her manager, Fitzgerald began working regularly for the jazz impresario Norman Granz and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Her relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.

With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald’s vocal style, influenced by her work with Dizzy Gillespie‘s big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, “I just tried to do [with my voice] what I heard the horns in the band doing.”[16]

Her 1945 scat recording of “Flying Home” arranged by Vic Schoen would later be described by The New York Times as “one of the most influential vocal jazz records of the decade….Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness.”[7] Her bebop recording of “Oh, Lady Be Good!” (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.[26]

Verve years

Fitzgerald was still performing at Granz’s JATP concerts by 1955. She left Decca and Granz, now her manager, created Verve Records around her. She later described the period as strategically crucial, saying, “I had gotten to the point where I was only singing be-bop. I thought be-bop was ‘it’, and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman … felt that I should do other things, so he produced The Cole Porter Songbook with me. It was a turning point in my life.”[7]

On March 15, 1955[27] Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood,[28] after Marilyn Monroe lobbied the owner for the booking.[29] The booking was instrumental in Fitzgerald’s career. Bonnie Greer dramatized the incident as the musical drama, Marilyn and Ella, in 2008. It had previously been widely reported that Fitzgerald was the first black performer to play the Mocambo, following Monroe’s intervention, but this is not true. African-American singers Herb Jeffries,[30] Eartha Kitt,[31] and Joyce Bryant[32] all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.

Ella Fitzgerald Sings the Cole Porter Songbook, released in 1956, was the first of eight Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.

Fitzgerald in 1968, courtesy of the Fraser MacPherson estate

Ella Fitzgerald Sings the Duke Ellington Song Book was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set’s 38 tracks and wrote two new pieces of music for the album: “The E and D Blues” and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing). The Songbook series ended up becoming the singer’s most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, “These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration.”[7]

Days after Fitzgerald’s death, The New York Times columnist Frank Rich wrote that in the Songbook series Fitzgerald “performed a cultural transaction as extraordinary as Elvis‘ contemporaneous integration of white and African American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians.”[10] Frank Sinatra, out of respect for Fitzgerald, prohibited Capitol Records from re-releasing his own recordings in separate albums for individual composers in the same way.[citation needed]

Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio Carlos Jobim.

While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.[7] In 1961 Fitzgerald bought a house in the Klampenborg district of Copenhagen, Denmark, after she began a relationship with a Danish man. Though the relationship ended after a year, Fitzgerald regularly returned to Denmark over the next three years, and even considered buying a jazz club there. The house was sold in 1963, and Fitzgerald permanently returned to the United States.[33]

There are several live albums on Verve that are highly regarded by critics. Ella at the Opera House shows a typical JATP set from Fitzgerald. Ella in Rome and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best-selling albums; it includes a Grammy-winning performance of “Mack the Knife” in which she forgets the lyrics but improvises magnificently to compensate.

Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald’s contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald’s Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson‘s “Get Ready“, previously a hit for the Temptations, and some months later a top-five hit for Rare Earth.

The surprise success of the 1972 album Jazz at Santa Monica Civic ’72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. “She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato”, one biographer wrote.[34] Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.[35]

Film and television

Fitzgerald shakes hands with President Ronald Reagan after performing in the White House, 1981

In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb‘s 1955 jazz film Pete Kelly’s Blues.[36] The film costarred Janet Leigh and singer Peggy Lee.[37] Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride ‘Em Cowboy),[38] she was “delighted” when Norman Granz negotiated the role for her, and, “at the time….considered her role in the Warner Brothers movie the biggest thing ever to have happened to her.”[34] Amid The New York Times pan of the film when it opened in August 1955, the reviewer wrote, “About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue … [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice.”[39]Fitzgerald’s race precluded major big-screen success. After Pete Kelly’s Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958),[40] and Let No Man Write My Epitaph (1960).[41] Much later, she appeared in the 1980s television drama The White Shadow.

She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. Perhaps her most unusual and intriguing performance was of the “Three Little Maids” song from Gilbert and Sullivan‘s comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore’s weekly variety series in 1963. A performance at Ronnie Scott’s Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters’ television program Music, Music, Music.[42]

Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex.[43] In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape.[44] The tape was played back and the recording also broke the glass, asking: “Is it live, or is it Memorex?”[44] She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain’s longtime slogan, “We do chicken right!”[45] Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.[46]

Collaborations

Fitzgerald’s most famous collaborations were with the vocal quartet Bill Kenny & the Ink Spots, trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.

  • From 1943 to 1950, Fitzgerald recorded seven songs with the Ink Spots featuring Bill Kenny. Out of all seven recordings, four reached the top of the pop charts including “I’m Making Believe” and “Into Each Life Some Rain Must Fall” which both reached #1.
  • Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956’s Ella and Louis and 1957’s Ella and Louis Again), and a third album featured music from the Gershwin musical Porgy and Bess. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.
  • Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie’s 1957 album One O’Clock Jump, while her 1963 album Ella and Basie! is remembered as one of her greatest recordings. With the ‘New Testament’ Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the ‘Songbook’ recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album Jazz at Santa Monica Civic ’72, and on the 1979 albums Digital III at Montreux, A Classy Pair and A Perfect Match.
  • Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald’s career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums Take Love Easy (1973), Easy Living (1986), Speak Love (1983) and Fitzgerald and Pass… Again (1976).
  • Fitzgerald and Duke Ellington recorded two live albums and two studio albums. Her Duke Ellington Songbook placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the ‘Duke’ meet on the Côte d’Azur for the 1966 album Ella and Duke at the Cote D’Azur, and in Sweden for The Stockholm Concert, 1966. Their 1965 album Ella at Duke’s Place is also extremely well received.

Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.

Possibly Fitzgerald’s greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967’s A Man and His Music + Ella + Jobim, a show that also featured Antônio Carlos Jobim. Pianist Paul Smith has said, “Ella loved working with [Frank]. Sinatra gave her his dressing-room on A Man and His Music and couldn’t do enough for her.” When asked, Norman Granz would cite “complex contractual reasons” for the fact that the two artists never recorded together.[34] Fitzgerald’s appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesars Palace, Las Vegas, was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.

Later life and death

Fitzgerald had suffered from diabetes for several years of her later life, which had led to numerous complications.[7] In 1985, Fitzgerald was hospitalized briefly for respiratory problems,[47] in 1986 for congestive heart failure,[48] and in 1990 for exhaustion.[49] In March 1990 she appeared at the Royal Albert Hall in London, England with the Count Basie Orchestra for the launch of Jazz FM, plus a gala dinner at the Grosvenor House Hotel at which she performed.[50] In 1993, she had to have both of her legs amputated below the knee due to the effects of diabetes.[51] Her eyesight was affected as well.[7]

In 1996, tired of being in the hospital, she wished to spend her last days at home. Confined to a wheelchair, she spent her final days in her backyard of her Beverly Hills mansion on Whittier, with her son Ray and 12-year-old granddaughter, Alice. “I just want to smell the air, listen to the birds and hear Alice laugh,” she reportedly said. On her last day, she was wheeled outside one last time, and sat there for about an hour. When she was taken back in, she looked up with a soft smile on her face and said, “I’m ready to go now.” She died in her home on June 15, 1996 at the age of 79.[7] A few hours after her death, the Playboy Jazz Festival was launched at the Hollywood Bowl. In tribute, the marquee read: “Ella We Will Miss You.”[52] Her funeral was private,[52] and she was buried at Inglewood Park Cemetery in Los Angeles.

Personal life

Fitzgerald married at least twice, and there is evidence that she may have married a third time. Her first marriage was in 1941, to Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled in 1942.[53]

Her second marriage was in December 1947, to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie’s band a year earlier. Together they adopted a child born to Fitzgerald’s half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by his mother’s aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.[7]

In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months’ hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.[54]

Fitzgerald was also notoriously shy. Trumpet player Mario Bauzá, who played behind Fitzgerald in her early years with Chick Webb, remembered that “she didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig.”[34] When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, “I don’t want to say the wrong thing, which I always do but I think I do better when I sing.”[16]

Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the City of Hope Medical Center. In 1993, she established the Ella Fitzgerald Charitable Foundation.[55]

Discography and collections

Further information: Ella Fitzgerald discography

The primary collections of Fitzgerald’s media and memorabilia reside at and are shared between the Smithsonian Institution and the US Library of Congress [56]

Awards, citations and honors

Fitzgerald won thirteen Grammy Awards,[57] and received the Grammy Lifetime Achievement Award in 1967.[58]

In 1958 Fitzgerald was the first African American female to win at the inaugural show.[59]

Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named “Ella” in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing, and the UCLA Medal (1987).[60] Across town at the University of Southern California, she received the USC “Magnum Opus” Award which hangs in the office of the Ella Fitzgerald Charitable Foundation. In 1990, she received an honorary doctorate of Music from Harvard University.[61]

Tributes and legacy

Fitzgerald in 1960 by Erling Mandelmann

The career history and archival material from Ella’s long career are housed in the Archives Center at the Smithsonian‘s National Museum of American History, while her personal music arrangements are at the Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University, and her extensive collection of published sheet music was donated to UCLA.

In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Victoria Wyndham, Charles Keating, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, Lalah Hathaway, Ledisi, Chrisette Michele, Natalie Cole, Freddie Jackson, Joe Harnell, Roy Ayers and Ann Hampton Callaway.

Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway’s album To Ella with Love (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater’s album Dear Ella (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald’s second husband, double bassist Ray Brown. Bridgewater’s following album, Live at Yoshi’s, was recorded live on April 25, 1998, what would have been Fitzgerald’s 81st birthday.

Austin’s album, For Ella (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, “Hearing Ella Sing” is Austin’s tribute to Fitzgerald. The album was nominated for a Grammy. In 2007, We All Love Ella, was released, a tribute album recorded for the 90th anniversary of Fitzgerald’s birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the “First Lady of Song”. Folk singer Odetta‘s album To Ella (1998) is dedicated to Fitzgerald, but features no songs associated with her. Her accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album Lady be Good … For Ella (1994).

Ella, elle l’a“, a tribute to Fitzgerald written by Michel Berger and performed by French singer France Gall, was a hit in Europe in 1987 and 1988.[62] Fitzgerald is also referred to in the 1976 Stevie Wonder hit “Sir Duke” from his album Songs in the Key of Life, and the song “I Love Being Here With You”, written by Peggy Lee and Bill Schluger. Sinatra’s 1986 recording of “Mack the Knife” from his album L.A. Is My Lady (1984) includes a homage to some of the song’s previous performers, including ‘Lady Ella’ herself. She is also honored in the song “First Lady” by Canadian artist Nikki Yanofsky.

In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 and 12, 2008) were Roberta Flack and Queen Esther Marrow.

In 2012, Rod Stewart performed a “virtual duet” with Ella Fitzgerald on his Christmas album Merry Christmas, Baby, and his television special of the same name.[63]

There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station in front of the city’s old trolley barn. A bust of Fitzgerald is on the campus of Chapman University in Orange, California. On January 9, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp.[43] The stamp was released in April 2007 as part of the Postal Service’s Black Heritage series.[64]

https://en.wikipedia.org/wiki/Ella_Fitzgerald

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Scott Sigler — Infected — Videos

Posted on February 4, 2017. Filed under: American History, Art, Art, Articles, Biology, Blogroll, Books, Chemistry, Communications, Congress, Culture, Entertainment, history, Law, liberty, Life, Links, Literacy, Medical, Non-Fiction, People, Philosophy, Photos, Radio, Raves, Science, Video, War, Wealth, Weapons, Wisdom, Work, Writing | Tags: , , , , , , , , , |

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INFECTED Trailer from the novel by Scott Sigler (Book I of the INFECTED Trilogy)

Scott Sigler: “Rewriting Publishing with Podcasts” | Talks At Google

Scott Sigler Interview

PANDEMIC Trailer (Book III in the INFECTED Trilogy)

NOCTURNAL book trailer, novel by Scott Sigler

Scott Sigler Extended Bonus Interview from Sword & Laser Ep 1

Interview with Scott Sigler at San Diego Comic Con 2012

“The Writing Process” with Scott Sigler (from Joe Rogan Experience #437)

How To Write Your First Novel (So You Wanna Be A Writer #1)

The Big-Ass Binder (So You Wanna Be A Writer #2)

Should You Outline? (So You Wanna Be A Writer #3)

Should You Outline? (So You Wanna Be A Writer #4)

Should You Outline? (So You Wanna Be A Writer #5)

Should You Outline? (So You Wanna Be A Writer #6)

So You Want to Write a Novel

Scott Sigler

From Wikipedia, the free encyclopedia
Scott Sigler
Scott Sigler (4772655043).jpg
Born Scott Carl Sigler
Cheboygan, Michigan, USA
Occupation Author
Nationality American
Genre Science fiction/Horror
Literary movement The Podiobook (Podcast Novel)
Website
scottsigler.com

Scott Carl Sigler is a contemporary American author of science fiction and horror as well as an avid podcaster. Scott is the New York Times #1 bestselling author of sixteen novels, six novellas, and dozens of short stories. He is the co-founder of Empty Set Entertainment, which publishes his young adult Galactic Football League series. He lives in San Diego.

Life and work

Raised in Cheboygan, Michigan Sigler’s father passed his love of classic monster films along to his son. His mother, a school teacher, encouraged his reading offering him any book he wanted.[1] Sigler wrote his first monster story, “Tentacles”, at the age of eight.[2] Sigler didn’t travel far for college having attended Olivet College (Olivet, MI) and Cleary College (Ann Arbor, MI) where he earned a BA in Journalism and a BS in Marketing. Scott has had a varied career path having worked fast food, picking fruit, shoveling horse manure, a sports reporter, director of marketing for a software company, software startup founder, marketing consultant, guitar salesman, bum in a rock band,[3] and currently as a social media strategist. He now resides in San Diego, California with his dog, Reesie.

EarthCore was originally published in 2001 by iPublish, an AOL/Time Warner imprint.[4] With the novel doing well as a promotional ebook, Time Warner was planning on publishing the novel. With the economic slump following September 11, 2001 terrorist attacks, Time Warner did away with the imprint in 2004. Scott then decided to start podcasting his novel in March, 2005 as the world’s first podcast-only novel[5] to build hype and garner an audience for his work. Sigler considered it a “no brainer” to offer the book as a free audio download. Having searched for podcast novels and finding none, Sigler decided to be the first.[6][7] Sigler was able to get EarthCore offered as a paid download on iTunes in 2006.[8] After EarthCore’s success (EarthCore had over 10,000 subscribers[9]), Sigler released Ancestor, Infected, The Rookie, Nocturnal, and Contagious via podcast.[10]

Sigler released an Adobe PDF version of Ancestor in March 2007 through Sigler’s own podcast as well as others. Ancestor was released on April 1, 2007 to much internet hype and, despite having been released two weeks earlier as a free ebook, reached #7 on Amazon.com‘s best-seller list and #1 on Sci-Fi, Horror and Genre-Fiction on the day of release.[11] Sigler is leveraging new media to keep in-touch with his fans, regularly talking with them using social networking sites, via email, and IM. Scott Sigler was featured in a New York Times article on March 1, 2007 by Andrew Adam Newman, which was covering authors using podcasting innovations to garner a broader audience.[12]

In March 2014, Executive Editor Mark Tavani at Ballantine Bantam Dell bought World Rights to a science fiction trilogy by Sigler. In the first book, Alive, a young woman awakes trapped in a confined space with no idea who she is or how she got there. She soon frees other young adults in the room and together they find that they are surrounded by the horrifying remains of a war long past … and matched against an enemy too horrible to imagine. Further adventures will follow in two more books, Alight and Alone. The books will be published under the Del Rey imprint.[13] On Wednesday, July 15, 2016, it was announced that Alive made #1 on the New York Times Bestseller list in the Young Adult E-Book category.[14]

Sigler calls Stephen King a “‘master craftsman’, who writes from the ‘regular guy’ strata from which he hails. His older stuff had no pretense, no ‘higher message,’ no ‘I’m extremely important’ attitude, just rock-solid storytelling and character development. He also would whack any character at any time, and that’s what hooked you in – when characters got into trouble, you didn’t know if they’d live, unlike 99% of the books out there that are trying to develop franchise characters.” According to Sigler, Jack London‘s “The Sea Wolf totally changed my views on life”. Sigler saw King Kong (1976 version) when he was a little kid. He said it, “Scared the crap out of me. I hid behind my dad’s shoulder and begged to leave the theatre. As soon as we were out, I asked when we could see it again – that was the moment I knew I wanted to tell monster stories. I wanted to have that same impact on other people.”

Awards

Sigler has been a runner up in both the 2006 and 2007 Parsec Awards. In 2006 Sigler was a runner up for his short story Hero in the Best Fiction (Short) category and for Infected in the Best Fiction (Long) category. In 2007 Sigler was a runner up for The Rookie in the Best Speculative Fiction Story (Novel Form) category. In 2008 Sigler’s Contagious, the sequel to Infected was listed at 33 on the New York Times best sellers list.

In 2008 Sigler broke through and won the Parsec Award for Red Man in the Best Speculative Fiction Story (Short Form) category. He followed up with another win in 2009 for Eusocial Networking in the Best Speculative Fiction Story (Novella Form) category. 2010 saw him continue to win in the Best Speculative Fiction Story (Short Form) category with his podcast, The Tank, and in 2011 he again took out the Best Speculative Fiction Story (Novella Form) category with Kissyman & the Gentleman.

On July 31, 2015, Scott was inducted into the inaugural class of the Academy of Podcasters Hall of Fame at a ceremony in Fort Worth, Texas.[15]

Bibliography

Stand-alone novels

Infected Trilogy

Galactic Football League Series

Generations Trilogy

Other works

  • See the Scott Sigler bibliography page for more detailed information about the above novels and his many other works, including novellas related to the Galactic Football League series, short story collections, other short stories, upcoming projects, etc.

Adaptations

Film

In May, 2007 the novel Infected was optioned by Rogue Pictures and Random House Films;[17] however, the option lapsed in April 2010.[citation needed] The short story Sacred Cow was made into an online only mini-film by StrangerThings.tv and was Stranger Things debut episode.[18] “Cheating Bastard”, a short film about a couple in love with football and their obsession with it, was created by Brent Weichsel and released via Sigler’s RSS feed.

Graphic novel

In 2010 work began on a graphic novel adaptation of Sigler’s Infected.[19] The first issue was released August 1, 2012,[20]but the series was put on hold indefinitely due to delays with subsequent issues.[21]

Recordings

Albums

  • The Crucible (2016) by Separation Of Sanity. Scott’s original spoken word appears on four tracks: The Pact, Pandemic (inspired by his novel of the same name), Bag Of Blood (his major appearance on the album), and End Of Days.

Readings

  • Scott reads Union Dues – Off White Lies by Jeffrey R. DeRego on Escape Pod, Episode 49, on April 13, 2006.
  • Scott reads Reggie vs. Kaiju Storm Chimera Wolf by Matthew Wayne Selznick on Escape Pod, Episode 117, on August 2, 2007.

References

  1. Jump up^ Detrich, Allan (2007-04-01). “Podcasts are a novel idea for Scott Sigler”. Toledo Blade. Archived from the original on April 7, 2008. Retrieved 2007-09-18.
  2. Jump up^ Newman, Heather (2001-12-04). “Detroit Free Press Home Computing Column”. Detroit Free Press Knight Ridder/Tribune Business News. Retrieved 2007-09-17.
  3. Jump up^ “iPublish.com at Time Warner Books unveils third round of authors discovered through online writer community.”. Ingram Investment Ltd. 2001-11-07. Retrieved 2007-09-17.
  4. Jump up^ Weinberg, Anna (2005-08-26). “A Novel Approach to Podcasting”. The Book Standard. Retrieved 2007-09-17.
  5. Jump up^ Angell, LC (2005-03-24). “Fiction author releases ‘Podcast-only’ novel”. iLounge.com. Retrieved 2007-09-17.
  6. Jump up^ Kerley, Christina (2006-08-26). “Access to Supply Powers Demand–and First Sci-Fi Podcast Novel. (Q&A with Scott Sigler)”. CK’s Blog. Retrieved 2007-09-18.
  7. Jump up^ “From Podcast to Paidcast”. PRNewswire. 2006-03-09. Retrieved 2007-09-18.
  8. Jump up^ “Earthcore Podcast Now Pay to Play”. Podcasting News. 2006-02-21. Retrieved 2007-09-18.
  9. Jump up^ Mehta, Devanshu (2006-02-23). “From Podcast to Paidcast”. Apple Matters. Retrieved 2007-09-18.
  10. Jump up^ Newman, Andrew Adam (2007-03-01). “Authors Find Their Voice, and Audience, in Podcasts”. The New York Times. Retrieved 2007-09-16.
  11. Jump up^ “Scott Sigler’s Ancestor Skyrockets to Top 10 of Amazon Best-Seller List on First Day of Release”. PodShow.com. 2007-04-02. Retrieved 2007-09-18.
  12. Jump up^ Ploutz, Morgan (2010-10-22). “Scott Sigler Talks Ancestor and Hard Science Horror Writing”. Dread Central. Retrieved 2010-10-22.
  13. Jump up^ Sigler, Scott (March 19, 2014). “New print deal: Three books with Del Rey”. scottsigler.com. Retrieved 2016-05-30.
  14. Jump up^ “Scott Sigler’s novel Alive (Del Rey) is #1 on the New York Times Bestseller list in the Young Adult E-Book category.”. The New York Times. 2016-07-24.
  15. Jump up^ Academy of Podcasters Awards and Hall of Fame Ceremony.
  16. Jump up^ “Pandemic (review)”. PW. Retrieved 30 November 2013.
  17. Jump up^ Borys, Kit (2007-05-31). “Rogue, Random book ‘Infested'”. The Hollywood Reporter. Archived from the original on 2007-09-30. Retrieved 2007-09-18.
  18. Jump up^ Newton, Earl (2007-03-02). “Episode 01: Sacred Cow”. StrangerThings.tv. Retrieved 2007-09-18.
  19. Jump up^ “IDW Get Infected With Scott Sigler”. Bleeding Cool. Retrieved 13 September 2013.
  20. Jump up^ “PREVIEW: INFECTED #1”. CBR. Retrieved 13 September 2013.
  21. Jump up^ Sigler, Scott. “INFECTED Graphic Novel”. Scott Sigler. Retrieved 13 September 2013.

External links

https://en.wikipedia.org/wiki/Scott_Sigler

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Tom Wolfe — The Right Stuff — Videos

Posted on December 10, 2016. Filed under: American History, Art, Articles, Blogroll, Book, Books, College, Comedy, Communications, Culture, Education, Entertainment, Fiction, Heroes, history, Language, Law, liberty, Life, Links, Literacy, media, Money, Movies, Movies, Music, People, Philosophy, Photos, Press, Rants, Raves, Raymond Thomas Pronk, Video, War, Wisdom, World War II, Writing | Tags: , , , , , , , , , |

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Image result for tom wolf the right stuff

Image result for tom wolf the right stuff

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The Right Stuff – The Bell X-1 (with Levon Helm as CPT Jack Ridley)

The Right Stuff (Part 2)

The Right Stuff (Part 3)

The Right Stuff (Part 4)

The Right Stuff (Part 5)

The Right Stuff (Part 6)

The Right Stuff (Part 7)

The Right Stuff (book)

From Wikipedia, the free encyclopedia
The Right Stuff
The Right Stuff (book).jpg

First edition
Author Tom Wolfe
Country United States
Language English
Genre New Journalism
Non-fiction
Publisher Farrar, Straus and Giroux
Publication date
1979
Media type Print (hardcover & paperback)
Pages 436 pages
ISBN 0-374-25032-4
OCLC 5007334
629.4/0973 19
LC Class TL789.8.U5 W64 1979

The Right Stuff is a 1979 book by Tom Wolfe about the pilots engaged in U.S. postwar research with experimental rocket-powered, high-speed aircraft as well as documenting the stories of the first Project Mercury astronauts selected for the NASA space program. The Right Stuff is based on extensive research by Wolfe, who interviewed test pilots, the astronauts and their wives, among others. The story contrasts the “Mercury Seven[1] and their families with test pilots such as Chuck Yeager, who was considered by many contemporaries as the best of them all, but who was never selected as an astronaut.

Wolfe wrote that the book was inspired by the desire to find out why the astronauts accepted the danger of space flight. He recounts the enormous risks that test pilots were already taking, and the mental and physical characteristics—the titular “right stuff”—required for and reinforced by their jobs. Wolfe likens the astronauts to “single combat warriors” from an earlier era who received the honor and adoration of their people before going forth to fight on their behalf.

The 1983 film The Right Stuff is adapted from the book.

Writing and publication

First-state dust jacket, showing initial design never released in a public edition[2]

In 1972 Jann Wenner, the editor of Rolling Stone assigned Wolfe to cover the launch of NASA’s last moon mission, Apollo 17. Wolfe became fascinated with the astronauts, and his competitive spirit compelled him to try to outdo Norman Mailer‘s nonfiction book about the first moon mission, Of a Fire on the Moon. He published a four-part series for Rolling Stone in 1973 titled “Post-Orbital Remorse”, about the depression that some astronauts experienced after having been in space. After the series, Wolfe began researching the whole of the space program, in what became a seven-year project from which he took time to write The Painted Word, a book on art, and to complete Mauve Gloves & Madmen, Clutter & Vine, a collection of shorter pieces.[3]

In 1977 he returned to his astronaut book full-time. Wolfe originally planned to write a complete history of the space program, though after writing through the Mercury program, he felt that his work was complete and that it captured the astronauts’ ethos — the “right stuff” that astronauts and test pilots of the 1940s and 1950s shared — the unspoken code of bravery and machismo that compelled these men to ride on top of dangerous rockets. While conducting research, he consulted with General Chuck Yeager and, after receiving a comprehensive review of his manuscript, was convinced that test pilots like Yeager should form the backdrop of the period. In the end, Yeager becomes a personification of the many postwar test pilots and their “right stuff.”[4] The phrase itself may have originated in the Joseph Conrad story “Youth”, where it was used.

The Right Stuff was published in 1979 by Farrar, Straus and Giroux and became Wolfe’s best selling book yet.[citation needed] It was praised by most critics, was a finalist for the National Book Critics Circle Award, and won the National Book Award for Nonfiction.[5][6]

In the foreword to a new edition, published in 1983 when the film adaptation was released, Wolfe wrote that his “book grew out of some ordinary curiosity” about what “makes a man willing to sit up on top of an enormous Roman candle… and wait for someone to light the fuse.”[7]

Book

The story is more about the space race than space exploration in general. The Soviet Union‘s early space efforts are mentioned only as background, focusing entirely on an early portion of the U.S. space program. Only Project Mercury, the first operational manned space-flight program, is covered. The Mercury Seven were Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton. Emphasis is given to the personal stories of the astronauts and their wives rather than the technical aspects of space travel and the flights themselves.

The storyline also involves the political reasons for putting people into space, asserting that the Mercury astronauts were actually a burden to the program and were only sent up for promotional reasons. Reasons for including living beings in spacecraft are barely touched upon, but the first option considered was to use a chimpanzee (and, indeed, chimpanzees were sent up first).

Another option considered were athletes already accustomed to physical stress, such as circus trapeze artists. Wolfe states that President Dwight D. Eisenhower, however, insisted on pilots, even though the first crew members would not actually fly the spacecraft. When Gus Grissom lands at sea and exits his space capsule, saving the capsule seems more important to the recovery team than saving the pilot because of the value of the data.

Wolfe contrasts the Seven with the Edwards AFB test pilots, among whom was Chuck Yeager, who was shut out of the astronaut program after NASA officials decided to use college-degreed pilots, not ones who gained their commissions as enlisted men, such as participants in the USAAF Flying Sergeants Program in World War II. Chuck Yeager spent time with Tom Wolfe explaining accident reports “that Wolfe kept getting all wrong.” Publishing insiders say these sessions between Wolfe and Yeager led Wolfe to highlight Yeager’s character, presence, thoughts, and anecdotes throughout the book. As an example, Yeager prides his speech to the Society of Test Pilots that the first rider in the Mercury development program would be a monkey, not a real test pilot, and Wolfe plays this drama out on the angst felt by the Mercury Astronauts over those remarks. Yeager himself downplayed the theory of “the right stuff,” attributing his survival of potential catastrophes to simply knowing his airplane thoroughly, along with some good luck.

Another test pilot highlighted in the book is Scott Crossfield. Crossfield and Yeager were fierce but friendly rivals for speed and altitude records.

Film adaptation

A 3-hour, 13-minute film stars Sam Shepard, Scott Glenn, Ed Harris, Dennis Quaid, Fred Ward, Barbara Hershey, Kim Stanley, Levon Helm, Veronica Cartwright, Pamela Reed, Lance Henriksen, and the real Chuck Yeager in a cameo appearance. NFL Hall of Famer Anthony Muñoz also has a small role, playing “Gonzalez”. It features a score by composer Bill Conti.

The screenplay was adapted by Philip Kaufman from the book, with some contributions from screenwriter William Goldman (Goldman dissociated himself with the film after quarrelling with Kaufman about the story). The film was also directed by Kaufman.

While the movie took liberties with certain historical facts as part of “dramatic license”, criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch’s explosive bolts was caused by failure not associated with direct human error or deliberate detonation at the hands of Grissom.[citation needed]

This determination had, in fact, been made long before the movie was filmed, and even Tom Wolfe‘s book only states that this possibility was considered, not that it was actually judged as being the cause of the accident. In fact, Grissom was assigned to command the first flights of both Gemini and Apollo. Ironically, Grissom died in the Apollo 1 fire because there was no quick-opening hatch on the Block 1 Apollo Command Module – a design choice made because NASA had determined that the explosion in the hatch on Grissom’s Liberty Bell 7 had been most likely self-initiated.[citation needed]

Another fact that had been altered in the film was the statement by Trudy Cooper, who commented that she “wondered how they would’ve felt if every time their husband went in to make a deal, there was a one-in-four chance he wouldn’t come out of that meeting.” According to the book, this actually reflected the 23% chance of dying during a 20-year career as a normal pilot. For a test pilot, these odds were higher, at 53%, but were still considerably less than the movie implied. In addition, the movie merely used the fictional Mrs. Cooper as a vehicle for the statement; the real Mrs. Cooper is not known to have said this.[8]

Wolfe made no secret that he disliked the film, especially because of changes from his original book. William Goldman, involved in early drafts of the script, also disliked the choices made by Kaufman, saying in his book Adventures in the Screen Trade that “Phil [Kaufman]’s heart was with Yeager. And not only that, he felt the astronauts, rather than being heroic, were really minor leaguers, mechanical men of no particular quality, not great pilots at all, simply the product of hype.”[9] Critics, however, generally were favorable toward the film.

References

Citations

  1. Jump up^ Wolfe 2001, p. 143. Note: Wolfe uses this term exactly once.
  2. Jump up^ The Right Stuff.” ABE books. Retrieved: 3 November 2009.
  3. Jump up^ Ragen 2001, pp. 22–26.
  4. Jump up^ Wolfe 1979, p. 368.
  5. Jump up^ Ragen 2001, p. 26–28.
  6. Jump up^ “National Book Awards – 1980”. National Book Foundation. Retrieved 2012-02-21.
    This was the award for General Nonfiction (hardcover) during a period in National Book Awards history when there were many nonfiction subcategories.
  7. Jump up^ Wolfe 2001, Foreword.
  8. Jump up^ Wolfe 1979, p. 22.
  9. Jump up^ Goldman 1983

Bibliography

  • Bryan, C.D.B. “The Right Stuff (review).” New York Times, 23 September 1979.
  • Charity, Tom. The Right Stuff (BFI Modern Classics). London: British Film Institute, 1991. ISBN 0-85170-624-X.
  • Goldman, William (1989). Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting (reissue ed.). Grand Central Publishing. ISBN 0-446-39117-4.
  • Ragen, Brian Abel, ed. Tom Wolfe: A Critical Companion. West Port, Connecticut: Greenwood Press, 2001. ISBN 0-313-31383-0.
  • Wolfe, Tom. The Right Stuff. New York: Farrar, Straus and Giroux, 1979, ISBN 0-374-25032-4.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 1979, ISBN 0-553-24063-3.
  • Wolfe, Tom. The Right Stuff. New York: Bantam, 2001, 1979, ISBN 0-553-38135-0.

External links

Tom Wolfe

From Wikipedia, the free encyclopedia
Not to be confused with Thomas Wolfe or Tom Wolf (politician).
Tom Wolfe
Wolfe at White House.jpg

Wolfe at the White House on March 22, 2004
Born Thomas Kennerly Wolfe, Jr.
March 2, 1931 (age 85)
Richmond, Virginia, U.S.
Occupation Journalist, author
Language English
Nationality American
Period 1959–present
Literary movement New Journalism
Notable works The Painted Word, The Electric Kool-Aid Acid Test, The Right Stuff, A Man in Full, Radical Chic & Mau-Mauing the Flak Catchers, The Bonfire of the Vanities, I Am Charlotte Simmons, Back to Blood
Spouse Sheila Wolfe
Children 2

Thomas KennerlyTomWolfe, Jr. (born March 2, 1931)[1] is an American author and journalist, best known for his association with and influence over the New Journalism literary movement, in which literary techniques are used extensively and traditional values of journalistic objectivity and evenhandedness are rejected. He began his career as a regional newspaper reporter in the 1950s, but achieved national prominence in the 1960s following the publication of such best-selling books as The Electric Kool-Aid Acid Test (a highly experimental account of Ken Kesey and the Merry Pranksters), and two collections of articles and essays, Radical Chic & Mau-Mauing the Flak Catchers and The Kandy-Kolored Tangerine-Flake Streamline Baby. His first novel, The Bonfire of the Vanities, published in 1987, was met with critical acclaim, became a commercial success, and was adapted as a major motion picture (directed by Brian De Palma).

Early life and education

Wolfe was born in Richmond, Virginia, the son of Louise (née Agnew), a landscape designer, and Thomas Kennerly Wolfe, Sr., an agronomist.[2][3]

Wolfe grew up on Gloucester Road in the historic Richmond North Side neighborhood of Sherwood Park. He recounts some of his childhood memories of growing up there in a foreword to a book about the nearby historic Ginter Park neighborhood.

Wolfe was student council president, editor of the school newspaper and a star baseball player at St. Christopher’s School, an Episcopalian all-boys school in Richmond, Virginia.

Upon graduation in 1947, he turned down admission to Princeton University to attend Washington and Lee University, both all-male schools at the time; at Washington and Lee, Wolfe was a member of the Phi Kappa Sigma fraternity. Wolfe majored in English and practiced his writing outside the classroom as well. He was the sports editor of the college newspaper and helped found a literary magazine, Shenandoah. Of particular influence was his professor Marshall Fishwick, a teacher of American studies educated at Yale. More in the tradition of anthropology than literary scholarship, Fishwick taught his classes to look at the whole of a culture, including those elements considered profane. The very title of Wolfe’s undergraduate thesis, “A Zoo Full of Zebras: Anti-Intellectualism in America,” evinced his fondness for words and aspirations toward cultural criticism. Wolfe graduated cum laude in 1951.

Wolfe had continued playing baseball as a pitcher and had begun to play semi-professionally while still in college. In 1952 he earned a tryout with the New York Giants but was cut after three days, which Wolfe blamed on his inability to throw good fastballs. Wolfe abandoned baseball and instead followed his professor Fishwick’s example, enrolling in Yale University‘s American studies doctoral program. His PhD thesis was titled The League of American Writers: Communist Organizational Activity Among American Writers, 1929–1942.[4] In the course of his research, Wolfe interviewed many writers, including Malcolm Cowley, Archibald MacLeish, and James T. Farrell.[5] A biographer remarked on the thesis: “Reading it, one sees what has been the most baleful influence of graduate education on many who have suffered through it: it deadens all sense of style.”[6] His thesis was originally rejected but he finally passed by rewriting it being objective instead of subjective. Upon leaving Yale he wrote a friend explaining through expletives his personal opinions about his thesis.

Journalism and New Journalism

Though Wolfe was offered teaching jobs in academia, he opted to work as a reporter. In 1956, while still preparing his thesis, Wolfe became a reporter for the Springfield Union in Springfield, Massachusetts. Wolfe finished his thesis in 1957 and in 1959 was hired by The Washington Post. Wolfe has said that part of the reason he was hired by the Post was his lack of interest in politics. The Post’s city editor was “amazed that Wolfe preferred cityside to Capitol Hill, the beat every reporter wanted.” He won an award from The Newspaper Guild for foreign reporting in Cuba in 1961 and also won the Guild’s award for humor. While there, he experimented with fiction-writing techniques in feature stories.[7]

In 1962, Wolfe left Washington for New York City, taking a position with the New York Herald Tribune as a general assignment reporter and feature writer. The editors of the Herald Tribune, including Clay Felker of the Sunday section supplement New York magazine, encouraged their writers to break the conventions of newspaper writing.[8] During the 1962 New York City newspaper strike, Wolfe approached Esquire magazine about an article on the hot rod and custom car culture of Southern California. He struggled with the article until finally a desperate editor, Byron Dobell, suggested that Wolfe send him his notes so they could piece the story together.

Wolfe procrastinated until, on the evening before the article was due, he typed a letter to Dobell explaining what he wanted to say on the subject, ignoring all journalistic conventions. Dobell’s response was to remove the salutation “Dear Byron” from the top of the letter and publish it intact as reportage. The result, published in 1963, was “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby.” The article was widely discussed—loved by some, hated by others—and helped Wolfe publish his first book, The Kandy-Kolored Tangerine-Flake Streamline Baby, a collection of his writings in the Herald-Tribune, Esquire, and other publications.[9]

This was what Wolfe called New Journalism, in which some journalists and essayists experimented with a variety of literary techniques, mixing them with the traditional ideal of dispassionate, even-handed reporting. More specifically, Wolfe experimented with four literary devices not normally associated with feature writing—scene-by-scene construction, extensive dialogue, multiple points of view, and detailed description of one’s status-life symbols (the materialistic choices one makes)—to produce this stylized form of journalism, which would later be commonly referred to as literary journalism.[10] Of status symbols, Wolfe has said, “I think every living moment of a human being’s life, unless the person is starving or in immediate danger of death in some other way, is controlled by a concern for status.”[11]

Wolfe also championed what he called “saturation reporting,” a reportorial approach where the journalist “shadows” and observes the subject over an extended period of time. “To pull it off,” says Wolfe, “you casually have to stay with the people you are writing about for long stretches . . . long enough so that you are actually there when revealing scenes take place in their lives.”[12] Saturation reporting differs from “in-depth” and “investigative” reporting, which involve the direct interviewing of numerous sources and/or the extensive analyzing of external documents relating to the story. Saturation reporting, according to communication professor Richard Kallan, “entails a more complex set of relationships wherein the journalist becomes an involved, more fully reactive witness, no longer distanced and detached from the people and events reported.”[13]

One of the most striking examples of New Journalism is Wolfe’s The Electric Kool-Aid Acid Test. The book, an account of the adventures of the Merry Pranksters, a famous sixties counter-culture group, was highly experimental in its use of onomatopoeia, free association, and eccentric punctuation—such as multiple exclamation marks and italics—to convey the manic ideas and personalities of Ken Kesey and his followers.

In addition to his own forays into this new style of journalism, Wolfe edited a collection of New Journalism with E.W. Johnson, published in 1973 and titled The New Journalism. This book brought together pieces from Truman Capote, Hunter S. Thompson, Norman Mailer, Gay Talese, Joan Didion, and several other well-known writers with the common theme of journalism that incorporated literary techniques and that could be considered literature.[14]

Non-fiction books

In 1965, a collection of his articles in this style was published under the title The Kandy-Kolored Tangerine-Flake Streamline Baby, and Wolfe’s fame grew. A second volume of articles, The Pump House Gang, followed in 1968. Wolfe wrote on popular culture, architecture, politics, and other topics that underscored, among other things, how American life in the 1960s had been transformed by post-WWII economic prosperity. His defining work from this era is The Electric Kool-Aid Acid Test (published the same day as The Pump House Gang in 1968), which for many epitomized the 1960s. Although a conservative in many ways and certainly not a hippie (in 2008, he claimed never to have used LSD and to have tried marijuana only once[15]) Wolfe became one of the notable figures of the decade.

In 1970, he published two essays in book form as Radical Chic & Mau-Mauing the Flak Catchers: “Radical Chic,” a biting account of a party given by Leonard Bernstein to raise money for the Black Panther Party, and “Mau-Mauing The Flak Catchers,” about the practice of using racial intimidation (“mau-mauing”) to extract funds from government welfare bureaucrats (“flak catchers”). The phrase “radical chic” soon became a popular derogatory term for upper-class leftism. Published in 1977, Mauve Gloves & Madmen, Clutter & Vine included one of Wolfe’s more famous essays, “The Me Decade and the Third Great Awakening.”

Back row – Shepard, Grissom, Cooper; Front row – Schirra, Slayton, Glenn, Carpenter.
The astronauts of the Mercury Seven were the subject of The Right Stuff.

In 1979, Wolfe published The Right Stuff, an account of the pilots who became America’s first astronauts. Famously following their training and unofficial, even foolhardy, exploits, he likened these heroes to “single combat champions” of a bygone era, going forth to battle in the space race on behalf of their country. In 1983, the book was adapted as a successful feature film.

In 2016 Wolfe published The Kingdom of Speech, which is a controversial[16] critique of Charles Darwin and Noam Chomsky.[17]

Art critiques

Wolfe also wrote two highly skeptical social histories of modern art and modern architecture, The Painted Word and From Bauhaus to Our House, in 1975 and 1981, respectively. The Painted Word mocked the excessive insularity of the art world and its dependence on what he saw as faddish critical theory, while From Bauhaus to Our House explored the negative effects of the Bauhaus style on the evolution of modern architecture.[18]

Made for TV movie

A fictional television movie appeared on PBS in 1977, “Tom Wolfe’s Los Angeles”, a suitably satirical story set in Los Angeles. Wolfe appears in the movie himself.[19][20]

Novels

Throughout his early career, Wolfe had planned to write a novel that would capture the wide spectrum of American society. Among his models was William Makepeace Thackeray‘s Vanity Fair, which described the society of 19th century England. Wolfe remained occupied writing nonfiction books and contributing to Harper’s until 1981, when he ceased his other work to concentrate on the novel.

Wolfe began researching the novel by observing cases at the Manhattan Criminal Court and shadowing members of the Bronx homicide squad. While the research came easily, the writing did not immediately follow. To overcome his writer’s block, Wolfe wrote to Jann Wenner, editor of Rolling Stone, to propose an idea drawn from Charles Dickens and Thackeray. The Victorian novelists that Wolfe viewed as his models had often written their novels in serial installments. Wenner offered Wolfe around $200,000 to serialize his work.[21] The deadline pressure gave him the motivation he had hoped for, and from July 1984 to August 1985 each biweekly issue of Rolling Stone contained a new installment. Wolfe was later not happy with his “very public first draft”[22] and thoroughly revised his work. Even Sherman McCoy, the novel’s central character, changed: originally a writer, the book version cast McCoy as a bond salesman. Wolfe researched and revised for two years, and his The Bonfire of the Vanities was published in 1987. The book was a commercial and critical success, spending weeks on bestseller lists and earning praise from much of the literary establishment on which Wolfe had long heaped scorn.[23]

Because of the success of Wolfe’s first novel, there was widespread interest in his second. This novel took him more than 11 years to complete; A Man in Full was published in 1998. The book’s reception was not universally favorable, though it received glowing reviews in Time, Newsweek, The Wall Street Journal and elsewhere. An enormous initial printing of 1.2 million copies was announced and the book stayed at number one on the New York Times bestseller list for ten weeks. John Updike wrote a critical review for The New Yorker complaining that the novel “amounts to entertainment, not literature, even literature in a modest aspirant form.” This touched off an intense war of words in the print and broadcast media between Wolfe and Updike, John Irving, and Norman Mailer. In 2001, Wolfe published an essay referring to these three authors as “My Three Stooges.”

After publishing Hooking Up (a collection of short pieces, including the 1997 novella Ambush at Fort Bragg) in 2001, he followed up with his third novel, I Am Charlotte Simmons (2004), which chronicles the decline of a poor, bright scholarship student from Alleghany County, North Carolina, in the context of snobbery, materialism, institutionalised anti-intellectualism and sexual promiscuity she finds at a prestigious contemporary American university. The novel met with a mostly tepid response by critics but won praise from many social conservatives, who saw the book’s account of college sexuality as revealing of a disturbing moral decline. The novel won a Bad Sex in Fiction Award from the London-based Literary Review, a prize established “to draw attention to the crude, tasteless, often perfunctory use of redundant passages of sexual description in the modern novel”. Wolfe later explained that such sexual references were deliberately clinical.

Wolfe has written that his goal in writing fiction is to document contemporary society in the tradition of John Steinbeck, Charles Dickens, and Émile Zola.

In early 2008, it was announced that Wolfe was leaving his longtime publisher, Farrar, Straus and Giroux. His fourth novel, Back to Blood, was published in October 2012 by Little, Brown. According to The New York Times, Wolfe was paid close to US$7 million for the book.[24] According to the publisher, Back to Blood is about “class, family, wealth, race, crime, sex, corruption and ambition in Miami, the city where America’s future has arrived first.”[25]

Recurring themes

Several themes are present in much of Wolfe’s writing, including his novels. One such theme is male power-jockeying, which is a major part of The Bonfire of the Vanities, A Man in Full, and I Am Charlotte Simmons as well as several of his journalistic pieces. Male characters in his fiction often suffer from feelings of extreme inadequacy or hugely inflated egos, sometimes alternating between both. He satirizes racial politics, most commonly between whites and blacks; he also highlights class divisions between characters. Men’s fashions often play a large part in his stories, being used to indicate economic status. Much of his recent work also addresses neuroscience, a subject which he admitted a fascination with in “Sorry, Your Soul Just Died,” one of the essays in Hooking Up, and which played a large role in I Am Charlotte Simmons—the title character being a student of neuroscience, and characters’ thought processes, such as fear, humiliation and lust, frequently being described in the terminology of brain chemistry. Wolfe also frequently gives detailed descriptions of various aspects of his characters’ anatomies.[26]

Two of his novels (A Man in Full and I Am Charlotte Simmons) feature major characters (Conrad Hensley and Jojo Johanssen, respectively) who are set on paths to self-discovery by reading classical Roman and Greek philosophy.

Law and banking firms in Wolfe’s writing often have satirical names formed by the surnames of the partners. “Dunning, Sponget and Leach” and “Curry, Goad and Pesterall” appear in The Bonfire of the Vanities, and “Wringer, Fleasom and Tick” in A Man in Full. Ambush at Fort Bragg contains a law firm called “Crotalus, Adder, Cobran and Krate” (all names or homophones of venomous snakes).

Some characters appear in multiple novels, creating a sense of a “universe” that is continuous throughout Wolfe’s fiction. The character of Freddy Button, a lawyer from Bonfire of the Vanities, is mentioned briefly in I Am Charlotte Simmons. A character named Ronald Vine, an interior decorator who is mentioned in The Bonfire of the Vanities, reappears in A Man in Full as the designer of Charlie Croker’s home.

A fictional sexual practice called “that thing with the cup” appears in several of his writings, including The Bonfire of the Vanities, A Man in Full and a (non-fiction) essay in Hooking Up.

The surname “Bolka” appears in three Wolfe novels—as the name of a rendering plant in A Man in Full, as a partner in an accounting firm in Bonfire of the Vanities, and as a college lacrosse player from the Balkans in I Am Charlotte Simmons.

The white suit

Wolfe adopted the white suit as a trademark in 1962. He bought his first white suit planning to wear it in the summer in the style of Southern gentlemen. However, he found that the suit he purchased was too heavy for summer use, so he wore it in winter, which created a sensation.[27] Wolfe has maintained this uniform ever since, sometimes worn with a matching white tie, white homburg hat, and two-tone shoes. Wolfe has said that the outfit disarms the people he observes, making him, in their eyes, “a man from Mars, the man who didn’t know anything and was eager to know.”[28]

Views

In 1989, Wolfe wrote an essay for Harper’s Magazine titled “Stalking the Billion-Footed Beast“, which criticized modern American novelists for failing to engage fully with their subjects, and suggested that modern literature could be saved by a greater reliance on journalistic technique. This attack on the mainstream literary establishment was interpreted as a boast that Wolfe’s work was superior to more highly regarded authors.[29]

Wolfe was a supporter of George W. Bush and said he voted for him for president in 2004 because of what he called Bush’s “great decisiveness and willingness to fight.” (Bush apparently reciprocates the admiration, having read all of Wolfe’s books, according to friends in 2005.[30]) After this fact emerged in a New York Times interview, Wolfe said that the reaction in the literary world was as if he had said, “I forgot to tell you—I’m a child molester.” Because of this incident, he sometimes wears an American flag pin on his suit, which he compared to “holding up a cross to werewolves.”[31]

Wolfe’s views and choice of subject material, such as mocking left-wing intellectuals in Radical Chic and glorifying astronauts in The Right Stuff, have sometimes led to his being labeled conservative,[32] and his depiction of the Black Panther Party in Radical Chic led to a member of the party calling him a racist.[33] Wolfe rejects such labels; in a 2004 interview, he said that his “idol” in writing about society and culture is Émile Zola, who, in Wolfe’s words, was “a man of the left” but “went out, and found a lot of ambitious, drunk, slothful and mean people out there. Zola simply could not—and was not interested in—telling a lie.”[32]

Asked to comment by the Wall Street Journal on blogs in 2007 to mark the tenth anniversary of their advent, Wolfe wrote that “the universe of blogs is a universe of rumors” and that “blogs are an advance guard to the rear.” He also took the opportunity to criticize Wikipedia, saying that “only a primitive would believe a word of” it. He noted a story about him in his Wikipedia entry at the time, which he said had never happened.[34]

Personal life

Wolfe lives in New York City with his wife Sheila, who designs covers for Harper’s magazine. They have two children, a daughter, Alexandra, and a son, Tommy.[35]

A writer for Examiner Magazine who interviewed Wolfe in 1998 said, “He has no computer and does not surf, or even know how to use, the Internet”, adding, however, that Wolfe’s novel A Man in Full does have a subplot involving “a muckraking cyber-gossip site, à la the Drudge Report or Salon.”[35]

Influence

Wolfe is credited with introducing the terms “statusphere,” “the right stuff,” “radical chic,” “the Me Decade,” “social x-ray,” and “pushing the envelope” into the English lexicon.[36][dubious ] He is sometimes credited with inventing the term “trophy wife” as well, but this is incorrect: he described emaciated wives as “X-rays” in his novel The Bonfire of the Vanities but did not use the term “trophy wife”.[37] According to journalism professor Ben Yagoda, Wolfe is also responsible for the use of the present tense in magazine profile pieces; before he began doing so in the early 1960s, profile articles had always been written in the past tense.[38]

Terms coined by Wolfe

List of awards and nominations

Television appearances

  • Wolfe was featured as an interview subject in the 1987 PBS documentary series Space Flight.
  • In July 1975 Wolfe was interviewed on Firing Line by William F. Buckley, Jr., discussing “The Painted Word”.[44]
  • Wolfe was featured on the February 2006 episode “The White Stuff” of Speed Channel‘s Unique Whips, where his Cadillac‘s interior was customized to match his trademark white suit.[45]
  • Wolfe guest-starred alongside Jonathan Franzen, Gore Vidal and Michael Chabon in The Simpsons episode “Moe’N’a Lisa“, which aired November 19, 2006. He was originally slated to be killed by a giant boulder, but that ending was edited out.[46] Wolfe was also used as a sight gag on The Simpsons episode “Insane Clown Poppy“, which aired on November 12, 2000. Homer spills chocolate on Wolfe’s trademark white suit, and Wolfe rips it off in one swift motion, revealing an identical suit underneath.

Bibliograph

Non-fiction

Novels

Featured in

Notable articles

  • “The Last American Hero Is Junior Johnson. Yes!” Esquire, March 1965.
  • “Tiny Mummies! The True Story of the Ruler of 43rd Street’s Land of the Walking Dead!” New York Herald-Tribune supplement (April 11, 1965).
  • “Lost in the Whichy Thicket,” New York Herald-Tribune supplement (April 18, 1965).
  • “The Birth of the New Journalism: Eyewitness Report by Tom Wolfe.” New York, February 14, 1972.
  • “The New Journalism: A la Recherche des Whichy Thickets.” New York Magazine, February 21, 1972.
  • “Why They Aren’t Writing the Great American Novel Anymore.” Esquire, December 1972.
  • “The Me Decade and the Third Great Awakening” New York, August 23, 1976.
  • Stalking the Billion-Footed Beast“, Harper’s. November 1989.
  • “Sorry, but Your Soul Just Died.” Forbes 1996.
  • “Pell Mell.” The Atlantic Monthly (November 2007).
  • “The Rich Have Feelings, Too.” Vanity Fair (September 2009).

See also

Notes

  1. Jump up^ This was the award for hardcover “General Nonfiction”. From 1980 to 1983 in National Book Award history there were dual awards for hardcover and paperback books in many categories, including several nonfiction subcategories. Most of the paperback award-winners were reprints, including the 1980 General Nonfiction.

https://en.wikipedia.org/wiki/Tom_Wolfe

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Robert Ludlum — The Bourne Identity — Videos

Posted on August 24, 2016. Filed under: Art, Blogroll, Books, Corruption, Crime, Crisis, Culture, Entertainment, Fiction, Literature, media, Movies, Music, People, Photos, Politics, Programming, Psychology, Raves, Video, Writing | Tags: , , , , , , , , , |

robert ludlumbourne identity bourne trilogy

Stan Major Show – Robert Ludlum Interview

Entertainment USA interviews 2

Robert Ludlum – The Bourne Mastermind – O Gênio Criativo

Robert Ludlum (Jason Bourne & Bourne Identity Author) with Bill Boggs

Robert Ludlum interview with Don Swaim, March 13, 1984

The Bourne Identity (2/10) Movie CLIP – No Papers (2002) HD

The Bourne Identity (3/10) Movie CLIP – My Name Is Jason Bourne (2002) HD

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Celtic Woman — You Raise Me Up — Videos

Posted on July 7, 2016. Filed under: Art, Art, Blogroll, Culture, Music | Tags: , , , , , , , , , , , , , , , , , , , , , , , , |

celtic-woman (1)

The all-female musical ensemble Celtic Woman will perform April 21, 2012 at Keller Auditorium in Portland.

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Celtic Woman – You Raise Me Up

Lyrics

When I am down and, oh my soul, so weary;
When troubles come and my heart burdened be;
Then, I am still and wait here in the silence,
Until you come and sit awhile with me.

You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.

You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.

There is no life – no life without its hunger;
Each restless heart beats so imperfectly;
But when you come and I am filled with wonder,
Sometimes, I think I glimpse eternity.

You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.

You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.

You raise me up: To more than I can be.

Scarborough Fair – Celtic Woman live performance HD

Hayley Westenra, the newest member of Celtic Woman performs “Scarborough Fair” at Slane Castle, Ireland . . .

Are you going to Scarborough fair?
Parsley, sage, rosemary and thyme
Remember me to one who lives there
He once was a true love of mine

Tell him to make me a cambric shirt
Parsley, sage, rosemary and thyme
Without no seam nor needlework
Then he’ll be a true love of mine

Tell him to find me an acre of land
Parsley, sage, rosemary and thyme
Between the salt water and the sea strand
Then he’ll be a true love of mine

Are you going to Scarborough fair?
Parsley, sage, rosemary and thyme
Remember me to one who lives there
He once was a true love of mine….. ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ – √j˙·٠•●♥

Celtic Woman, New Journey Live at Slane Castle, Ireland 2006

Celtic Woman – The Voice

Celtic Woman – The Call

Celtic Woman The Sky and the Dawn and the Sun

Celtic Woman – True Colours

Celtic Woman – Galway Bay

Celtic Woman – O, America!

Lyrics

O, America you’re calling,
I can hear you calling me…
You are calling me to be true to thee,
True to thee… I will be.

O, America no weeping,
Let me heal your wounded heart.
I will keep you in my keeping,
Till there be… a new start.

And I will answer you, and I will take your hand,
And lead you… to the sun…
And I will stand by you…do all that I can do,
And we will be… as one.

O, America I hear you,
From your prairies to the sea,
From your mountains grand, and all through this land,
You are beautiful to me.

And… O, America you’re calling,
I can hear you calling me…
You are calling me to be true to thee,
True to thee… I will be.

And I will answer you, and I will take your hand,
And lead you… to the sun…
And I will stand by you… do all that I can do,
And we will be…as one.

O, America you’re calling…
I will ever answer thee.

Celtic Woman – Danny Boy

Celtic Woman – The Moon’s A Harsh Mistress

Celtic Woman – Over the rainbow

Celtic Woman – Fields Of Gold

Celtic Woman — Orinoco Flow

Celtic Woman – Sailing

Shenandoah Violin Solo – Mairead Nesbitt

Celtic Woman – The Prayer

Celtic Woman – Pie Jesu

Celtic Woman – Ave Maria

Celtic Woman / Chloe Agnew – ”O Holy Night”

Celtic Woman – Amazing Grace

Celtic Woman – May It Be

Celtic Woman – Nocturne

Celtic Woman – Awakening

Celtic Woman – The Lost Rose Fantasia

Celtic Woman – A New Journey – Spanish Lady

Celtic Woman – Tír na nÓg ft. Oonagh

Celtic Woman – A Spaceman Came Travelling

[yotube=https://www.youtube.com/watch?v=kXSyqK9ERRs]

Lisa Kelly – The Blessing

Celtic Woman – A Tribute to Broadway: I Dreamed a Dream / Circle of Life

Celtic Woman – Bridge Over Troubled Water

Celtic Woman – You’ll Never Walk Alone

When you walk through the storm
Hold your head up high
And don’t be afraid of the dark
At the end of the storm is a golden sky
And the sweet silver song of the lark

Walk on, through the wind
Walk on, through the rain
Though your dreams be tossed and blown
Walk on, walk on, with hope in your heart
And you’ll never walk alone
You’ll never walk alone

When you walk through the storm
Hold your head up high
And don’t be afraid of the dark
At the end of the storm is a golden sky
And the sweet silver song of the lark

Walk on, walk on, with hope in your heart
And you’ll never walk alone
You’ll never walk, you’ll never walk alone

Celtic Woman – Little Drummer Boy

Celtic Woman – Away In A Manger 

Celtic Woman-Silent Night

Celtic Woman – O Holy Night 

Celtic Woman – Home For Christmas (Live From Dublin 2013)

CELTIC WOMAN SHOW

Celtic Woman at the Helix Center in Dublin, Ireland

Celtic Woman Greatest Hits – Celtic Woman Best Songs

BACKSTAGE Celtic Woman Songs the from heart

Celtic Woman : 10th Anniversary

Meet the Artist – David Downes

Meet the Artist – Máiréad Nesbitt

Meet the Artist – Lisa Kelly

Send Me a Song – Lisa Kelly

Let It Go – Lisa Kelly

Lisa Kelly

Lisa Kelly & Mairead Nesbitt Undercover Interview

Meet the Artist – Chloë Agnew

Chloe Agnew Walking in the air

Hayley Westenra – May It Be

Celtic Woman

From Wikipedia, the free encyclopedia
Celtic Woman
Celtic Woman performs at Macquarie Shopping Centre, Sydney.jpg

Celtic Woman performs at Macquarie Shopping Centre, Sydney, in August of 2012.
From left to right, Lisa Lambe, Susan McFadden, Chloe Agnew, and Mairead Nesbitt.
Background information
Origin Ireland
Genres
Years active 2004–present
Labels Manhattan
Website CelticWoman.com
Members Máiréad Carlin
Susan McFadden
Éabha McMahon
Máiréad Nesbitt
Past members Chloë Agnew
Órla Fallon
Lynn Hilary
Lisa Kelly
Lisa Lambe
Méav Ní Mhaolchatha
Deirdre Shannon
Alex Sharpe
Hayley Westenra

Celtic Woman is an all-female Irish musical ensemble conceived and created by David Kavanagh, Sharon Browne[1][2] and David Downes, a former musical director of the Irish stage show Riverdance.[3][4] In 2004, he recruited five Irish female musicians who had not previously performed together: vocalists Chloë Agnew, Órla Fallon, Lisa Kelly and Méav Ní Mhaolchatha, and fiddler Máiréad Nesbitt, and shaped them into the first lineup of the group that he named “Celtic Woman,” a specialty breed. Downes chose a repertoire that ranged from traditional Celtic tunes to modern songs.

The group’s line-up has changed over the years; in 2009, the group consisted of Chloë Agnew, Lynn Hilary, Lisa Kelly, Alex Sharpe and fiddler Máiréad Nesbitt; Alex Sharpe left the group in May 2010.[5] Ten albums have been released under the name “Celtic Woman:” Celtic Woman, Celtic Woman: A Christmas Celebration, Celtic Woman: A New Journey, Celtic Woman: The Greatest Journey, Celtic Woman: Songs from the Heart, Celtic Woman: Lullaby, Celtic Woman: Believe, Celtic Woman: Home for Christmas,” “Celtic Woman: Emerald – Musical Gems. and Celtic Woman: Destiny. The group has undertaken a number of world tours. Cumulatively, albums by Celtic Woman have sold over nine million records worldwide.[6]

The foundation for Celtic music’s popularity outside Ireland and Europe was built by tapping into the success of artists such as Enya, Moya Brennan and Clannad, along with stage shows Riverdance and Lord of the Dance. Celtic Woman has been described as being “Riverdance for the voice.”[7]

Celtic Woman has been named Billboard World Album Artist of the Year six times.[8][9]

Members

Current

The current members of Celtic Woman are (in alphabetical order of family name):

  • Máiréad Carlin (5 December 1988) is an Irish singer and a member of the ensemble Celtic Woman.[10] Carlin was born in Derry, Northern Ireland. She began her career at the age of 15 when she won the title role of ‘The Rose’ in BBC Talents ‘Young Singers’ competition in The Little Prince (opera) by Rachel Portman. Máiréad has since performed for the President of Ireland, celebrated the Irish Anthem for the England-Ireland Rugby International to a TV audience of millions and recently, she has shared the stage with Snow Patrol and The Priests at the 2013 BBC TV Gala Concert ‘Sons and Daughters’ to mark Derry’s year as City of Culture.[10] She also recorded the City of Culture anthem ‘Let The River Run’ with Glee star Damian McGinty.[10] Carlin subsequently released the single under her own label Iris Records/Walled City Records. After finishing her degree, Máiréad was signed to Decca Records and recorded her debut album, ‘Songbook’ with the London Philharmonic Orchestra in Air Studios and British Grove Studios. On 5 August 2013, the Celtic Woman website reported that Chloë Agnew would be taking a break from Celtic Woman to work on solo projects, and on 23 August 2013, it reported that Máiréad Carlin would be taking Chloë’s place.
  • Susan McFadden (8 February 1983) is an actress and singer born in Dublin, Ireland. She has also been a member of the all-female Celtic music group, Celtic Woman, since 2012. She is the younger sister of former Westlife member, Brian McFadden. In 2008, McFadden recorded two songs for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in November 2008 on Dress Circle Records. She played the lead role of Milly in the stage adaption of Seven Brides For Seven Brothers, with Steven Houghton. McFadden starred in the original west end cast of the musical Legally Blonde at the Savoy Theatre in London’s West End playing Elle Woods after originating the role of Serena. Official reviews and audience reaction were extremely positive. On 5 January 2012, McFadden was named as a replacement for Lisa Kelly, then going on maternity leave, in the all- female ensemble Celtic Woman.[11] McFadden debuted with Celtic Woman in February at Nashville, Tennessee for the kickoff of the “Believe” North American Tour and continued with the European, Australian and South African Tours in 2012. After Lisa Kelly announced her departure from the group in January 2013, McFadden has since become a full-time member of Celtic Woman.
  • Éabha McMahon (9 December 1992) is Celtic Woman’s newest member. She replaced Lynn Hilary in their brand new tour, Destiny.
  • Máiréad Nesbitt (pronounced “mah-raid”) (19 April 1979) is an Irish classical and Celtic music performer, most notably as a fiddle player and violinist. She is currently the fiddler for the group Celtic Woman. She has been a piano player since the age of four, and began playing the violin at age six. She spent some time as fiddler for the Irish group Coolfin, and recorded an album with them.[12] Nesbitt broke into the wider world in 1996 when she was invited to perform in the Michael Flatley show Lord of the Dance.[13]There, she played lead fiddle until 1998, at which time she went with Flatley to his second show, Feet of Flames. She toured in this production, again as lead fiddler, until leaving in 2001. Nesbitt also played on the original soundtracks to both shows, as well as for the soundtrack to Riverdance. In 2004, Nesbitt was invited to play violin for a performance at the Helix Theatre in Dublin, called “Celtic Woman.”[14] The popularity of this and subsequent performances on television and live albums led to five tours across theUnited States. Celtic Woman has released a total of eight albums to date: Celtic Woman, Celtic Woman: A Christmas Celebration, Celtic Woman: A New Journey, Celtic Woman: The Greatest Journey, Celtic Woman: Songs from the Heart, Celtic Woman: Lullaby,Celtic Woman: Believe, and Celtic Woman: Home for Christmas. Nesbitt is featured as a soloist on Walt Disney’s direct to DVD film Tinker Bell. Joel McNeely composed music specifically to fit Nesbitt’s distinctive style, and collaborated with her to further polish the music for Celtic authenticity.[13][15] Shortly before Thanksgiving, 2011, Nesbitt married Jim Mustapha, Jr., lighting director for Celtic Woman, in Maui, Hawaiʻi.

Past

The past members of Celtic Woman are (in alphabetical order of family name):

  • Chloë Agnew (9 June 1989) in Dublin, Ireland is an Irish singer who is a former member of the Celtic music group Celtic Woman, as well as its youngest member. In 1998, Agnew represented Ireland and was the winner of the Grand Prix at the First International Children’s Song Competition in Cairo with a song called The Friendship Tree. She then began to perform pantomime at the Olympia Theatre in Dublin and continued in that role for four years. In 2000, aged 11, Agnew approached director David Downes about recording a song to raise money for the children of Afghanistan. With his help, she recorded Angel of Mercy for the album This Holy Christmas Night, which raised over £20,000 for the Afghan Children’s Charity Fund in 2001. That same year, she joined the Christ Church Cathedral Girls’ Choir, and remained a member for three years.[16] In 2002, she was signed to Celtic Collections, and with the backing of Downes, she recorded her debut album, Chloë. In 2004, she released her second album, Chloë: Walking in the Air.She also recorded a companion DVD for her second album, released in Europe in 2004 and in North America in 2007. She appeared as part of the group Celtic Woman at The Helix in Dublin in 2004. As of August 2013, she has recorded eight albums with the group and has taken part in several world tours. On 5 August 2013, the Celtic Woman website announced that Agnew would be taking a break from Celtic Woman to focus on solo projects. Her position was filled by Derry-born singer Máiréad Carlin. Agnew has a soprano vocal range. After leaving Celtic Woman, she was chosen to be the special guest of the Celtic Thunder cruise. She, along with former Celtic Thunder member Paul Byrom, was also a special guest of Lisa Kelly’s concerts called The Voice of Ireland and A Celtic Christmas. Agnew was also part of Ethan Bortnick‘s concert with another former Celtic Thunder member Damian McGinty.
  • Órlagh Fallon (24 August 1974), professionally known as Órla Fallon, is an Irish soloist, songwriter and former member of the group Celtic Woman and the chamber choir Anúna.[17][18] Her debut album, The Water is Wide, was released in Europe in 2000 and in North America in 2006. In 2005, she was featured on The Duggans album Rubicon along with peers Moya Brennan and other members of Clannad. In 2004, Fallon sent a demo offer to composer David Downes, who was then working on the concept of Celtic Woman. Due to her unique vocal abilities, Downes contacted Fallon and asked if she would like to be a part of Celtic Woman, then only envisaged to be a one-night show. Fallon agreed, and became one of the founding members of the group. In some songs, Fallon has performed the harp as well as singing – some examples of the songs she has performed are “Isle of Innisfree” and “Carrickfergus.” She has also performed the harp for fellow Celtic Woman member Chloe Agnew’s performance of Guun’s “Ave Maria.” Fallon was featured in the self-titled debut album Celtic Woman, Celtic Woman: A Christmas Celebration, and Celtic Woman: A New Journey, as well as in the tie-in PBS television specials and DVDs filmed in 2004, 2007, and 2006 respectively. She also toured with the group in 2005 on the inaugural North American Tour, the 2006-07 A New Journey tour, and again in 2007-08 on the second A New Journey tour. In 2009, Fallon announced that she would be leaving Celtic Woman to have a full break and spend time with her family, and was replaced as a member of Celtic Woman by actress and vocalist Alex Sharpe. In 2009, Fallon appeared as a guest vocalist on Jim Brickman‘s “It’s a Beautiful World” tour and PBS special, and released her second album Distant Shore in September of that year. This was followed in March 2010 with her third album Music of Ireland: Welcome Home. In December 2010, Fallon released a PBS Celtic Christmas special and tie-in CD, titled Órla Fallon’s Celtic Christmas, the first time any former Celtic Woman member had starred in their own PBS special. In this special, as well as Fallon’s own songs, there were also songs which featured a few guest singers, including former fellow Celtic Woman member Méav Ní Mhaolchatha, in which they sung a duet together (“Do you hear what I hear”), and American Idol runner up David Archuleta, who joined Fallon on stage to perform “Silent Night,” “Pat a Pan,” and the finale song of “Here we come A-Wassailing,” which Ní Mhaolchatha was also featured in. This was the second Christmas album she recorded, the first being Winter, Fire & Snow: A Celtic Christmas Collection in September 2010. In March 2011, Fallon released another album, Órla Fallon: My Land, which tied in with another PBS special.[19][20] Another solo album,Lullaby Time, was released in 2012. She married her husband John and together they have a son Freddie.
  • Lynn Hilary (21 April) is an Irish singer, guitarist, and songwriter. She also has performed as a featured soprano soloist in the all-female ensemble Celtic Woman. She was born in Dublin, Ireland, and completed a Bachelor of Music performance degree in 2005 at the DIT College of Music.[21] Initially singing classical music,[22] Hilary joined the Irish choral group Anúna[17][23] in 2000. She also performed the lead vocal of the piece “Cloudsong” from Riverdance at the Opening Ceremony of the 2003 Special Olympics in Croke Park, Dublin, and toured the US with Riverdance in 2006 as a featured soloist.[24] In 2007, longtime Celtic Woman member Méav Ní Mhaolchatha decided to leave the group to focus on her solo career. As a result, Hilary joined the group in time to feature in the A New Journey tour, which started on 10 October 2007 in Estero, FL. She was the first time member to join the group since its inception in 2004.[25] On 14 February 2014, it was announced that Lynn would be returning to Celtic Woman for their Emerald tour in March while Lisa Lambe goes on a short ‘leave of absence.’ Lambe is expected to return in the summer and it is unknown at this point whether Lynn’s return to Celtic Woman is temporary or permanent. Hilary will be releasing her first album since 2009, titled “Saturn Return” which is due later in 2014. According to the Celtic Woman website, Hilary has rejoined with the music ensemble for their next album and will continue to be a member of Celtic Woman until the end of 2015.
  • Lisa Kelly (Irish Laoise Ní Cheallaigh) (7 May 1977) is a singer of both classical and Celtic music. She has taken part in many musical theatre productions and concerts, and is a founding and former member of the musical group Celtic Woman.[26][27][28][29][30]She has played several principal roles, such as “Velma Kelly” in Chicago, “Florence” in Chess, “Laurey” in Oklahoma!, “Maria” in West Side Story and “Sandy” in Grease. After deciding to take a break from her day job in the computer industry to return to theatre, she played the lead role in the Christmas pantomime Jack and the Beanstalk at Dublin’s Gaiety Theatre. This led to her being cast in the American production of Riverdance – The Show as lead female vocalist in 2000, a position she held for five years while touring. While touring with Riverdance, Lisa met Australian dancer Scott Porter, who later became her husband. During this time, Lisa also met fellow vocalist Lynn Hilary, who would later go on to become a member of Celtic Woman in 2007 as a replacement forMéav Ní Mhaolchatha. Kelly was one of the Riverdance vocalists who appeared in the 2003 Special Olympics opening ceremony when they performed ‘Cloudsong.’ This was in support of Lynn, who had the leading vocal role at the start of the song. In 2002, Lisa was asked to record a solo album with director David Downes on the Celtic Collections label. The resulting debut album, Lisa, was released in 2003. Songs featured on this CD are “Carrickfergus”, “Siúil A Rún”, “The Deer’s Cry”, “Lift the Wings”, “The Soft Goodbye”, “Home and the Heartland”, “Homecoming”, “Now We Are Free”, “Dubhdarra”, “May It Be“, and “Send Me a Song”. Lisa was again approached by Downes in 2004, and asked to be part of Celtic Woman, originally planned as a one-night event at Dublin’s Helix Theatre. The group has since released several albums and DVD performances of their concerts and embarked on several world tours. During the A New Journey tour, and again during the “Believe” 2012 tour, Lisa took a break for the birth of her children. She was replaced by Alex Sharpe who later became a full-time member of Celtic Woman when Orla Fallon left. Later, in the Believe tour, she was replaced by Susan McFadden. In 2009, Lisa Kelly sang the main title song If You Believe for the Disney movie Tinker Bell and the Lost Treasure. Lisa was one of four people involved who were connected to Celtic Woman – the others being violinist/fiddler Máiréad Nesbitt, musical director and composer David Downes, and former member and vocalist Méav Ní Mhaolchatha. In December 2011, Lisa announced that she was taking a maternity leave and would not participate in the 2012 Believe Tour. She was replaced by Susan McFadden, the younger sister of Brian McFadden. At the time it was thought to be a short-term departure only; however, in January 2013 Lisa announced her departure from Celtic Woman and moved to Peachtree City, Georgia, USA, where she announced the opening of The Lisa Kelly Voice Academy, indicating a switch from performing to teaching. The new voice academy is being run in conjunction with her husband Scott Porter, the former CEO of Celtic Woman Ltd. She also starred in the concert titled The Voice of Ireland, featuring fellow Celtic Woman performer Chloë Agnew and former Celtic Thunder member Paul Byrom. On 13 December 2014, she starred in the concert titled A Celtic Christmas, featuring fellow Celtic Woman performer Chloë Agnew, former Celtic Woman choir performer Dermot Kiernan, and former Celtic Thunder member Paul Byrom, along with performances by the Kelly Porter Dance Academy.
  • Lisa Lambe (1 August 1984) is an Irish singer and actress and a former member of the ensemble Celtic Woman. After Celtic Woman’s Songs From the Heart Tour, in November 2010, Lynn Hilary announced that she was leaving the group to return to Ireland. It was later announced that Lisa Lambe would join the group as part of the 2011 tour lineup. On the official Celtic Woman website, she said that she was “delighted to be joining Celtic Woman! It is a privilege to be part of this amazing show and I am looking forward to it being an incredible experience.”[10] In early 2014, Celtic Woman announced Lisa Lambe would leave to reprise her role as Sorcha in Breaking Dad, the sequel to Between a Foxrock and a Hard Place, in which she had previously played a role and whose run at the Gaiety Theatre in Dublin, Ireland, lasted from 25 April to 17 May. However, she was scheduled to return in the summer.
  • Méav Ní Mhaolchatha (/ˈmv n ˈwlxɑːhɑː/ mayv nee wayl-khah-hah), mononymously known as Méav, is an Irish singer, songwriter and recording artist specialising in the traditional music of her homeland. She was one of the original soloists in the musical ensemble Celtic Woman, which has sold over six million albums. Méav has a husband named Tom and two daughters named Anna and Catherine. Between 1994 and 1998 Méav was a member of the Irish chamber choir Anúna.[17] As a choral singer and soloist, she recorded four albums with Anúna: Omnis (1995), Omnis Special Edition (1996), Deep Dead Blue (1996), and Behind the Closed Eye (1997).[31] In 2006 a collection of her solo and choral work with Anúna, Celtic Dreams, was released on Valley Entertainment Records. She appeared as a member of Anúna in Riverdance: The Show. Méav gained musical stardom as a founding member of the group Celtic Woman in 2004. Her singing is a prominent element of Celtic Woman’s first three albums, Celtic Woman, Celtic Woman: A Christmas Celebration, and Celtic Woman: A New Journey.
In 2005, Méav was expecting her first child and took maternity leave to await the birth of her first daughter, Anna. During tours, she was replaced by Irish singer Deirdre Shannon. In 2006, she returned to record the New Journey CD and DVD and toured extensively with the group in the US and Japan in 2006 and 2007. She has been featured in Celtic Woman: The Greatest Journey Essential Collection. In 2007, following the filming of Celtic Woman’s Christmas DVD at the Helix, Dublin, Méav left Celtic Woman to concentrate on her solo career. She performed a series of solo concerts in New England, USA. In 2009, she returned to the stage performing in her native Dublin to rave reviews. She also gave birth to her second daughter, Catherine and recorded “Where the Sunbeams Play” for the Disney film Tinker Bell and the Lost Treasure. In 2010, she was a special guest of Órla Fallon’s Celtic Christmas concert in Nashville, singing “Do You Hear What I Hear?” in a duet with Fallon, her solo version of “O Holy Night” accompanied by harp and the finale song “Here We Come A-wassailing” with the rest of the cast, including American singing stars David Archuleta and Vince Gill, recorded, aired on PBS and released on CD and DVD. Méav also featured as a guest soloist on the Celtic Woman Christmas album Home for Christmas. This was the first time Méav had appeared with Celtic Woman since she left the group in 2007. Méav was also featured in the Celtic Woman PBS special, “Home for Christmas”, which was recorded on 7 August 2013. It was announced just recently[when?] that Méav would return to Celtic Woman for a month in Lynn’s place, and that Lynn would return in April.
  • Deirdre Shannon is an Irish singer who has toured with a variety of Celtic music groups, such as Anúna,[17] Celtic Thunder and Celtic Woman.[32] Shannon began her professional career in 1996 when she was selected to be a member of the Irish choir Anúna. On 1 October 2006, Shannon released her solo album, simply entitled Deirdre Shannon. She has also been a principal singer in the group in Celtic Woman, but she was never featured in the studio DVDs. Playing the role of the Gentlewoman, Shannon also sings “Harry’s Game” as well as other songs in Celtic Thunder: Storm which was released on CD and DVD on 20 September 2011.
  • Alex Sharpe (4 May 1972) is an Irish performer known for her live roles in London’s West End and on the Irish stage (both the Olympic and Gaiety Theatres). She is well known for performing with Celtic Woman from 2008 to 2010. She was a featured soloist at Andrew Lloyd Webber’s 60th birthday celebration (2008) with the RTE Orchestra and she recently released a solo album titled Be Still My Soul (2014). She began her career portraying Dorothy in The Wizard of Oz at the Olympia Theatre in Dublin.[33] Her career in Musical Theatre continued, as she played Janet in The Rocky Horror Show, Young Sally in Follies in Concert, Jenny in Aspects of Love, and Mila in Aloha Kamano by Sean Purcell.[33] She was asked to play Éponine in Les Misérables for the Cameron Mackintosh Company in England and Ireland and in the Concert Tour of Les Misérables.[33][34] Alex created the role of Bernadette in the Andrew Lloyd Webber/Ben Elton Musical The Beautiful Game. On her return to Ireland she played the role of Kate Foley inThe Wireman in the Gaiety Theatre, Dublin.[33] When founding member of Celtic Woman Lisa Kelly went on maternity leave, Sharpe became a temporary member of the ensemble in 2008. In 2009, Sharpe became a permanent member of Celtic Woman, in effect replacing Órla Fallon. She has toured with the ensemble on their 2009 ‘Isle of Hope’ tour, and has recorded a CD and DVD with the group, both entitled Celtic Woman: Songs from the Heart, released in January 2010.[35] The group toured North America from February to May 2010 on their ‘Songs from the Heart’ tour.[36] After the tour finished, Sharpe announced she would be leaving Celtic Woman to be with her family full-time.[37] In 2014 she released a solo album titled “Be Still My Soul.” She has a twelve-year-old son, Jacob.
  • Hayley Westenra (10 April 1987)[38][39] is a New Zealand singer, classical crossover artist,[40] songwriter and UNICEF Ambassador. Her first internationally released album, Pure, reached No. 1 on the UK classical charts in 2003 and has sold more than two million copies worldwide. Pure is the fastest-selling international début classical album to date, having made Westenra an international star at age 16. In August 2006, she joined the Irish group Celtic Woman, was featured on their Celtic Woman: A New Journey CD and DVD, toured with them on their 2007 Spring Tour, and was also featured on their DVD, The Greatest Journey: Essential Collection, released in 2008. Westenra recorded the end-title song for Disney‘s movie Mulan II.[41] They also featured her in the national Radio Disney music education tour for middle-school students. On 24 August 2003, Westenra performed on the stage with opera tenor José Carreras and Bryn Terfel in front of the capacity crowd of 10,000 people from Faenol Festival in Wales.[42][43] In 2004, Westenra was recorded a live DVD, Hayley Westenra: Live from New Zealand, featured duet with baritone Teddy Tahu Rhodes and soprano Sophie Westenra in St. James Theatre. David Horn, the producer of her live TV special, which aired on PBSGreat Performances, said, “Her singing is so gorgeous, it’s reminiscent of the great boy-soprano sound of Anglican church choirs.”[44][45][46]

Albums

Celtic Woman was taped on 15 September 2004 for PBS television at The Helix, Dublin, Ireland, in front of a sold-out audience. Organized by producer Sharon Browne, Chairman & CEO Dave Kavanagh, television producer and director Avril MacRory, and musical director and composer David Downes, this performance was first broadcast on PBS during March 2005 in the United States, and within weeks the group’s eponymous debut album, Celtic Woman, reached No. 1 on Billboard‘s World Music chart, eventually breakingAndrea Bocelli‘s long-standing record of chart-topping longevity on 22 July 2006 by having stayed at No. 1 for 68 weeks.[47] The album held the top position on the Billboard World Music chart for 81 weeks total.[48] Much of the group’s success in America has been credited to the extensive PBS publicity throughout 2005. The live performance at The Helix was released on DVD alongside the studio album.

The release of the second album, Celtic Woman: A Christmas Celebration, on 19 October 2006 knocked their first album to the No. 2 spot on the World Music chart.[48]

In preparation for their third studio album, Celtic Woman performed at Slane Castle in County Meath, Ireland, on 23 and 24 August 2006, with this show airing on PBS during December 2006. The studio album, titled Celtic Woman: A New Journey, was released on 30 January 2007. As with their debut, the live performance was released on DVD simultaneously. This album immediately hit the Billboard 200 at No. 4[49] and the Billboard World Music chart at No. 1,[50] moving their previous two releases down a notch and securing the top three positions on that chart for the group.

In response to the popularity of the performance at Slane Castle in 2006, PBS aired a special concert of Celtic Woman performing again in The Helix Theatre, Dublin, Ireland on 7 December 2007. This performance included songs from the group’s second album,Celtic Woman: A Christmas Celebration.

A fourth album, Celtic Woman: The Greatest Journey, was released on 28 October 2008. The group’s fifth album, Celtic Woman: Songs from the Heart, was released 26 January 2010. It peaked at No. 48 in July 2010 on the ARIA Top 50 Albums chart.[51]

The group recently released their sixth album, Lullaby, available through PBS pledge or the QVC shopping website.[52] On 15 February 2011, it was released by other major retailers as a limited edition album. It reached No. 1 on the World Charts and No. 3 on the Children’s Charts, a first for Celtic Woman.

The group filmed a new special on 6 and 7 September 2011 at the Fox Theater in Atlanta for PBS broadcast and DVD release. It is titled Celtic Woman: Believe. The show aired on PBS stations on 3 December 2011. The CD/DVD was released on 24 January 2012.[53]

On 9 October 2012, the group released its second worldwide Christmas album Home for Christmas. This album features the voices of Lisa Lambe, Chloë Agnew, Meav Ni Mhaolchatha, and Mairead Nesbitt on the fiddle. Another Christmas album, Celtic Woman: Silent Night was released on the same day for the United States exclusively.

In July 2013, Celtic Woman released a promotional video on its YouTube channel for a new PBS special, due to be screened in early 2014. On 24 February 2014, Celtic Woman released a new CD/DVD set and PBS Special, called Celtic Woman: Emerald – Musical Gems. It features Lisa Lambe, Chloë Agnew, Mairead Nesbitt, and Susan McFadden. The DVD was filmed in April 2013 at a tour stop in South Bend, Indiana and was aired on PBS, starting in March.[54]

The group filmed a new special in August 2015, called Celtic Woman: Destiny.

Tours

Celtic Woman has performed three tours in America, with additional performances overseas. The group appeared live in more than a dozen US cities in 2005 for their original album debut.[55] The group toured the United States twice with their “Celtic Woman: A New Journey” tour, visiting 88 cities in 2007 and over 75 cities in 2008. In early April 2008 it was announced that The High Kings would be opening the act for the group through June 2008.[56]

The 2009 Isle of Hope Tour was announced in late 2008, and features a blend of original music from composer David Downes and Brendan Graham (the author of the group favourite “You Raise Me Up“), renditions of songs such as “Fields of Gold” and “Have I Told You Lately That I Love You” and traditional performances of “Danny Boy”, “The Sky and the Dawn and the Sun” and “Spanish Lady”. This tour finished on 22 November 2009.

The 2010–11 tour called Songs from the Heart, featured some of the same music and some new music. The tour featured Chloë Agnew, Lisa Kelly, Lynn Hilary, Alex Sharpe, and Mairead Nesbitt. It began in February 2010.[57][58] PBS television presented a special concert starting 28 November 2009. It was taped in HD at the Powerscourt House & Gardens in Enniskerry, County Wicklow, Ireland. It included a 27-member film orchestra, Discovery Gospel choir, 12-member Aontas Choir, 10-member Extreme Rhythm Drummers with an 11-piece bag pipe ensemble.[59]

A second “Songs from the Heart” tour opened in February 2011 with Agnew, Kelly, new member Lisa Lambe, and Nesbitt and consisted of about 80 concerts in North America in spring 2011[60] and 10 performances in Germany and Austria during summer 2011.[61]

The Symphony Tour featuring songs from their Christmas Album A Christmas Celebration took place during December 2011.[62]

The BELIEVE 2012 North American Tour ran between February 2012 and April 2012.[63] Following directly onto this, the BELIEVE European tour took place between May and June 2012.[64] Lisa Kelly, who was expecting her fourth child, did not participate in the 2012 tours,[65] and was replaced by Susan McFadden,[65] the younger sister of former Westlife member Brian McFadden.

Another Symphony Tour was announced for the 2012 Christmas season, featuring Agnew, Lambe, Nesbitt and McFadden. The tour began on 1 December and continued on till 22 December. Celtic Woman took “Believe” on tour again from February to June 2013, with the same line-up. On 15 January 2013, Lisa Kelly announced her intentions to open “The Lisa Kelly Voice Academy”, located in Peachtree City, GA. In addition to this, Kelly confirmed that she will not be returning to Celtic Woman. Her husband, Scott Porter, also announced his departure as CEO of Celtic Woman.

Celtic Woman took “Believe” to Europe in October 2013 and visited the US on their Symphony Tour in December 2013. The Australian Tour for “Believe”, previously scheduled for September 2013, was rescheduled to January 2014. Celtic Woman toured in the US from February to June 2014 on their Emerald Tour to celebrate the heritage of the Emerald Isles and to promote their new album called Celtic Woman: Emerald Musical Gems. Lynn Hilary will be coming back for the Emerald Tour as Lisa Lambe is leaving in mid-March for a role in the play Breaking Dad, Ross O’Carroll-Kelly’s sequel to Between Foxrock and a Hard Place, in which Lisa had played Sorcha. Breaking Dad, will run from 25 April to 17 May at the Gaiety Theatre in Dublin, Ireland.[66] As well as the US, Celtic Woman visited Brazil, the UK, and Europe in Autumn 2014 on their Emerald Tour – making their debut in Brazil and the UK.

Additionally, Celtic Woman toured the US for their Symphony Tour in December 2014 and again for the Tenth Anniversary Tour in March 2015 to celebrate the group’s 10th anniversary. Also, Celtic Woman’s November 2014 European Tour, which was part of the Emerald World Tour, was rescheduled from November 2014 to February 2015, and is now part of the Tenth Anniversary Tour instead of the Emerald Tour. They will also visit Australia for the 10th Anniversary Tour in September 2015 for the first time since the Believe Tour in January 2014, and will return to the UK again in November 2015.[dated info]

Membership

The original performers in Celtic Woman were Chloë Agnew, Órla Fallon, Lisa Kelly, Méav Ní Mhaolchatha, and Máiréad Nesbitt. During Méav’s pregnancy in 2005, Deirdre Shannon was selected to fill her place during tours. Méav returned to the group in time to record A New Journey and tour for that album, coinciding with Deirdre’s departure from the group in February 2006.

The second line-up change was announced on 6 September 2006, with the announcement that Hayley Westenra officially joined Celtic Woman on 24 August 2006.[67] As well as being featured on the album and DVD for A New Journey, Hayley alternated with Méav during tour events to maintain the live five-person line-up.[68]

On 20 August 2007, Méav left Celtic Woman to focus on her solo career. Méav’s replacement, Lynn Hilary, made her first appearance on 10 October 2007 in Estero, Florida, United States.[69][70]

In December 2007, Lisa Kelly, who was expecting a new child in 2008, took maternity leave from the group. Alex Sharpe filled her position on the A New Journey tour during this leave.[71] It was announced on the group’s website in 2009 that Órla Fallon was taking a full break to spend time with her family and to focus on recording a new solo album, and that as a result of this, Alex would be replacing Órla as a member of Celtic Woman.

For the 2009 Isle of Hope Tour, the group comprised vocalists Chloë Agnew, Lynn Hilary, Lisa Kelly, and Alex Sharpe; and fiddler Máiréad Nesbitt. This group completed the entire 2009 tour as well as the first leg of the Songs from the Heart tour, from February to May 2010, with this line-up. After the tour ended, it was announced that Alex Sharpe would take a full-time break from Celtic Woman to spend time with her family.[5]

After the Songs from the Heart tour, in November 2010, Lynn Hilary announced that she was leaving the group to return to Ireland.[72] Singer and actress Lisa Lambe joined the group as a replacement for Lynn in early 2011.

In December 2011, Lisa Kelly announced that she would be taking maternity leave from the group after the “Symphony Tour” was over. The group’s website announced in January 2012 that actress Susan McFadden would be filling in for Kelly until she returned to the group. However, Kelly announced the opening of “The Lisa Kelly Voice Academy” in Peachtree City, Georgia, in January 2013 indicating that she was moving on from performing to teaching. Susan has since become a full member of the line-up and will appear on the new Celtic Woman PBS special and DVD, due for release in early 2014.

In 2012, Méav Ní Mhaolchatha returned briefly to Celtic Woman to record Celtic Woman: Home for Christmas, the first time she had appeared with the group since her departure in 2007. Méav returned to the group again, albeit on a temporary basis, in August 2013 to film the Celtic Woman: Home for Christmas PBS show and DVD. At the same time, it was announced on the Celtic Woman website on 5 August 2013 that Chloë Agnew would be taking a break from Celtic Woman to work on solo projects. In addition to this, she was not featured in the PBS special and DVD for Celtic Woman: Home for Christmas. On 23 August 2013 it was announced that Derry-born singer Mairead Carlin would be taking Chloë’s place.[10]

Shortly before the beginning of the Emerald Tour on 14 February 2014, management announced that Lisa Lambe would be leaving the tour at the beginning of March, with Lynn Hilary returning to take her place. Lambe was, however, slated to return during the summer, though no specific date was given.[citation needed]

It was announced late 2014 that Lisa Lambe will be leaving Celtic Woman for a while to work on a solo album.[citation needed] Former Celtic Woman, Lynn Hilary, will again be returning in Lambe’s place. It was later announced that former Celtic Woman Alex Sharpe will be returning for the 10th Anniversary tour along with Méav Ní Mhaolchatha. The current lineup is Méav Ní Mhaolchatha, Lynn Hilary, Alex Sharpe, Mairead Nesbitt, Mairead Carlin, and Susan McFadden, with all but Nesbitt and McFadden serving 2 at a time on a rotating basis for the US tour ending June 2015. The lineup for the fall is McFadden, Carlin, Nesbitt and newest member Éabha McMahon.

When asked how the group members got along, member Lisa Kelly responded,

“We get along because we’re so different. Chloë Agnew is hip, Méav Ní Mhaolchatha is rational, Orla Fallon is angelic, and Mairead Nesbitt is energetic.”[73]

According to Chloë Agnew, the friendship between the vocalists was the number one question they were asked. She explained:

“I think people are always looking for a ‘Desperate Housewives’ story, that they all hate each other and nobody actually gets along. It’s all for show. And the truth of the matter is, it’s not. The reality is we do all get along. The five of us are like sisters, best friends.”[74]

Discography

Title Date of release Media format Region Chart peaks
Celtic Woman 1 March 2005 CD & DVD International USA: #53 [75]
Celtic Woman: A Christmas Celebration 3 October 2006 CD & DVD International USA: #35 [75]
Celtic Woman: A New Journey 30 January 2007 CD & DVD International USA: #4 [75]
Celtic Woman: A Celtic Family Christmas[76] 14 October 2008 CD US USA: #89 [75]
Celtic Woman: The Greatest Journey 28 October 2008 CD & DVD International USA: #75 [75]
Celtic Woman: Songs from the Heart 26 January 2010 CD & DVD International UK: #122 [77]USA: #9 [75]
Celtic Woman: Lullaby 15 February 2011 CD International USA: #126 [75]
Celtic Woman: Believe (Compilation) 25 May 2011 CD & DVD Japan
Celtic Woman: An Irish Journey[78] 3 October 2011 CD EU
Celtic Woman: A Celtic Christmas[79] 25 November 2011 CD EU
Celtic Woman: Believe[80] 24 January 2012 CD & DVD International (except Japan) USA: #13 [75]
Celtic Woman: Home for Christmas 9 October 2012 CD, DVD & Blu-ray International USA: #43 [75]
Celtic Woman: Silent Night[81] 9 October 2012 CD US
Celtic Woman: Emerald – Musical Gems[82] 24 February 2014 CD, DVD & Blu-ray International USA: #29 [75]
Celtic Woman: O Christmas Tree 21 October 2014 CD US
Celtic Woman: Destiny 23 October 2015 CD, DVD DE, International USA: #60 [75]

The original Celtic Woman five performed “Song for the Mira” with multiple Grammy Award winner Anne Murray for her 2007 EMI release “Anne Murray Duets: Friends & Legends.” A “Song of the Mira” performance/interview montage appears on a DVD which was included with “Anne Murray’s Christmas Album,” released in 2008.

Awards and honours

In 2007 Celtic Woman won an EBBA Award.[83] Each year the European Border Breakers Awards (EBBA) recognise the success of ten emerging artists or groups who reached audiences outside their own countries with their first internationally released album in the past year.

https://en.wikipedia.org/wiki/Celtic_Woman

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Johnny Horton — Videos

Posted on July 7, 2016. Filed under: American History, Art, Art, Blogroll, Communications, Culture, Entertainment, history, media, Movies, Music, Music, Radio, Television, Television, Video, Work, Writing | Tags: , , , , , , , , , , , |

Johnny Horton In Concert ~ The Incredibly Rare Live Performances

21 songs, 55 minutes of rare, live Johnny Horton performances from the 1950s and 1960s. All the hits are here, North To Alaska, Battle Of New Orleans, Sink The Bismarck, Johnny Reb, Springtime In Alaska and early classics as well. Enjoy

Johnny Horton Battle Of New Orleans

Johnny Horton – Battle of New Orleans Lyrics

Johnny Horton- Battle of Bull Run

John Paul Jones – Johnny Horton

Johnny Horton – Whispering Pines

Johnny Horton — Cherokee Boogie

Johnny Horton – Honky Tonk Man

JOHNNY HORTON Honky Tonk Man LIVE at the louisiana hayride

Johnny Horton – Johnny Reb

Johnny Horton – All For The Love of A Girl

Jim Bridger ~ Johnny Horton

North To Alaska ~ Johnny Horton

Johnny Horton – When It’s Springtime In Alaska

SINK THE BISMARCK ~ sung by Johnny Horton

Johnny Horton “Sink the Bismark”a

Sink The Bismarck – Johnny Horton

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Alan Bennet — The History Boys — Videos

Posted on April 20, 2016. Filed under: Art, Art, Blogroll, Books, College, Comedy, Communications, Education, Entertainment, Faith, Family, Fiction, Films, High School, history, Language, liberty, Life, Links, Literature, media, Movies, Music, Music, People, Photos, Plays, Poetry, Raves, Video, Wisdom, Writing | Tags: , , , , , , , , |

alan bennet reading momentsthe history Boysfilm the history boys

THE HISTORY BOYS FROM STAGE TO SCREEN

The History Boys – Trailer

2006 The History Boys

Theater Talk: Alan Bennett on “The History Boys”

Theater Talk: Actor Richard Griffiths of “The History Boys”; Bob Martin of “The Drowsy Chaperone”

Alan Bennett in conversation: part one

Alan Bennett in conversation: part two

Alan Bennett The Lady in The Van Interview

A Chip in the Sugar – Alan Bennett – Talking Heads

Alan Bennett – Sunset Across the Bay (TV Play 1975)

Alan Bennett – Telegram

Alan Bennett & John Fortune: “Men’s Talk”

Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller

Oxbridge Philosophy – Alan Bennett & Jonathan Miller

The Lady In The Van – Alan Bennett Featurette – Starring Maggie Smith – At Cinemas Now

The Lady In The Van Trailer #2 – Starring Maggie Smith – At Cinemas November 13

Maggie Smith

Dame Margaret Natalie Smith, CH DBE (born 28th December 1934) is an English actress. She made her stage debut in 1952 and has had an extensive, varied career in stage, film and television spanning over sixty years. Smith has appeared in over 50 films and is one of Britain’s most recognisable actresses. She was appointed Dame Commander of the Order of the British Empire (DBE) in the 1990 New Year Honours for services to the performing arts, and Member of the Order of the Companions of Honour (CH) in the 2014 Birthday Honours for services to drama.

Dame Maggie Smith’s brilliant career

Beyond the Fringe (Complete)

Beyond the Fringe was a British comedy stage revue written and performed by Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller. It played in London’s West End and then on New York’s Broadway in the early 1960s, and is widely regarded as seminal to the rise of satire in 1960s Britain.

Take A Pew – Alan Bennett

Richard Griffiths (1947-2013)

The History Boys – Broadway

Almost complete recording of the original production during its run on Broadway. Not mine but thanks for sharing whoever it was 🙂

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Leonard Rosen — All Cry Chaos — Videos

Posted on February 21, 2016. Filed under: American History, Articles, Blogroll, Books, British History, Business, Communications, Congress, Constitution, Economics, Education, Employment, Environment, Food, Freedom, Friends, history, liberty, Life, Links, media, Money, People, Philosophy, Photos, Politics, Talk Radio, Video, Wealth, Welfare, Wisdom, Work | Tags: , , , , , , , , , , , , , , |

all cry chaos Leonard Rosenfern leaffractals-erucolindo3

Mathematics is the art of giving the same name to different things.

~Henri Poincare

Book Trailer: “All Cry Chaos” by Leonard Rosen

Leonard Rosen talks about Chaos Theory, his writing process, and the pleasure of audiobooks

Leonard Rosen – All Cry Chaos

Chaos Theory

The Science and Psychology of the Chaos Theory

The Strange New Science of Chaos

Fractals – Hunting The Hidden Dimension

Complexity: Life, Scale, & Civilization

TEDxRotterdam – Igor Nikolic – Complex adaptive systems

Where Good Ideas Come From | Steven Johnson | TED Talks

Dirk Helbing: Rethinking Economics Based on Complexity Theory

Henri Poincaré

Rick Astley – Never Gonna Give You Up

It is the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details.

~Henri Poincare

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Sandy Denny and Judy Collins — Who Knows Where The Time Goes — Videos

Posted on September 28, 2015. Filed under: Blogroll, Culture, Entertainment, Music, Poetry, Video, Wisdom, Writing | Tags: , , , , , , , , |

sandy dennysandy denny 2

album cover who
  sandy-denny colorLayout 1

Who knows where the time goes – Fairport Convention

Fairport Convention – Who Knows Where The Time Goes (with Sandy Denny)

Sandy Denny – Live At The BBC (1971)

Judy Collins — Who Knows Where the Time Goes

Collins_Judy_062.jpgalbum who know  Judy Collins life-judy-collinswho knows where the time goes  Judy-Collins

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Ayn Rand — Atlas Shrugged — Videos

Posted on September 20, 2015. Filed under: American History, Blogroll, Books, Business, Communications, Constitution, Corruption, Crime, Documentary, Economics, Faith, Family, Federal Government, Friends, government, government spending, history, Law, liberty, Life, Links, Literature, media, Non-Fiction, People, Philosophy, Photos, Police, Politics, Radio, Talk Radio, Taxation, Taxes, Television, Wealth, Wisdom, Writing | Tags: , , , , , , , , , , , , , |

Atlas-Shrugged-1atlas shrugged AtlasShrugged  Atlas-Shrugged-3

Day at Night: Ayn Rand, author, “Atlas Shrugged”

Ayn Rand First Interview 1959 (Full)

Ayn Rand’s First Appearance on The Tonight Show with Johnny Carson, 1967

Ayn Rand Phil Donahue Interview

Ayn Rand Interview with Tom Snyder

Ayn Rand’s Last Public Lecture: The Sanction of the Victims

Ayn Rand – Conservative Sellout of Capitalism

Ayn Rand – Individual Rights

Yaron Brook: Ayn Rand vs. Big Government

Ayn Rand – The Proper Role of Government

John Stossel – Atlas Shrugged (full)

Atlas Shrugged and the Struggle for Liberty: hosted by John Stossel

John Stossel: Ayn Rand and Business

Ayn Rand and the Prophecy of Atlas Shrugged

Ayn Rand: A Leading Lady of the Classical Liberal Tradition

The History of Classical Liberalism

Goddess of the Market Author Jennifer Burns on Ayn Rand

Ayn Rand: Prophet or Scapegoat?

Ayn Rand and the Prophecy of Atlas Shrugged 2011

John Galt Full Speech – Atlas Shrugged – Ayn Rand

Is Inequality Fair?

Dr. Yaron Brook | Why Be Selfish? | Full Length HD

Atlas Shrugged Part 1

Atlas Shrugged II: The Strike

Atlas Shrugged: Part 3

Ayn Rand

From Wikipedia, the free encyclopedia
Ayn Rand
Ayn Rand.jpg
Born Alisa Zinov’yevna Rosenbaum
February 2, 1905
St. Petersburg, Russia
Died March 6, 1982 (aged 77)
New York City, New York, U.S.
Resting place Kensico Cemetery
Valhalla, New York, U.S.
Pen name Ayn Rand
Occupation Writer
Language English
Ethnicity Russian Jewish
Citizenship 1905–22  Russian
1922–31  Soviet
1931–82  American
Alma mater Petrograd State University
Period 1934–1982
Subject Philosophy
Notable works The Fountainhead
Atlas Shrugged
Notable awards Prometheus Award Hall of Fame inductee in 1987 (forAnthem) and co-inaugural inductee in 1983 (for Atlas Shrugged)
Spouse Frank O’Connor (m. 1929;wid. 1979)

Signature Ayn Rand

Ayn Rand (/ˈn ˈrænd/;[1] born Alisa Zinov’yevna Rosenbaum, Russian: Али́са Зино́вьевна Розенба́ум; February 2 [O.S. January 20] 1905 – March 6, 1982) was a Russian-born American novelist, philosopher,[2] playwright, and screenwriter. She is known for her two best-selling novels, The Fountainhead and Atlas Shrugged, and for developing a philosophical system she called Objectivism. Born and educated in Russia, Rand moved to the United States in 1926. She had a play produced on Broadway in 1935–1936. After two early novels that were initially unsuccessful in America, she achieved fame with her 1943 novel, The Fountainhead.

In 1957, she published her best-known work, the novel Atlas Shrugged. Afterward, she turned to non-fiction to promote her philosophy, publishing her own magazines and releasing several collections of essays until her death in 1982. Rand advocated reason as the only means of acquiring knowledge and rejected faith and religion. She supported rational and ethical egoism, and rejected altruism. In politics, she condemned the initiation of force as immoral[3] and opposed collectivism and statism as well as anarchism, instead supporting laissez-faire capitalism, which she defined as the system based on recognizing individual rights.[4] In art, Rand promoted romantic realism. She was sharply critical of most philosophers and philosophical traditions known to her, except for some Aristotelians and classical liberals.[5]

Literary critics received Rand’s fiction with mixed reviews,[6] and academia generally ignored or rejected her philosophy, though academic interest has increased in recent decades.[7][8][9] The Objectivist movement attempts to spread her ideas, both to the public and in academic settings.[10] She has been a significant influence amonglibertarians and American conservatives.[11]

Life

Early life

Rand was born Alisa Zinov’yevna Rosenbaum (Russian: Али́са Зиновьевна Розенбаум) on February 2, 1905, to a Russian Jewish bourgeois[12] family living in Saint Petersburg. She was the eldest of the three daughters of Zinovy Zakharovich Rosenbaum and his wife, Anna Borisovna (née Kaplan), largely non-observant Jews. Zinovy Rosenbaum was a successful pharmacist and businessman, eventually owning a pharmacy and the building in which it was located.[13] With a passion for the liberal arts, Rand later said she found school unchallenging and she began writing screenplays at the age of eight and novels at the age of ten.[14] At the prestigious Stoiunina Gymnasium, her closest friend was Vladimir Nabokov‘s younger sister, Olga. The two girls shared an intense interest in politics and would engage in debates at theNabokov mansion: while Nabokova defended constitutional monarchy, Rand supported republican ideals.[15] She was twelve at the time of the February Revolution of 1917, during which she favored Alexander Kerensky over Tsar Nicholas II.

The subsequent October Revolution and the rule of the Bolsheviks under Vladimir Lenin disrupted the life the family had previously enjoyed. Her father’s business was confiscated and the family displaced. They fled to the Crimean Peninsula, which was initially under control of the White Army during the Russian Civil War. She later recalled that, while in high school, she determined that she was an atheist and that she valued reason above any other human virtue. After graduating from high school in the Crimea at 16, Rand returned with her family to Petrograd (as Saint Petersburg was renamed at that time), where they faced desperate conditions, on occasion nearly starving.[16][17]

The Twelve Collegia of what was then Petrograd State University

Rand completed a three-year program at Petrograd State University.

After the Russian Revolution, universities were opened to women, allowing Rand to be in the first group of women to enroll at Petrograd State University,[18] where, at the age of 16, she began her studies in the department of social pedagogy, majoring in history.[19] At the university she was introduced to the writings of Aristotle and Plato,[20] who would be her greatest influence and counter-influence, respectively.[21] A third figure whose philosophical works she studied heavily was Friedrich Nietzsche.[22] Able to read French, German and Russian, Rand also discovered the writers Fyodor Dostoevsky, Victor Hugo, Edmond Rostand, and Friedrich Schiller, who became her perennial favorites.[23]

Along with many other “bourgeois” students, Rand was purged from the university shortly before graduating. However, after complaints from a group of visiting foreign scientists, many of the purged students were allowed to complete their work and graduate,[24] which Rand did in October 1924.[25] She subsequently studied for a year at the State Technicum for Screen Arts in Leningrad. For one of her assignments, she wrote an essay about the Polish-American actress Pola Negri, which became her first published work.[26]

By this time she had decided her professional surname for writing would be Rand,[27] possibly as a Cyrillic contraction of her birth surname,[28] and she adopted the first nameAyn, either from a Finnish name Aino or from the Hebrew word עין (ayin, meaning “eye”).[29]

Arrival in the United States

A brown book cover with black-and-white drawings and text in Russian. The drawing on the left is a portrait of a woman with dark hair; the drawing on the right is of skyscrapers.

Cover of Rand’s first published work, a 2,500-word monograph on femme fatalePola Negri published in 1925.[26]

In the autumn of 1925, Rand was granted a visa to visit American relatives.[30] She departed on January 17, 1926.[31] When she arrived in New York City on February 19, 1926, she was so impressed with the skyline of Manhattan that she cried what she later called “tears of splendor”.[32] Intent on staying in the United States to become a screenwriter, she lived for a few months with relatives in Chicago, one of whom owned a movie theater and allowed her to watch dozens of films for free. She then set out for Hollywood, California.[33]

Initially, Rand struggled in Hollywood and took odd jobs to pay her basic living expenses. A chance meeting with famed director Cecil B. DeMille led to a job as an extra in his film The King of Kings as well as subsequent work as a junior screenwriter.[34] While working on The King of Kings, she met an aspiring young actor, Frank O’Connor; the two were married on April 15, 1929, around the time her last visa extension was set to expire. She became a permanent US resident in July 1929, and became an American citizen on March 3, 1931.[35]Taking various jobs during the 1930s to support her writing, she worked for a time as the head of the costume department at RKO Studios.[36] She made several attempts to bring her parents and sisters to the United States, but they were unable to acquire permission to emigrate.[37]

Early fiction

Rand’s first literary success came with the sale of her screenplay Red Pawn to Universal Studios in 1932, although it was never produced.[38] This was followed by the courtroom drama Night of January 16th, first produced by E.E. Clive in Hollywood in 1934 and then successfully reopened on Broadway in 1935. Each night the “jury” was selected from members of the audience, and one of the two different endings, depending on the jury’s “verdict”, would then be performed.[39] In 1941, Paramount Pictures produced a movie loosely based on the play. Rand did not participate in the production and was highly critical of the result.[40] Ideal is a novel and play written in 1934 which were first published in 2015 by her estate. The heroine is an actress who embodies Randian ideals.[41]

Rand’s first published novel, the semi-autobiographical We the Living, was published in 1936. Set in Soviet Russia, it focused on the struggle between the individual and the state. In a 1959 foreword to the novel, Rand stated that We the Living “is as near to an autobiography as I will ever write. It is not an autobiography in the literal, but only in the intellectual sense. The plot is invented, the background is not…”[42] Initial sales were slow and the American publisher let it go out of print,[43] although European editions continued to sell.[44] After the success of her later novels, Rand was able to release a revised version in 1959 that has since sold over three million copies.[45] In 1942, without Rand’s knowledge or permission, the novel was made into a pair of Italian films, Noi vivi and Addio, Kira. Rediscovered in the 1960s, these films were re-edited into a new version which was approved by Rand and re-released as We the Living in 1986.[46]

Her novella Anthem was written during a break from the writing of her next major novel, The Fountainhead. It presents a vision of a dystopian future world in which totalitarian collectivism has triumphed to such an extent that even the word ‘I’ has been forgotten and replaced with ‘we’.[47] It was published in England in 1938, but Rand initially could not find an American publisher. As with We the Living, Rand’s later success allowed her to get a revised version published in 1946, which has sold more than 3.5 million copies.[48]

The Fountainhead and political activism

During the 1940s, Rand became politically active. Both she and her husband worked full-time in volunteer positions for the 1940 presidential campaign of Republican Wendell Willkie. This work led to Rand’s first public speaking experiences, including fielding the sometimes hostile questions from New York City audiences who had just viewed pro-Willkie newsreels, an experience she greatly enjoyed.[49] This activity also brought her into contact with other intellectuals sympathetic to free-market capitalism. She became friends with journalist Henry Hazlitt and his wife, and Hazlitt introduced her to the Austrian School economist Ludwig von Mises. Despite her philosophical differences with them, Rand strongly endorsed the writings of both men throughout her career, and both of them expressed admiration for her. Once Mises referred to Rand as “the most courageous man in America”, a compliment that particularly pleased her because he said “man” instead of “woman”.[50] Rand also developed a friendship with libertarian writer Isabel Paterson. Rand questioned the well-informed Paterson about American history and politics long into the night during their numerous meetings and gave Paterson ideas for her only nonfiction book, The God of the Machine.[51]

Rand’s first major success as a writer came with The Fountainhead in 1943, a romantic and philosophical novel that she wrote over a period of seven years.[52] The novel centers on an uncompromising young architect named Howard Roark and his struggle against what Rand described as “second-handers”—those who attempt to live through others, placing others above themselves. It was rejected by twelve publishers before finally being accepted by the Bobbs-Merrill Company on the insistence of editor Archibald Ogden, who threatened to quit if his employer did not publish it.[53] While completing the novel, Rand was prescribedBenzedrine, a brand of amphetamine, to fight fatigue.[54] The drug helped her to work long hours to meet her deadline for delivering the finished novel, but when the book was done, she was so exhausted that her doctor ordered two weeks’ rest.[55] Her use of the drug for approximately three decades may have contributed to what some of her later associates described as volatile mood swings.[56]

The Fountainhead eventually became a worldwide success, bringing Rand fame and financial security.[57] In 1943, Rand sold the rights for a film version to Warner Bros., and she returned to Hollywood to write the screenplay. Finishing her work on that screenplay, she was hired by producer Hal Wallis as a screenwriter and script-doctor. Her work for Wallis included the screenplays for the Oscar-nominated Love Letters andYou Came Along.[58] This role gave Rand time to work on other projects, including a planned nonfiction treatment of her philosophy to be called The Moral Basis of Individualism. Although the planned book was never completed, a condensed version was published as an essay titled “The Only Path to Tomorrow”, in the January 1944 edition of Reader’s Digest magazine.[59]

Rand extended her involvement with free-market and anti-communist activism while working in Hollywood. She became involved with the Motion Picture Alliance for the Preservation of American Ideals, a Hollywood anti-Communist group, and wrote articles on the group’s behalf. She also joined the anti-Communist American Writers Association.[60] A visit by Isabel Paterson to meet with Rand’s California associates led to a final falling out between the two when Paterson made comments to valued political allies, which Rand considered rude.[61] In 1947, during the Second Red Scare, Rand testified as a “friendly witness” before the United States House Un-American Activities Committee. Her testimony described the disparity between her personal experiences in the Soviet Union and the portrayal of it in the 1944 film Song of Russia.[62] Rand argued that the film grossly misrepresented conditions in the Soviet Union, portraying life there as being much better and happier than it actually was.[63] She wanted to also criticize the lauded 1946 film The Best Years of Our Lives for what she interpreted as its negative presentation of the business world, but she was not allowed to testify about it.[64] When asked after the hearings about her feelings on the effectiveness of the investigations, Rand described the process as “futile”.[65]

After several delays, the film version of The Fountainhead was released in 1949. Although it used Rand’s screenplay with minimal alterations, she “disliked the movie from beginning to end”, complaining about its editing, acting, and other elements.[66]

Atlas Shrugged and Objectivism

In the years following the publication of The Fountainhead, Rand received numerous letters from readers, some of whom it profoundly influenced. In 1951 Rand moved from Los Angeles to New York City, where she gathered a group of these admirers around her. This group (jokingly designated “The Collective”) included future Federal Reserve Chairman Alan Greenspan, a young psychology student named Nathan Blumenthal (later Nathaniel Branden) and his wife Barbara, and Barbara’s cousin Leonard Peikoff. At first the group was an informal gathering of friends who met with Rand on weekends at her apartment to discuss philosophy. Later she began allowing them to read the drafts of her new novel, Atlas Shrugged, as the manuscript pages were written. In 1954 Rand’s close relationship with the younger Nathaniel Branden turned into a romantic affair, with the consent of their spouses.[67]

Atlas Shrugged, published in 1957, was considered Rand’s magnum opus.[68] Rand described the theme of the novel as “the role of the mind in man’s existence—and, as a corollary, the demonstration of a new moral philosophy: the morality of rational self-interest.”[69] It advocates the core tenets of Rand’s philosophy of Objectivism and expresses her concept of human achievement. The plot involves a dystopian United States in which the most creative industrialists, scientists, and artists go on strike and retreat to a mountainous hideaway where they build an independent free economy. The novel’s hero and leader of the strike,John Galt, describes the strike as “stopping the motor of the world” by withdrawing the minds of the individuals most contributing to the nation’s wealth and achievement. With this fictional strike, Rand intended to illustrate that without the efforts of the rational and productive, the economy would collapse and society would fall apart. The novel includes elements of romance,[70][71] mystery, and science fiction,[72] and it contains Rand’s most extensive statement of Objectivism in any of her works of fiction, a lengthy monologue delivered by Galt.

Despite many negative reviews, Atlas Shrugged became an international bestseller, and in an interview with Mike Wallace, Rand declared herself “the most creative thinker alive”.[73] After completing the novel, Rand fell into a severe depression.[74] Atlas Shrugged was Rand’s last completed work of fiction; a turning point in her life, it marked the end of Rand’s career as a novelist and the beginning of her role as a popular philosopher.[75]

In 1958 Nathaniel Branden established Nathaniel Branden Lectures, later incorporated as the Nathaniel Branden Institute (NBI), to promote Rand’s philosophy. Collective members gave lectures for NBI and wrote articles for Objectivist periodicals that she edited. Rand later published some of these articles in book form. Critics, including some former NBI students and Branden himself, have described the culture of NBI as one of intellectual conformity and excessive reverence for Rand, with some describing NBI or the Objectivist movement itself as a cult or religion.[76] Rand expressed opinions on a wide range of topics, from literature and music to sexuality and facial hair, and some of her followers mimicked her preferences, wearing clothes to match characters from her novels and buying furniture like hers.[77] Rand was unimpressed with many of the NBI students[78] and held them to strict standards, sometimes reacting coldly or angrily to those who disagreed with her.[79] However, some former NBI students believe the extent of these behaviors has been exaggerated, with the problem being concentrated among Rand’s closest followers in New York.[80]

Later years

Throughout the 1960s and 1970s, Rand developed and promoted her Objectivist philosophy through her nonfiction works and by giving talks to students at institutions such as Yale, Princeton, Columbia,[81] Harvard, and MIT.[82] She received an honorary doctorate from Lewis & Clark College in 1963.[83] She also began delivering annual lectures at the Ford Hall Forum, responding afterward to questions from the audience.[84]During these speeches and Q&A sessions, she often took controversial stances on political and social issues of the day. These included supporting abortion rights,[85] opposing the Vietnam War and the military draft(but condemning many draft dodgers as “bums”),[86] supporting Israel in the Yom Kippur War of 1973 against a coalition of Arab nations as “civilized men fighting savages”,[87] saying European colonists had the right to develop land taken from American Indians,[88] and calling homosexuality “immoral” and “disgusting”, while also advocating the repeal of all laws about it.[89] She also endorsed several Republican candidates for President of the United States, most strongly Barry Goldwater in 1964, whose candidacy she promoted in several articles for The Objectivist Newsletter.[90]

A twin gravestone bearing the name "Frank O'Connor" on the left, and "Ayn Rand O'Connor" on the right

Grave marker for Rand and her husband at Kensico Cemetery inValhalla, New York

In 1964 Nathaniel Branden began an affair with the young actress Patrecia Scott, whom he later married. Nathaniel and Barbara Branden kept the affair hidden from Rand. When she learned of it in 1968, though her romantic relationship with Branden had already ended,[91] Rand terminated her relationship with both Brandens, which led to the closure of NBI.[92] Rand published an article in The Objectivist repudiating Nathaniel Branden for dishonesty and other “irrational behavior in his private life”.[93] Branden later apologized in an interview to “every student of Objectivism” for “perpetuating the Ayn Rand mystique” and for “contributing to that dreadful atmosphere of intellectual repressiveness that pervades the Objectivist movement.”[94] In subsequent years, Rand and several more of her closest associates parted company.[95]

Rand underwent surgery for lung cancer in 1974 after decades of heavy smoking.[96] In 1976, she retired from writing her newsletter and, despite her initial objections, allowed Evva Pryor, a social worker from her attorney’s office, to enroll her in Social Security and Medicare.[97][98] During the late 1970s her activities within the Objectivist movement declined, especially after the death of her husband on November 9, 1979.[99] One of her final projects was work on a never-completed television adaptation of Atlas Shrugged.[100]

Rand died of heart failure on March 6, 1982, at her home in New York City,[101] and was interred in the Kensico Cemetery, Valhalla, New York.[102] Rand’s funeral was attended by some of her prominent followers, including Alan Greenspan. A 6-foot (1.8 m) floral arrangement in the shape of a dollar sign was placed near her casket.[103] In her will, Rand named Leonard Peikoff the heir to her estate.[104]

Philosophy

Rand called her philosophy “Objectivism”, describing its essence as “the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute.”[105] She considered Objectivism a systematic philosophy and laid out positions on metaphysics,epistemology, ethics, political philosophy and aesthetics.[106]Main article: Objectivism (Ayn Rand)

In metaphysics, Rand supported philosophical realism, and opposed anything she regarded as mysticism or supernaturalism, including all forms of religion.[107]

In epistemology, she considered all knowledge to be based on sense perception, the validity of which she considered axiomatic,[108] and reason, which she described as “the faculty that identifies and integrates the material provided by man’s senses.”[109] She rejected all claims of non-perceptual or a priori knowledge, including “‘instinct,’ ‘intuition,’ ‘revelation,’ or any form of ‘just knowing.'”[110] Rand argued that the requirements of cognition determine the objective criteria of conceptualization, which she summarized in the form of a philosophical razor. Known as “Rand’s razor,” it states that “concepts are not to be multiplied beyond necessity—the corollary of which is: nor are they to be integrated in disregard of necessity.”[111] In her Introduction to Objectivist Epistemology, Rand presented a theory of concept formation and rejected the analytic–synthetic dichotomy.[112]

In ethics, Rand argued for rational and ethical egoism (rational self-interest), as the guiding moral principle. She said the individual should “exist for his own sake, neither sacrificing himself to others nor sacrificing others to himself.”[113] She referred to egoism as “the virtue of selfishness” in her book of that title,[114] in which she presented her solution to the is-ought problem by describing a meta-ethical theory that based morality in the needs of “man’s survival qua man”.[115] She condemned ethical altruism as incompatible with the requirements of human life and happiness,[9] and held that the initiation of force was evil and irrational, writing in Atlas Shrugged that “Force and mind are opposites.”[116]

Rand’s political philosophy emphasized individual rights (including property rights),[117] and she considered laissez-faire capitalism the only moral social system because in her view it was the only system based on the protection of those rights.[4] She opposed statism, which she understood to include theocracy, absolute monarchy, Nazism, fascism,communism, democratic socialism, and dictatorship.[118] Rand believed that natural rights should be enforced by a constitutionally limited government.[119] Although her political views are often classified as conservative or libertarian, she preferred the term “radical for capitalism”. She worked with conservatives on political projects, but disagreed with them over issues such as religion and ethics.[120] She denounced libertarianism, which she associated with anarchism.[121] She rejected anarchism as a naïve theory based in subjectivism that could only lead to collectivism in practice.[122]

Rand’s aesthetics defined art as a “selective re-creation of reality according to an artist’s metaphysical value-judgments.” According to Rand, art allows philosophical concepts to be presented in a concrete form that can be easily grasped, thereby fulfilling a need of human consciousness.[123] As a writer, the art form Rand focused on most closely was literature, where she considered romanticism to be the approach that most accurately reflected the existence of human free will.[124] She described her own approach to literature as “romantic realism“.[125]

Rand acknowledged Aristotle as her greatest influence[126] and remarked that in the history of philosophy she could only recommend “three A’s”—Aristotle, Aquinas, and Ayn Rand.[127] In a 1959 interview with Mike Wallace, when asked where her philosophy came from, she responded, “Out of my own mind, with the sole acknowledgement of a debt to Aristotle, the only philosopher who ever influenced me. I devised the rest of my philosophy myself.”[128] However, she also found early inspiration in Friedrich Nietzsche,[129] and scholars have found indications of his influence in early notes from Rand’s journals,[130] in passages from the first edition of We the Living (which Rand later revised),[131] and in her overall writing style.[132] However, by the time she wrote The Fountainhead, Rand had turned against Nietzsche’s ideas,[133] and the extent of his influence on her even during her early years is disputed.[134] Among the philosophers Rand held in particular disdain was Immanuel Kant, whom she referred to as a “monster”,[135] although philosophers George Walsh[136] and Fred Seddon[137] have argued that she misinterpreted Kant and exaggerated their differences.

Rand said her most important contributions to philosophy were her “theory of concepts, [her] ethics, and [her] discovery in politics that evil—the violation of rights—consists of the initiation of force.”[138] She believed epistemology was a foundational branch of philosophy and considered the advocacy of reason to be the single most significant aspect of her philosophy,[139] stating, “I am not primarily an advocate of capitalism, but of egoism; and I am not primarily an advocate of egoism, but of reason. If one recognizes the supremacy of reason and applies it consistently, all the rest follows.”[140]

Reception and legacy

Reviews[edit]

During Rand’s lifetime, her work evoked both extreme praise and condemnation. Rand’s first novel, We the Living, was admired by the literary critic H. L. Mencken,[141] her Broadway play Night of January 16th was both a critical and popular success,[142] and The Fountainhead was hailed by a reviewer in The New York Times as “masterful”.[143] Rand’s novels were derided by some critics when they were first published as being long and melodramatic.[6] However, they became bestsellers largely through word of mouth.[144]

The first reviews Rand received were for Night of January 16th. Reviews of the production were largely positive, but Rand considered even positive reviews to be embarrassing because of significant changes made to her script by the producer.[142] Rand believed that her first novel, We the Living, was not widely reviewed, but Rand scholar Michael S. Berliner says “it was the most reviewed of any of her works”, with approximately 125 different reviews being published in more than 200 publications. Overall these reviews were more positive than the reviews she received for her later work.[145] Her 1938 novella Anthem received little attention from reviewers, both for its first publication in England and for subsequent re-issues.[146]

Rand’s first bestseller, The Fountainhead, received far fewer reviews than We the Living, and reviewers’ opinions were mixed.[147] There was a positive review in The New York Times that Rand greatly appreciated.[148] The reviewer called Rand “a writer of great power” who wrote “brilliantly, beautifully and bitterly”, and stated that “you will not be able to read this masterful book without thinking through some of the basic concepts of our time”.[143] There were other positive reviews, but Rand dismissed most of them as either not understanding her message or as being from unimportant publications.[147] Some negative reviews focused on the length of the novel,[6] such as one that called it “a whale of a book” and another that said “anyone who is taken in by it deserves a stern lecture on paper-rationing”. Other negative reviews called the characters unsympathetic and Rand’s style “offensively pedestrian”.[147]

Rand’s 1957 novel Atlas Shrugged was widely reviewed, and many of the reviews were strongly negative.[6][149] In the National Review, conservative author Whittaker Chambers called the book “sophomoric” and “remarkably silly”. He described the tone of the book as “shrillness without reprieve” and accused Rand of supporting a godless system (which he related to that of the Soviets), claiming “From almost any page ofAtlas Shrugged, a voice can be heard, from painful necessity, commanding: ‘To a gas chamber—go!'”[150] Atlas Shrugged received positive reviews from a few publications, including praise from the noted book reviewer John Chamberlain,[149] but Rand scholar Mimi Reisel Gladstein later wrote that “reviewers seemed to vie with each other in a contest to devise the cleverest put-downs”, calling it “execrable claptrap” and “a nightmare”; they said it was “written out of hate” and showed “remorseless hectoring and prolixity”.[6] Author Flannery O’Connor wrote in a letter to a friend that “The fiction of Ayn Rand is as low as you can get re fiction. I hope you picked it up off the floor of the subway and threw it in the nearest garbage pail.”[151]

Rand’s nonfiction received far fewer reviews than her novels had. The tenor of the criticism for her first nonfiction book, For the New Intellectual, was similar to that for Atlas Shrugged,[152][153] with philosopher Sidney Hook likening her certainty to “the way philosophy is written in the Soviet Union”,[154] and author Gore Vidal calling her viewpoint “nearly perfect in its immorality”.[155] Her subsequent books got progressively less attention from reviewers.[152]

On the 100th anniversary of Rand’s birth in 2005, Edward Rothstein, writing for The New York Times, referred to her fictional writing as quaint utopian “retro fantasy” and programmatic neo-Romanticism of the misunderstood artist, while criticizing her characters’ “isolated rejection of democratic society”.[156] In 2007, book critic Leslie Clark described her fiction as “romance novels with a patina of pseudo-philosophy“.[157] In 2009, GQ‍ ’​s critic columnist Tom Carson described her books as “capitalism’s version of middlebrow religious novels” such as Ben-Hur and the Left Behind series.[158]

Popular interest

An engraving in all capital letters that reads: "Throughout the centuries there were men who took first steps down new roads armed with nothing but their own vision." Ayn Rand

A quote from Rand’s book The Fountainhead, on the wall directly across from the entrance to The American Adventure rotunda at Walt Disney World’s Epcot.

In 1991, a survey conducted for the Library of Congress and the Book-of-the-Month Club asked club members what the most influential book in the respondent’s life was. Rand’s Atlas Shrugged was the second most popular choice, after the Bible.[159] Rand’s books continue to be widely sold and read, with over 29 million copies sold as of 2013 (with about 10% of that total purchased for free distribution to schools by the Ayn Rand Institute).[160] Although Rand’s influence has been greatest in the United States, there has been international interest in her work.[7][161] Rand’s work continues to be among the top sellers among books in India.[162]

Rand’s contemporary admirers included fellow novelists, such as Ira Levin, Kay Nolte Smith and L. Neil Smith, and later writers such as Erika Holzer and Terry Goodkind have been influenced by her.[163] Other artists who have cited Rand as an important influence on their lives and thought include comic book artist Steve Ditko[164] and musician Neil Peart of Rush.[165] Rand provided a positive view of business, and in response business executives and entrepreneurs have admired and promoted her work.[166] John Allisonof BB&T and Ed Snider of Comcast Spectacor have funded the promotion of Rand’s ideas,[167] while Mark Cuban, owner of the Dallas Mavericks, and John P. Mackey, CEO of Whole Foods, among others, have said they consider Rand crucial to their success.[168]

Rand and her works have been referred to in a variety of media: on television shows including animated sitcoms, live-action comedies, dramas, and game shows,[169] as well as in movies and video games.[170] She, or a character based on her, figures prominently (in positive and negative lights) in literary and science fiction novels by prominent American authors.[171] Nick Gillespie, editor in chief of Reason, has remarked that “Rand’s is a tortured immortality, one in which she’s as likely to be a punch line as a protagonist…” and that “jibes at Rand as cold and inhuman, run through the popular culture”.[172] Two movies have been made about Rand’s life. A 1997 documentary film, Ayn Rand: A Sense of Life, was nominated for the Academy Award for Documentary Feature.[173] The Passion of Ayn Rand, a 1999 television adaptation of the book of the same name, won several awards.[174] Rand’s image also appears on a 1999 U.S. postage stamp designed by artist Nick Gaetano.[175][176]

Political influence

Although she rejected the labels “conservative” and “libertarian“,[177] Rand has had continuing influence on right-wing politics and libertarianism.[11] Jim Powell, a senior fellow at the Cato Institute, considers Rand one of the three most important women (along with Rose Wilder Lane and Isabel Paterson) of modern American libertarianism,[178] and David Nolan, one of the founders of the Libertarian Party, stated that “without Ayn Rand, the libertarian movement would not exist”.[179] In his history of the libertarian movement, journalist Brian Doherty described her as “the most influential libertarian of the twentieth century to the public at large”,[159] and biographer Jennifer Burns referred to her as “the ultimate gateway drug to life on the right”.[180]

In a large outdoor crowd, a man holds up a poster with the words "I am John Galt" in all capital letters

A protester at an April 2009 Tea Party rally carries a sign referring toJohn Galt, the hero of Rand’s novelAtlas Shrugged

She faced intense opposition from William F. Buckley, Jr. and other contributors for the National Review magazine. They published numerous criticisms in the 1950s and 1960s by Whittaker Chambers, Garry Wills, and M. Stanton Evans. Nevertheless, her influence among conservatives forced Buckley and other National Review contributors to reconsider how traditional notions of virtue and Christianity could be integrated with support for capitalism.[181]

The political figures who cite Rand as an influence are usually conservatives (often members of the United States Republican Party),[182] despite Rand taking some positions that are atypical for conservatives, such as being pro-choice and an atheist.[183] A 1987 article in The New York Times referred to her as the Reagan administration‘s “novelist laureate”.[184] Republican Congressmen and conservative pundits have acknowledged her influence on their lives and recommended her novels.[185]

The late-2000s financial crisis spurred renewed interest in her works, especially Atlas Shrugged, which some saw as foreshadowing the crisis,[186] and opinion articles compared real-world events with the plot of the novel.[187] During this time, signs mentioning Rand and her fictional hero John Galt appeared at Tea Party protests.[188] There was also increased criticism of her ideas, especially from the political left, with critics blaming the economic crisis on her support of selfishness and free markets, particularly through her influence on Alan Greenspan.[189] For example, Mother Jones remarked that “Rand’s particular genius has always been her ability to turn upside down traditional hierarchies and recast the wealthy, the talented, and the powerful as the oppressed”,[183] while equating Randian individual well-being with that of the Volk according to Goebbels. Corey Robin of The Nation alleged similarities between the “moral syntax of Randianism” and fascism.[190]

Academic reaction

During Rand’s lifetime her work received little attention from academic scholars.[10] When the first academic book about Rand’s philosophy appeared in 1971, its author declared writing about Rand “a treacherous undertaking” that could lead to “guilt by association” for taking her seriously.[191] A few articles about Rand’s ideas appeared in academic journals before her death in 1982, many of them in The Personalist.[192] One of these was “On the Randian Argument” by libertarian philosopher Robert Nozick, who argued that her meta-ethical argument is unsound and fails to solve the is–ought problem posed by David Hume.[193] Some responses to Nozick by other academic philosophers were also published in The Personalist arguing that Nozick misstated Rand’s case.[192] Academic consideration of Rand as a literary figure during her life was even more limited. Academic Mimi Gladstein was unable to find any scholarly articles about Rand’s novels when she began researching her in 1973, and only three such articles appeared during the rest of the 1970s.[194]

Since Rand’s death, interest in her work has gradually increased.[195] Historian Jennifer Burns has identified “three overlapping waves” of scholarly interest in Rand, the most recent of which is “an explosion of scholarship” since the year 2000.[196] However, few universities currently include Rand or Objectivism as a philosophical specialty or research area, with many literature and philosophy departments dismissing her as a pop culture phenomenon rather than a subject for serious study.[197]

Gladstein, Chris Matthew Sciabarra, Allan Gotthelf, Edwin A. Locke and Tara Smith have taught her work in academic institutions. Sciabarra co-edits the Journal of Ayn Rand Studies, a nonpartisan peer-reviewed journal dedicated to the study of Rand’s philosophical and literary work.[198] In 1987 Gotthelf helped found the Ayn Rand Society with George Walsh and David Kelley, and has been active in sponsoring seminars about Rand and her ideas.[199] Smith has written several academic books and papers on Rand’s ideas, including Ayn Rand’s Normative Ethics: The Virtuous Egoist, a volume on Rand’s ethical theory published byCambridge University Press. Rand’s ideas have also been made subjects of study at Clemson and Duke universities.[200] Scholars of English and American literature have largely ignored her work,[201] although attention to her literary work has increased since the 1990s.[202]

Rand scholars Douglas Den Uyl and Douglas B. Rasmussen, while stressing the importance and originality of her thought, describe her style as “literary, hyperbolic and emotional”.[203] Philosopher Jack Wheeler says that despite “the incessant bombast and continuous venting of Randian rage”, Rand’s ethics are “a most immense achievement, the study of which is vastly more fruitful than any other in contemporary thought.”[204] In the Literary Encyclopedia entry for Rand written in 2001, John David Lewis declared that “Rand wrote the most intellectually challenging fiction of her generation”.[205] In a 1999 interview in theChronicle of Higher Education, Sciabarra commented, “I know they laugh at Rand”, while forecasting a growth of interest in her work in the academic community.[206]

Libertarian philosopher Michael Huemer has argued that very few people find Rand’s ideas convincing, especially her ethics,[207] which he believes is difficult to interpret and may lack logical coherence.[208] He attributes the attention she receives to her being a “compelling writer”, especially as a novelist. Thus, Atlas Shrugged outsells not only the works of other philosophers of classical liberalism such as Ludwig von Mises,Friedrich Hayek, or Frederic Bastiat, but also Rand’s own non-fiction works.[207]

Political scientist Charles Murray, while praising Rand’s literary accomplishments, criticizes her claim that her only “philosophical debt” was to Aristotle, instead asserting that her ideas were derivative of previous thinkers such as John Locke and Friedrich Nietzsche.[209]

Although Rand maintained that Objectivism was an integrated philosophical system, philosopher Robert H. Bass has argued that her central ethical ideas are inconsistent and contradictory to her central political ideas.[210]

Objectivist movement

Main article: Objectivist movement

In 1985, Rand’s heir Leonard Peikoff established the Ayn Rand Institute, a nonprofit organization dedicated to promoting Rand’s ideas and works. In 1990, philosopher David Kelley founded the Institute for Objectivist Studies, now known as The Atlas Society.[211] In 2001 historian John McCaskey organized the Anthem Foundation for Objectivist Scholarship, which provides grants for scholarly work on Objectivism in academia.[212] The charitable foundation of BB&T Corporation has also given grants for teaching Rand’s ideas or works. The University of Texas at Austin, the University of Pittsburgh, and University of North Carolina at Chapel Hill are among the schools that have received grants. In some cases these grants have been controversial due to their requiring research or teaching related to Rand.[213]

Selected works

Novels
Other fiction
Non-fiction

https://en.wikipedia.org/wiki/Ayn_Rand 

External links

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Ray Bradbury — Fahrenheit 451 — Videos

Posted on September 20, 2015. Filed under: American History, Blogroll, Book, Books, Communications, Constitution, Corruption, Culture, Documentary, Economics, Education, Entertainment, Faith, Family, Fiction, Films, Friends, Heroes, history, Law, liberty, Life, media, Money, Movies, People, Philosophy, Photos, Police, Political Correctness, Politics, Press, Radio, Rants, Raves, Regulations, Strategy, Talk Radio, Television, Video, Wealth, Welfare, Wisdom, Writing | Tags: , , , , , , , , , , , , , |

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Ray Bradbury – Story of a Writer

A 25-minute documentary from 1963 about Ray Bradbury – by David L. Wolper

Day at Night: Ray Bradbury

A Conversation with Ray Bradbury

A short film for the National Endowment for the arts feature Ray Bradbury as he discusses his life, literary loves and Fahrenheit 451.

A Conversation with Ray Bradbury by Lawrence Bridges

Fahrenheit 451 – Trailer

Fahrenheit 451 (1966) Full Movie | Julie Christie Full Movies Online

Top 10 Notes: Fahrenheit 451

Feeling More Alive: Fahrenheit 451’s The Hearth and the Salamander

Fahrenheit 451 by Ray Bradbury (Full audiobook)

Ray Bradbury on Writing Persistently

A Conversation with Ray Bradbury

Author Ray Bradbury joins Dean Nelson of Point Loma Nazarene University for a talk about his craft as part of Point Loma Nazarene University’s Writer’s Symposium by the Sea. Series: “Writer’s Symposium By The Sea” [4/2001] [Public Affairs] [Humanities] [Show ID: 5534]

An Evening with Ray Bradbury 2001

Science fiction author Ray Bradbury regales his audience with stories about his life and love of writing in “Telling the Truth,” the keynote address of The Sixth Annual Writer’s Symposium by the Sea, sponsored by Point Loma Nazarene University. Series: Writer’s Symposium By The Sea [4/2001] [Public Affairs] [Humanities] [Show ID: 5533]

Ray Bradbury

From Wikipedia, the free encyclopedia
For the author’s 1975 story collection, see Ray Bradbury (collection).
Ray Bradbury
Ray Bradbury in 1975

Bradbury in 1975
Born Raymond Douglas Bradbury
August 22, 1920
Waukegan, Illinois, U.S.
Died June 5, 2012 (aged 91)
Los Angeles, California, U.S.
Resting place Westwood Memorial Park, Los Angeles
Occupation Writer
Nationality American
Period 1938–2012[1]
Genre Fantasy, social commentary,science fiction, horror fiction,mystery fiction
Notable works
Notable awards American Academy of Arts and Letters (1954); Daytime Emmy Award (1994); National Medal of Arts (2004); Pulitzer Prize(2007)
Spouse Marguerite McClure
(m. 1947–2003; her death)
Children 4 daughters

Signature
Website
www.raybradbury.com

Raymond Douglas “Ray” Bradbury[2] (August 22, 1920 – June 5, 2012) was an Americanfantasy, science fiction, horror and mystery fiction author. Best known for hisdystopian novel Fahrenheit 451 (1953) and for the science fiction and horror stories gathered together as The Martian Chronicles (1950) and The Illustrated Man (1951), Bradbury was one of the most celebrated 20th- and 21st-century American genre writers. He wrote and consulted on many screenplays and television scripts, includingMoby Dick[3] and It Came from Outer Space. Many of his works have been adapted into comic books, television shows, and films.

Early life