Autograph Laurence Olivier English Actor signed photo

autograph
Autograph Laurence Olivier English Actor signed photo
Autograph Laurence Olivier English Actor signed photo
Autograph Laurence Olivier English Actor signed photo

Autograph Laurence Olivier English Actor signed photo
Autograph Eglish Actor Laurence Olivier signed photo. This item is in the category “Collectibles\Autographs\Movies”. The seller is “mikefilo” and is located in this country: US. This item can be shipped worldwide.
  • Industry: Movies
  • Signed by: Laurence Olivier
  • Signed: Yes
  • Original/Reproduction: Original
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Autograph Laurence Olivier English Actor signed photo

Joseph Turkel autograph signed auto Shining 8×10 movie photo inscribed Lloyd BAS

joseph
Joseph Turkel autograph signed auto Shining 8x10 movie photo inscribed Lloyd BAS

Joseph Turkel autograph signed auto Shining 8x10 movie photo inscribed Lloyd BAS
The Shining 8×10 movie photo autographed in black Sharpie by actor Joseph Turkel, who played the creepy bartender Lloyd (and he added his character name to his signature). Authenticated by Beckett Authenticated Services (BAS) with their matching numbered sticker on the photo and certificate of authenticity card. ALL PRICES ARE FIRM. LOWBALLERS WILL BE PERMANENTLY BLOCKED WITHOUT NOTICE. This item is in the category “Collectibles\Autographs\Movies”. The seller is “autographs*for*sale” and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Kuwait, Liechtenstein, Benin, Algeria, Antigua and Barbuda, Italy, Swaziland, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Malta, Tajikistan, Vietnam, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Luxembourg, Uganda, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Industry: Movies
  • Signed by: Joseph Turkel
  • Signed: Yes
  • Autograph Authentication: James Spence (JSA)
  • Original/Reproduction: Original

Joseph Turkel autograph signed auto Shining 8x10 movie photo inscribed Lloyd BAS

Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA

declan
Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA
Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA
Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA

Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA
Declan Rice Personally Signed West Ham United shirt. This item has been signed by Hammers legend Declan Rice. This item was signed by Declan in Central London. It comes with a LIFETIME COA (Certificate of Authenticity) as standard. Listing and template services provided by inkFrog. This item is in the category “Collectables\Autographs\Certified Original Autographs\Sport”. The seller is “pieceoffame” and is located in this country: GB. This item can be shipped worldwide.
  • Country/Region of Manufacture: United Kingdom

Declan Rice SIGNED West Ham United Shirt Genuine Autograph AFTAL COA

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

autograph
Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print
Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print
A VINTAGE ORIGINAL 8X10 INCH SIGNED GELATIN SILVER PRINT PHOTO BY JACOB BEN-AMI FROM’HE WHO GETS SLAPPED. Jacob Ben-Ami, a founder of the Jewish Art Theater who achieved critical acclaim on both the Yiddish and English-speaking stages, died yesterday at Lenox Hill Hospital after a short illness. He was 86 years old and lived alone at 50 West 97th Street. He Who Gets Slapped Russian:??? Is a play in four acts by Russian dramatist Leonid Andreyev; completed in August 1915 and first produced in that same year at the Moscow Art Theatre on October 27, 1915. Immensely popular with Russian audiences, the work received numerous stagings throughout the Russian speaking world in the two decades after its premiere, and then later enjoyed a resurgence of popularity in the 1970s and 1980s in Russian theaters. The work is still part of the dramatic repertory in Russian speaking countries. While well-liked by the public, critical reaction to the work was initially negative in Russia. It was later reevaluated as a masterwork of Russian drama, and is regarded as Andreyev’s finest achievement among his 25 plays. The play is representative of Andreyev’s “pansyche theatre” in which the plot focuses on developing the internal, psychological and intellectual aspects of characters over external action. Set inside a circus within a French city, the play’s main character is a mysterious 39-year-old stranger (referred to as “He”) whose name is never revealed to the audience. “He” is fleeing a failed marriage and joins the circus as a clown. “He” falls in love with the horseback rider Consuelo, the daughter of Count Mancini. The Count pushes Consuelo into marrying Baron Renyard for financial gain. “He” poisons Consuelo, Baron Renyard commits suicide in despair, and then “He” drinks the poison himself at the end. On the international stage, the play became Andreyev’s most successful in the United States, being popular with both audiences and critics when it was staged on Broadway at the Garrick Theatre in 1922 in a production mounted by the Theatre Guild. That production used an English language translation of the original Russian by the psychoanalyst Gregory Zilboorg which was first published in 1921. The play has been staged in multiple languages internationally, but is most often performed in English outside of Russia. A 1944 English translation made for The Old Vic by Judith Guthrie reduced the structure of the play to two acts instead of four. This version was used for the 1946 Broadway revival, the 1947 West End production, and several other stagings in the United States and United Kingdom during the 20th century. The success of the stage play in the US led to the development of Victor Sjöström’s critically successful 1924 silent film of the same name which was notably the first film ever made by Metro-Goldwyn-Mayer. Besides this film, the play has been adapted many times, including an earlier Russian film in 1916, a Swedish film in 1926, a novel in 1925, an opera in 1956, a 1961 television film, and a musical in 1971. Ben-Ami first appeared in an English-speaking production in 1920, when he played the leading role in “Samson and Delilah, ” a play by the Swede Sven Lange that he had originally starred in and directed in Yiddish at the Jewish Art Theater. Throughout a distinguished career he reflected that same sort of theatrical pluralism, appearing in plays by American, British, Russian and Yiddish playwrights during tours in Europe, South Africa, South America and the United States, performing with equal skill in Yiddish and in English. His reviews, in any language, were always good, although he appeared in only one real Broadway hit-Paddy Chayefsky’s “The Tenth Man, ” which opened in 1959 and in which he played the grandfather. He was last seen on the stage in 1972, in a production of “Yoshe Kalb, ” staged at the theater on 12th Street and Second Avenue-the site of the old Irving Place Theater-where Mr. Ben-Ami, then young Russian immigrant with idealistic views about the stage, first appeared in 1918 with Celia Adler, Ludwig Satz, and Maurice Schwartz. The productions of their company marked the full flowering of what Miss Adler called in her memoirs the Second Golden Era of American Yiddish Theater. The first great period of the Yiddish theater coincided with the great wave of Jewish immigration at the turn of the century. Ben-Ami was known as the literatatnik of that group, an actor who believed that the broad melodramas and comedies usually associated with the Yiddish stage should give way to more modern and realistic drama. When he was hired by Maurice Schwartz as principal player at the theater on the Lower East Side, Mr. Ben-Ami stipulated that a serious play would appear once a week, even agreeing to take a pay cut for the loss that Mr. Schwartz, a more pragmatic producer, expected. Although the first such production, “A Secluded Nook, ” was an unexpected success, the differences in philosophy and temperament between Mr. Ben-Ami ultimately led to a parting. Schwartz renamed his downtown tneater the Yiddish Art Theater, while Mr. Ben-Ami moved uptown to Madison Square and founded the Jewish Art Theater at Madison Avenue and 27th Street. It was there that he appeared in “Samson and Delilah, ” which was seen by the producer Arthur Hopkins, who later staged it at the Greenwich Village Theater, with an English-speaking cast that included Sam Jaffe and Edward G. Alexander Woolcott compared Mr. Ben-Ami to Eleanor Duse in his review of the production. Of the founding of his own theater Mr. Ben-Ami was to write decades later in The New York Times, About 20 years ago I knew the great joy of doing both what I wanted to and what I believed in doing in the theater. His theater in Madison Square successfully presented productions in Yiddish of plays or works by Sholom Aleichem, Tolstoy, and Gerhart Hauptmann. But, more important, it attempted to undercut the star system so prevalent in Yiddish Theater then and to highlight more modern productions. Starring roles were to be rotated, billing was to be alphabetical, and for the broad technique of the past, a more psychological approach was brought to bear on acting. The results led a New York Times reviewer to write of one of its plays in 1920, It is no longer the product of merely a Jewish theater. And the audiences said the same. As even theatergoers who did not speak Yiddish increasingly came to the Jewish Art Theater. Stalkerware’ Apps Are Proliferating. It’s Never Too Late to Publish a Debut Book and Score a Netflix Deal. For Al Franken, a Comeback Attempt Goes Through Comedy Clubs. Continue reading the main story. Ben-Ami was born in the Russian town of Minsk in 1890, the son of prosperous farmers; early in life he became enthralled by entertainment and acting, and in his later years always recalled his earliest ambition as the desire to be a circus clown. But that did not color his disdain of traditional Yiddish theater, which he found farcical and superficial. Ben-Ami began appearing in small repertory companies in Minsk. He was offered a recommendation to the renowned Moscow Art Theater, but working in the capital would have meant converting from Judaism, and the young actor refused. He appeared with various troupes as both an actor and a director until he decided to emigrate to New York in 1912. He worked here at the Neighborhood Playhouse and with variety of amateur groups before joining the group at Irving Place in 1918. After the success of his theater, and his appearance in the English-speaking Samson and Delilah,’ Mr. Ben-Ami was recognized as something of a dramatic find. He appeared on Broadway in 1921 in another Hopkins production, “The Idle Inn, ” followed by “Johannes Kreisler, ” “Man and the Masses” and “Welded, ” and went on in the 30’s to become mainstay of Eva LaGalliene’s Civic Repertory Theater, starring in “The Seagull, ” “The Cherry Orchard” and Camille. Ben-Ami starred in “Hamlet” and “Abe Lincoln in Illinois” in Yiddish in South America, played Willie Loman in a South African production of “Death of a Salesman, ” and appeared in an English-speaking version of “The World of Sholom Aleichem” in Chicago. He played for nine seasons in Buenos Aires, appeared at the Forum in Lincoln Center, and was in Isaac Bashevis Singer’s “In My Father’s Court” at the Folksbiene’Playhouse in 1971. From time to time Mr. Ben-Ami would attempt to revive a serious Yiddish troupe, but as he grew older he was satisfied with his many appearances in Yiddish productions mounted by others. Ben-Ami married Slava Estrin, an actress who translated plays from German, Russian and Polish into Yiddish. She died in 1966. The couple had one son, Amon, a textbook illustrator who lives in New York. Ben-Ami is also survived by a nephew, Paul Warren, and a niece, the actress Jennifer Warren. A funeral service will be held at 11 A. Tomorrow at Park West Chapel, 115 West 79th Street. [1][2] Immensely popular with Russian audiences, the work received numerous stagings throughout the Russian speaking world in the two decades after its premiere, and then later enjoyed a resurgence of popularity in the 1970s and 1980s in Russian theaters. [2] The work is still part of the dramatic repertory in Russian speaking countries. [2] While well-liked by the public, critical reaction to the work was initially negative in Russia. [1] Set inside a circus within a French city, the play’s main character is a mysterious 39-year-old stranger (referred to as “He”) whose name is never revealed to the audience. [1] “He” is fleeing a failed marriage and joins the circus as a clown. [1][3] That production used an English language translation of the original Russian by the psychoanalyst Gregory Zilboorg which was first published in 1921. [4] The play has been staged in multiple languages internationally, but is most often performed in English outside of Russia. [1] A 1944 English translation made for The Old Vic by Judith Guthrie reduced the structure of the play to two acts instead of four. [5] This version was used for the 1946 Broadway revival, the 1947 West End production, and several other stagings in the United States and United Kingdom during the 20th century. Composition and performance history in Russian. International performances in other languages. Photograph of Margalo Gillmore (Consuelo) and Louis Calvert (Baron Regnard) in the 1922 Broadway production. Roles, Original Broadway cast. Original Broadway cast, [3]. January 9, 1922 – May 20, 1922. “He”, mysterious stranger (sometimes modified to “Funny”). “Gentleman”, mysterious stranger and acquaintance of “He”. Consuelo, a horseback rider. Baron Renyard, wealthy patron. Count Mancini, Consuelo’s father. Papa Briquet, owner of the circus. Zinida, a lion tamer. Alfred Bezano, jockey and Consuelo’s lover. Richard Bennett as “He” (left) & Louis Calvert as Baron Regnart (right) in the 1922 Broadway production. The action takes place within circus in a large city in France. [1] In the opening scene a mysterious man, “He”, approaches the circus performers and requests to join the toupe as a clown. Uncertain, the circus members recognize that the man is well educated and cultured by his speech and manner, but believe he may be an alcoholic. To win their approval, “He” suggests that his part in the circus act could be receiving slaps from the other clowns, and that his circus name could be “He Who Gets Slapped”. [1] Andreyev’s script, keeps the audience guessing over the identity of “He”, and information is divulged in piecemeal over the course of the play’s four acts. [1] This construct keeps the psychological aspects of the play at the center, as the audience is constantly trying to figure out what is motivating the central character. In the first act, Papa Briquet, the owner of the circus, asks to see “He”‘s identification in order to register his employment with the government. “He” discloses his name into Papa Briquet’s ear, without revealing it to the audience. [1] The reaction of the circus owner reveals that “He” is famous and respected, but the audience gains no further knowledge of the character other than he is 39 years old. In the second act, “He” is an established clown in Briquet’s circus and his act has been a huge success, bringing financial prosperity to the circus troupe. However, the other performers warn “He” against talking too much about controversial political and religious topics during his act. At the end of this act a second mysterious man, known only as the “Gentleman”, arrives. It is revealed that the “Gentleman”, a former close friend of “He”, is the cause of “He”‘s marital problems, as the “Gentleman” had an affair with “He”‘s wife and they now have a son. [1] The Gentleman in hopes of repairing their relationship has been searching all over Europe for “He” for months, as his friend disappeared mysteriously after leaving an angry letter. In the third act, it is revealed that the “Gentleman” is now married to “He”‘s former wife, and that he wrote a highly successful book about his affair with her that has made the “Gentleman” rich and famous. The Gentleman appears regularly in the press with his wife and son. “He” vows never to return to his former life, and the Gentleman leaves. [1] “He” focuses his attention on Consuelo, and makes an unsuccessful attempt to sabotage her engagement to Baron Regnard. In the fourth act, “He” poisons Consuelo in order to prevent her from marrying Baron Regnard and she dies. Mancini commits suicide in despair. Consumed by guilt, “He” takes the poison as well and dies. Photograph of Margalo Gillmore, Frank Reicher and Richard Bennett in the 1922 Broadway production of He Who Gets Slapped. In a letter to S. Goloushev of September 10, 1915. Leonid Andreev writes: “Since August 17-18, among the pains and other things, I sat down to work, ” and names among other works completed during this time “He Who Gets Slaps” – a large 4-act play for the Drama Theater. It will be great to play and watch! [2] The initial staging of the play at the Moscow Drama Theater was very important to Andreev: in the fall of 1915 he specially came to Moscow to be present at the rehearsals, and even earlier he wrote a number of letters to some actors of this theater, in which he gave detailed explanations of the play. [2] He pays particular attention in his comments to the character of Consuelo. In a letter to the actress E. Polevitskaya September 28, 1915, he stressed that the disclosure of his one of the most important tasks of the artist and director: to show the goddess under the tinsel jockey and acrobat. The work premiered at the Moscow Art Theatre on October 27, 1915 to tepid critical reviews, but tremendous popularity with audiences who applauded continuously through fourteen curtain calls. [2][1] The production marked the professional debut of lauded Russian actress Faina Ranevskaya who portrayed one of the smaller roles. [2] The Alexandrinsky Theatre staged the work the following month (premiere November 27, 1915) in a staging by Nikolai Vasilyevich Petrov. [2] Numerous productions of the work were presented in Russia and Estonia over the next two decades, including performances in Kiev, Syzran, Voronezh, and Tallinn among others. The play received a resurgence of popularity in the Russian speaking world in the 1970s and 1980s, with productions mounted at the Russian Theatre, Tallinn, Saint Petersburg Lensoviet Theatre, and the Russian Army Theatre among others. [2] In 2002, visiting Finnish director Raija-Sinikka Rantala staged the play at the Moscow Art Theater. The title role was played by Viktor Gvozditsky, to whose 50th anniversary the premiere of the play was timed. [2] In 2020, Moscow director Natalia Lyudskova staged the play at the Pushkin State Drama Theatre Kursk. Swedish actor Gösta Ekman as “He” in 1926. In 1919 the play was given its first staging in France at the Théâtre des Arts in Paris. The production was directed by Georges Pitoëff who also wrote the French language translation of the play. His wife, Ludmilla Pitoëff, portrayed Consuelo in the production. [6] That same year the play had its United States debut in the Yiddish language with Jacob Ben-Ami as “He” at The New Yiddish Theater (in Yiddish, Dos Naye Yidisher) in New York City. [7][8] Ben-Ami would go on to perform the role in Yiddish and English in multiple production in the United States and Canada into the 1930s, including a 1929 production at the Cleveland Play House which became entangled in a highly publicized labor dispute. In March 1921 an American magazine, The Dial, published an English-language translation of the play by the psychoanalyst Gregory Zilboorg after his translation drew the attention of the magazine’s editor, the poet Marianne Moore. [10] Well received, that translation has been republished 17 times since that initial publication. [10] That translation was used for what was billed as the United States premiere (but really the English language premiere) of the play on January 9, 1922 at Broadway’s Garrick Theatre. [11] It remained there until February 13, 1922, when it transferred to the Fulton Theatre for performances through May 20, 1922. [3] The production then moved back to the Garrick Theatre, where it continued to play through September 30, 1922, closing after a total of 308 performances. [12] Starring Richard Bennett, the production earned glowing reviews in The New York Times. Following the Broadway production, producer Sam H. Harris mounted a national tour of the production which was directed by Joseph Gaites and was headlined once again by Richard Bennett. [13] Among the tour’s stops were the Hollis Street Theatre in Boston in November 1922;[13] a 10 week run at the Playhouse Theatre (now Fine Arts Building) in Chicago in December 1922 through February 1923;[13] and the Auditorium Theatre in Baltimore in October 1923. [14] Several more stagings of the play in English followed, including a productions at the Le Petit Theatre du Vieux Carre in New Orleans (1924). [10] The work was regularly staged in American regional theaters during the 1920s and 1930s when Andreev was at his height of popularity in the United States; during which time his works were banned in the Soviet Union. In 1926 the Austrian premiere was given at the Modernes Theater Wien in Vienna in 1926. [15] That same year the play was mounted for the first time in the United Kingdom at the Birmingham Repertory Theatre with Stanley Lathbury as “He”, Ralph Richardson as “Gentleman”, Muriel Hewitt as Consuella, Alan Howland as Polly, and Edward Chapman as Tilly using an English language translation by Gertrude Schurhoff and Sir Barry V. Jackson; the latter of whom directed the production. [16] In 1927 the play was mounted in London for the first time at the Everyman Theatre in Hampstead with Milton Rosmer as “He”, Frederick Lloyd as “Gentleman”, Gabrielle Casartelli as Consuelo, Dorie Sawyer as Zinida, Godfrey Baxter as Alfred Bezano, and Brember Wills as Mancini. In 1929 it was staged at the Oxford Playhouse for the first time. [17] In 1952 that theater mounted the work again in a celebrated revival directed by Oliver Marlow Wilkinson with David March as “He”, Susan Dowdall as Consuelo, John McKelvey as Briquet, Hugh Manning as Count Mancini, Mary Savidge as Zinida, and Ronnie Barker as Polly. In 1944 the played was staged at the Liverpool Playhouse by The Old Vic whose players had relocated to Liverpool from London during World War II due to The Blitz. Directed and produced by Tyrone Guthrie, it used a new English language translation divided into two Acts instead of four by Guthrie’s wife, Judith Guthrie, and was performed under the title “Uneasy Laughter”. The character of “He”, played by Old Vic’s director Peter Glenville, was renamed Funny in this version. Other cast member included Audrey Fildes as Consuelo, Eileen Herlie as Zinida, Arnold Marlé as Briquet, Noel Willman as Count Mancini, Scott Forbes as Bezano, Percy Heming as Jackson, and Henry Edwards as Baron Reynard. Both Guthries were utilized again for a Broadway revival staged by The Theatre Guild in 1946. The production starred John Abbott as Count Mancini, John Wengraf as Baron Reynard, Susan Douglas Rubes as Consuelo, Stella Adler as Zinaida, Wolfe Barzell as Papa Briquet, Reinhold Schünzel as Baron Regnard, Russell Collins as Jim Jackson, and John M. O’Connor as Polly. [21] Douglas won a Donaldson Award for her portrayal. In 1947 the play was staged for the first time in London’s West End at the Duchess Theatre under the artistic direction of Robert Helpmann and Michael Benthall; once again using Guthrie’s two act version of the play. Helpmann portrayed Funny (“He”), with Audrey Fildes as Consuelo, Margaret Diamond as Zinida, Arnold Marlé as Briquet, Ernest Milton as Count Mancini, Leonard White as Bezano, Stanley Ratcliffe as Jackson, Alfie Bass as Tilly, Peter Varley as Polly, and Basil Coleman as “Gentleman”. In 1951 the play was mounted using Guthrie’s adaptation at the Watergate Theatre, London with Brian Cobby as Bezano. [24] In 1952 literary critic Peter Bayley directed a production of the play for University College Players starring a young Maggie Smith as Consuelo. [25] In 1958 a second national tour starring Alfred Drake as “He” toured the United States. [26] In 1964 the Hampstead Theatre staged the work with Vladek Sheybal as “He”, Tristram Jellinek as Mancini, and Jo Maxwell Muller as Consuelo. [27] In 1985 the play was staged at the Riverside Studios. In 1995 the Hudson Theater won an Ovation Award for their production of the play which was directed by Dan Shor and starred Bud Cort as “He”. [29] A critically acclaimed production directed by and starring Yuri Belov with a new English translation by Belov was staged at the Ivy Substation in Culver City, California in 1997. Margalo Gillmore (centre, seated) as Consuelo, Helen Westley (Zinida), Philip Leigh and Edgar Stehli (Tilly and Polly, musical clowns) in the 1922 Broadway production. The first two productions, both Moscow and Petrograd, were, according to theater chronicles and recollections of contemporaries, a great success with the audience. [2] The actor llarion Nikolaevich Pevtsov in the leading role of “He” in both productions was praised universally by critics and audiences. [2] However, criticism was mostly negative about the play at the time of its premiere with the playwright being accused of “hodgepodge” and “derivation”. [2] Russian critic Alexander Kugel, who usually championed Andreev’s plays, gave a cold review of the play, reproaching the author’s lack of clear thought, which is replaced here by many contradictory “ideas”, and the abuse of external stage effects. Goloushev was more complimentary of the play and speaks of “He” as a role that requires a tragic actor of Chaliapin’s scale for its performance. In his article he points to the essential conflict underlying this drama-a masquerade where everyone’s mask is fused to his skin… “He” is again a Man with a capital letter, and again next to him is a gentleman, a man of little h. Again a clash of personality and crowd, of greatness of spirit and vulgarity. The personality is defeated. Everything he had lived with has been taken from him. The Russian poet Fyodor Sologub was one of the work’s champions. In his analysis the main character “He” is revealing of the clear outlines of an ancient myth under the guise of reality we are experiencing. Thoth, is an envoy of another, higher world, the Creator of ideas, who descended to the circus arena, again took on his humiliated appearance, a rabbit’s eyesight, voclauned, to again accept the sourdough. Consuella is the daughter of the people, the soul of simple-minded humanity, the charming Psyche… And the eternal story of the innocent soul, seduced by the eternal Defiler, is repeated. Current assessment of He Who Gets Slapped among Russian writers is much more positive, with scholars on Andreev contending that initial criticism misinterpreted the nature of conventionality in Andreev’s writing. [2] Contemporary playwright Victoria Nikiforova notes: Leonid Andreev’s play should appeal to lovers of indie melodramas and Emmerich Kálmán’s operettas. He Who Gets Slapped anticipated the plot of Die Zirkusprinzessin ten years earlier and the heated atmosphere of Seeta Aur Geeta by fifty. Critical assessment in the US was positive from its initial presentation in English in 1922. [1] Russian studies academic Frederick H. White writes, Andreev’s play about betrayal and revenge, seemingly, struck a chord with modern industrial America, during the unscrupulous Gilded Age of robber barons and a period of great social change due to a rapidly increasing immigrant population, a period in American history when the circus crisscrossed the country providing a vivid cultural window into this era’s complex and volatile web of historical changes. File:He Who Gets Slapped (1924). He Who Gets Slapped (full film). 1915, Russian film He Who Gets Slapped is released. 1924, American film He Who Gets Slapped is released by MGM. Carlin’s novel He Who Gets Slapped is published. 1926, Swedish film He Who Gets Slapped is released. 1956, Robert Ward and Bernard Stambler’s opera He Who Gets Slapped premieres at Lincoln Center. 1961, a television film for The Play of the Week starring Richard Basehart and Julie Harris[34]. 1971, an Off-Broadway musical adaptation entitled Nevertheless, They Laugh by composer Richard Lescsak and writer LaRue Watts is mounted at the Lamb’s Theatre in New York city with stars David Holliday and Bernadette Peters. Acob Ben-Ami was born on 23 December 1890 in Minsk, Belarus. His father was a house painter. He studied in a cheder and completed his education in a private school. After that he became an extra in a theatre. From his very early age he had a strong interest in the theatre. As a small boy he sang with various cantors and often, together with other choir boys, would be taken to sing behind the curtains in Russian theatre. When he was seventeen years old he was given walk-on roles with the Russian State Theatre (directed by Chernov and later by Belyiev). The following season he became the leader of the walk-on actors and still later he was given larger roles, some with talking parts. In the summer of 1908, he traveled with the Sam Adler-Meerson troupe as an understudy. After five months Ben-Ami was given the opportunity to play some minor roles. However, Adler had to let him go, telling him that he would never be an actor. Ben-Ami joined Mitleman’s troupe where he was given larger roles. After that, when both troupes amalgamated, Ben-Ami performed with them for a year. In Odessa, he met Peretz Hirshbein and helped him found the first Yiddish Dramatic Theatre (See Hirshbein troupe). There he both acted and directed. When this troupe disbanded, Ben-Ami directed for a short while in Vilna for the Yiddish Dramatic Amateur Circle. Later, this group became the nucleus for the Vilna Troupe. In 1912 Ben-Ami was invited to London to be the director and leading actor in the dramatic presentations of Feinman’s Artistic Temple Feinman’s Yiddish People’s Theatre – ed. After four months, however, the theatre was closed down. Ben-Ami was then invited to America to join Sarah Adler’s troupe, where Schildkraut was performing at the time. There Ben-Ami performed in “The Green Maiden, ” but this theatre too closed down in the middle of the season. Ben-Ami then became a member of the actor’s union, and in 1913 he was contracted to Thomashefsky where he acted in Dymow’s “Eternal Wanderer” under the direction of the author. In 1914 Ben-Ami toured with Keni Lipzin. In the spring of that year, he appeared at the Neighborhood Playhouse, with a group of amateurs in three one-act plays by I. In 1915, Ben-Ami signed on once more with Thomashefsky who assigned him very few roles over the next two years. He then joined Lieberman’s theatre where he played in a melodramatic repertoire directed by Weintraub. There he created the character “Note vasertreger” in Kalmanowitz’s A Mother’s Worth. In 1917 Ben-Ami signed on with Schwartz’s Irving Place Theatre, where they presented Pinski’s “Love’s Strange Ways” and Hirshbein’s “Faraway Corner, ” which became the hallmark of this theatre. The theatre had two names: In Yiddish, “The New Yiddish Theatre” (Dos naye yidisher teater), and in English, “The Jewish Art Theatre” (this name was bestowed on it by Emanuel Reicher). The repertoire of this theatre was: Hirshbein’s, “Puste kretchme” (Empty Shops), “Grine felder” (Green Fields); various one-act plays by Sholem Asch; “Mit’n shtrom” (With the Stream) by Sholem Aleichem; “Mentshn” (People), also, Pinski’s “Shtumer moshiakh” (The Silent Messiah), Dymow’s “Bronx Express, ” Hauptmann’s “Eynzame mentshn” (Lonely People), Tolstoy’s “Macht fun finsternish” (The Power of Darkness), and a reworked version of Sven Lang’s Samson and Delilah. Later he performed with the British Theatre Guild as an actor and director. Gorin: Happenings in the Yiddish Theatre, Vol. Entin: A yunge aktyor in a groyse role (a young actor in a great role), Di varhayt, October 6, 1917. Waiter’s Shtumer (The Silent Ones) in nayem yidishn teater (New Yiddish Theatre). Di naye velt, New York, April 16, 1920. Koralnik: Shildkroyt and Ben-Ami, in Der tog, November 21, 1920. Loel Slonim – Ben-Ami derzeylt vi er hot gefilt bay zany ershtn oyftrit oyf der englisher bine (Ben-Ami tells how he felt when he first appeared on the English language stage). Mukdoni – “Teater” (Theatre), New York 1927, pp. Jacob Mestel – “Zeks koyln tzaychnungen (Six charcoal drawings)”, Yiddish Theatre, Warsaw 1927. Kumner -Zichroynes vegn der hirshbayn troupe (Memories of the Hirshbein troupe), teater zichroynes (theatre memories), edited by Z. Zilbertzveig, Vilna, 1928, pp. Shames – Yaakov Ben-Ami vegn yidishn teater in amerike (About Yiddish Theatre in America), “Lit-bal”, Vol. Abba Lillian – “Samson and Delilah” “Yidishe vilne”, Philadelphia, June 5, 1924. Parker- Jacob Ben-Ami and Berta Gertman “Dos yidisher vort” (The Yiddish Word), Winnipeg, May 28, 1926. Koralnik – David Warfield–Ben-Ami, “Der tog” N. Buchwald – Ben Ami’s Triumph in Samson and Delilah, Frayhayt, October 8, 1926. Malach – Yaakov Ben-Ami un zayn yidishe kunst teater (Jacob Ben-Ami and his Yiddish Art Theatre), Di prese, Vol. Buchwald – Vos Ben-Ami and the players created in Leivik’s “Shop”, Frayhayt, Vol. Glantz – “Shop”, Der tog, Dec. Cahan – A naye piese in irving pleys teater (A New Play in the Irving Place Theatre) “Shop”, Forward, Dec. Buchwald – Leyvik’s sotziale drama in an umgeveyntlicher oyffirung (Leyvik’s social-drama in an unusual presentation), Frayhayt, Dec. Frumkin – Samson and Delilah in Irving Place Theatre, Der tog. Mukdoni – “Di shif mit tzadikim” (The Boat of the Righteous), Tog zhurnal, N. Cahan – Yevrayenov’s New Play in the Irving Place Theatre, Forward, September 21, 1926. Frumkin – “Di shif mit tzadikim” A beautiful, interesting theatrical play, Der tog, September 24, 1926. Pompadour – Drama-ayn, drama-oys (drama in and drama out) “kunst” (art), N. Mukdoni — Samson and Delilah, October 23, 1926. Volyhiner- Eyndruckn fur yidishn teater-fortshrit Impressions of the Yiddish Theatre. Cahan – Berkovitch’s new drama in the Irving Place Theatre, Forward, Nov. Shachne Epstein – A Literary Melodrama with an allusion to something more, Frayhayt, Nov. Pompadour – “Fun yener velt”, Kunst, Nov. Mukdoni – “Fun yener velt”, Yidishe teater, Nov. Kesner – “Fun yener velt”, Yidishe teater, Nov. Glantz – “Fun yener velt”, Der tog, Nov. Funeral services were held here yesterday for Jacob Ben-Ami, one of the best known actors of the Yiddish stage. He died Friday at the age of 86. Ben-Ami, who performed with equal skill in both English and Yiddish, had a long distinguished career appearing in plays by Yiddish, American, British and Russian playwrights on tours in Europe, South Africa, South America and the United States. He was last seen on the stage in 1972 in a production of “Yoshe Kalb” staged at the theater on Second Avenue and 12th Street on the East Side where he had appeared with Maurice Schwartz in 1918 in what was then the Irving Place Theater. Born in Minsk, Ben-Ami fell in love with the theater early. But he found the Yiddish theater too superficial and wanted to change it by learning from the Russian theater. He appeared in small repertory companies in Minsk but rejected a chance to join the renowned Moscow Art Theater because it would have meant converting from Judaism. Ben-Ami immigrated to the U. In 1921 and worked with some amateur groups before joining Schwartz in 1918. Ben-Ami, who wanted more modern and realistic dramas than the melodramas and comedies popular with Yiddish audiences, broke with Schwartz and founded the Jewish Art Theater where for years he presented plays by such authors as Sholom Aleichem, Tolstoy and Gerhart Hauptmann. He appeared in several Broadway productions but in only one real hit, Paddy Chayefsky’s “The Tenth Man, ” which opened in 1959 and in which he played the grandfather. Ben-Ami’s long stage career began in his native Minsk, Belorussia, before he was a teenager. After traveling with many Yiddish acting companies through Eastern Europe, Ben-Ami went to the United States in 1912 to appear with Rudolf Schildkraut and Sarah Adler in Yiddish plays. In 1918, together with Maurice Schwartz, he founded the Yiddish Art Theater in New York. Ben-Ami’s reputation as an actor and director grew, and in 1920 he made his English-language acting debut in Samson and Delilah, a drama written by a Dane, Sven Lange, that Ben-Ami had played and directed in Yiddish in New York and in Russia. The following year he made his Broadway debut in Peretz Hirshbein’s The Idle Inn, and many leading roles followed. Ben-Ami played more parts on the English-speaking stage than on the Yiddish, but he did not appear in a commercial success until almost 40 years later, when he played a grandfather in Paddy Chayefsky’s The Tenth Man (1959). In the interim, Ben-Ami toured extensively in South America, in South Africa, and in the United States where he did Yiddish plays and Yiddish translations of Russian, European, and American plays. This item is in the category “Collectibles\Autographs\Celebrities”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Industry: Celebrities
  • Signed: Yes

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

MADGE EVANS CHILD ACTOR AUTOGRAPH ORIGINAL PHOTO SIGNED 1920s VINTAGE

madge
MADGE EVANS CHILD ACTOR AUTOGRAPH ORIGINAL PHOTO SIGNED 1920s VINTAGE
MADGE EVANS CHILD ACTOR AUTOGRAPH ORIGINAL PHOTO SIGNED 1920s VINTAGE

MADGE EVANS CHILD ACTOR AUTOGRAPH ORIGINAL PHOTO SIGNED 1920s VINTAGE
A FANTASTIC VINTAGE ORIGINAL PHOTO OF MADGE EVANS, SILENT SCREEN CHILD ACTRESS. PHOTO MEASURING APPROXIMATELY 8X10 INCHES. Madge Evans was an American stage and film actress. She began her career as a child performer and model. Born as Margherita Evans, Madge Evans was featured in print ads as the’Fairy Soap girl’ as an infant. She made her professional debut at the age of six months, posing for artist’s models. As a youth, her playmates included Robert Warwick, Holbrook Blinn, and Henry Hull. When she was four years old, Evans was featured in a series of child plays produced by William A. She worked at the old Long Island, New York movie studio. Her success was immediate, so much so that her mother loaned her daughter’s name to a hat company. Evans posed in a mother and child tableau with Anita Stewart, then 16, for an Anheuser-Busch Brewing Company calendar, and as the little mountain girl in Heidi of the Alps. At the age of 8 in 1917, Evans appeared in the Broadway production of Peter Ibbetson with John Barrymore, Constance Collier and Laura Hope Crews. Some of her best work in plays came in productions of Dread, The Marquis, and The Conquering Male. Her last appearance was in Philip Goes Forth produced by George Kelley. Evans’ mother took her to England and Europe when she was 15. As a child film actress Evans had quite a prolific career appearing in dozens of films. In 1914 aged 5 she appeared with Marguerite Clark in Seven Sisters, a film with a large female ensemble that had been played on stage with Clark’s rival Mary Pickford and Laurette Taylor in the cast. In 1915 she was with Robert Warwick in Alias Jimmy Valentine, a still extant film that has seen release on home video/dvd. At 14 she was the star of J. Stuart Blackton’s rural melodrama On the Banks of the Wabash. She co-starred with Richard Barthelmess in Classmates. Madge Evans, a popular actress who frequently portrayed the cleancut, decent American woman in films and on stage during the 30’s, died of cancer Sunday night at her home in Oakland, N. Where she had lived for many years with her husband, the playwright Sidney Kingsley. She was 71 years old. Miss Evans appeared in such films as”The Greeks Had a Word for Them” (1932),”Dinner at Eight” (1933),”Stand Up and Cheer” (1934),”David Copperfield” (1935) and”Pennies from Heaven” (1936). On Broadway, she played in”Daisy Mayme” (1926),”Our Betters” (1928),”Philip Goes Forth” (1931),”Here Come the Clowns” (1938) and”The Patriots” (1943), which was written by Mr. The actress was born on the West Side of Manhattan on July 1, 1909, and first appeared professionally in an advertisement, as a child model perched on a huge bar of Fairy Soap. While modeling, she was spotted as a potential child star. At the age of 5, she appeared in a silent-film version of”The Sign of the Cross” with William Farnum. By 6, she had acted in 20 films made in studios in Fort Lee, N. At 15, Miss Evans was seen in”Classmates,” a film with Richard Barthelmess. In 1926, she made her first stage appearance in”Daisy Mayme” and thereafter her career alternated between films and Broadway. The handsome young actress appeared in films with such stars as Spencer Tracy, Bing Crosby, Warner Baxter, John and Lionel Barrymore, James Cagney, Al Jolson, Robert Young, Lee Tracy, Richard Dix and Robert Montgomery. Dig deeper into the moment. While in”Brief Moment” at the Ogunquit Playhouse in 1939, the 30-year-old actress was married to Mr. Kingsley said recently, she devoted much of her time to helping him with the research and writing of his plays. He described her as his collaborator in the theater in every sense. Madge Evans (born Margherita Evans; July 1, 1909 – April 26, 1981) was an American stage and film actress. [1] She began her career as a child performer and model. Child model and stage actress. Born in Manhattan, [2] Madge Evans was featured in print ads as the “Fairy Soap girl” when she was two years old. [3] She made her professional debut at the age of six months, posing as an artist’s model. She worked at the old movie studio in Long Island, New York. Madge Evans (center) in the Broadway production of Peter Ibbetson (1917). Evans as a child actress with William T. Carleton in Home Wanted (1919). At the age of 8 in 1917, Evans appeared in the Broadway production of Peter Ibbetson with John Barrymore, [3] Constance Collier and Laura Hope Crews. Some of her better work in plays came in productions of Dread, The Marquis, and The Conquering Male. As a child, Evans debuted in The Sign of the Cross (1914). [3] She appeared in dozens of films, including with Marguerite Clark in The Seven Sisters (1915). She was featured with Robert Warwick in Alias Jimmy Valentine (1915). At 14, she was the star of J. Stuart Blackton’s rural melodrama On the Banks of the Wabash (1923). She co-starred with Richard Barthelmess in Classmates (1924). She was working on stage when she signed with Metro Goldwyn Mayer in 1927. As with theater, she continued to play ingenue parts, often as the fiancé of the leading man. She played the love interest to both Al Jolson and Frank Morgan in the 1933 film Hallelujah, I’m a Bum. Working for MGM in the 1930s, she appeared in Dinner at Eight (1933), Broadway to Hollywood (1933), Hell Below (1933), and David Copperfield (1935). In 1933, she starred with James Cagney in the melodrama The Mayor of Hell. Other notable movies in which she appeared are Beauty for Sale (1933), Grand Canary (1934), What Every Woman Knows (1934), and Pennies From Heaven (1936). In 1960, for Evans’ contribution to the motion picture industry, she was honored with a star on the Hollywood Walk of Fame located at 1752 Vine Street. In York Village, Maine on July 25, 1939, she married playwright Sidney Kingsley, [5] best known for his plays Dead End and Detective Story. The couple owned a 250-acre (1,000,000 m2) estate in Oakland, New Jersey. Following her marriage to Kingsley, Evans left Hollywood and moved to this home in New Jersey. Later, she worked in radio and television in New York City. [citation needed] She was also a panelist on the 1950s version of Masquerade Party. Evans died at her home in Oakland, New Jersey from cancer in 1981, aged 71. Child locked in vault. Jean as a child. The Little Church Around the Corner. The Devil’s Toy. Georgia Gwynne as a child. The Web of Desire. Francine at age 7. Mary Brian at age 8. The Gates of Gladness. Young Nan as a girl. Ruth Le Page as a child. Nedda Trevor as a child. The Power and the Glory. On the Banks of the Wabash. First film for MGM. The Greeks Had a Word for Them. Hallelujah, I’m a Bum. The Mayor of Hell. Stand Up and Cheer! Death on the Diamond. What Every Woman Knows. The term child actor or child actress is generally applied to a child acting on stage or in motion pictures or television, but also to an adult who began their acting career as a child. To avoid confusion, the latter is also called a former child actor. Closely associated is teenage actor or teen actor, an actor who reached popularity as a teenager. Many child actors find themselves struggling to adapt as they become adults, mainly due to typecasting. Macaulay Culkin and Lindsay Lohan are two particular famous child actors who eventually experienced much difficulty with the fame they acquired at a young age. Many child actors also become successful adult actors as well, a prime example of this being Jodie Foster, who was 12 years old in the film Taxi Driver in 1976 and went on to become an adult star with variety of films including The Silence of the Lambs (1991). In the United States, the activities of child actors are regulated by the governing labor union, if any, and state laws. Some projects film in remote locations specifically to evade regulations intended to protect the child. Longer work hours or risky stunts prohibited by California, for example, might be permitted to a project filming in British Columbia. US federal law specifically exempted minors working in the Entertainment Business from all provisions of the Child Labor Laws. Any regulation of child actors is governed by disparate state laws. Due to the large presence of the entertainment industry in Hollywood, the state of California has some of the most explicit laws protecting child actors. Being a minor, a child actor must secure an entertainment work permit before accepting any paid performing work. Compulsory education laws mandate that the education of the child actor not be disrupted while the child is working, whether the child actor is enrolled in public school, private school or even home school. The child does their schoolwork under the supervision of a studio teacher while on the set. In the United Kingdom, a child actor is defined as someone under school leaving age. [1][2] A child requires three hours minimum of tutoring daily and a lesson must be a minimum of 30 minutes to count towards the total and with regards to 16 and 17-year-olds in further education, considerations are made in regards to their studies. There are regulations and guidance to safeguard all actors under the age of 18; OFCOM guidance states a child’s health and safety, wellbeing and welfare is paramount in television production and factors such as their age, maturity and life experiences can affect their performance. [4] OFCOM also advises that broadcasters undertake risk assessments, consider seeking expert advice and follow best practise. Jackie Coogan earned millions of dollars from working as a child actor only to see most of it squandered by his parents. In 1939, California weighed in on this controversy and enacted the Coogan Bill which requires a portion of the earnings of a child to be preserved in a special savings account called a blocked trust. Also criticize the parents of child actors for allowing their children to work, believing that more “normal” activities should be the staple during the childhood years. Observe that competition is present in all areas of a child’s life-from sports to student newspaper to orchestra and band-and believe that the work ethic instilled or the talent developed accrues to the child’s benefit. The child actor may experience unique and negative pressures when working under tight production schedules. Large projects which depend for their success on the ability of the child to deliver an effective performance add to the pressure. Ethel Merman, who several times worked in long-running stage productions with child actors, disliked what she eventually saw as their overprofessionalization – “acting more like midgets than children” – and disapproved of parents pushing adulthood on them. This section possibly contains synthesis of material which does not verifiably mention or relate to the main topic. Relevant discussion may be found on the talk page. (May 2019) (Learn how and when to remove this template message). Jodie Foster in 1974. There are many instances of troubled adult lives due to the stressful environment to which child actors are subjected. It is common to see a child actor grow up in front of the camera, whether in films, television shows or both. However, it is not uncommon to see child actors continue their careers throughout as actors or in a different professional field. Jodie Foster started acting at age three, becoming the quintessential child actor during the 1970s with roles in films such as Tom Sawyer (1973), Alice Doesn’t Live Here Anymore (1974), Taxi Driver (1976), Bugsy Malone (1976), The Little Girl Who Lives Down the Lane (1976), and Freaky Friday (1976). A child prodigy, Foster received her first Academy Award nomination at age 13 and later took a sabbatical from films to attend Yale University. She made a successful transition to adult roles, winning two Academy Awards for Best Actress before the age of 30, and starring in several successful and acclaimed films such as The Accused (1988), The Silence of the Lambs (1991), Nell (1994), Maverick (1994), Contact (1997), and The Brave One (2007), thus establishing herself as one of the most accomplished and sought-after actresses of her generation. Now adults, Daniel Radcliffe, Rupert Grint and Emma Watson, the three leads of the acclaimed Harry Potter film series (2001-11), starred in all the installments in the series, and have since continued to act in film, television, and theater in their early thirties. Her performance earned her a Screen Actors Guild Award nomination at age eight in 2002, making her the youngest nominee in SAG history. She later appeared in major Hollywood productions, in such acclaimed blockbuster films as Man on Fire (2004), War of the Worlds (2005), Charlotte’s Web (2006), Hounddog (2007), The Secret Life of Bees (2008), Coraline (2009), The Twilight Saga film series (2009-12), The Runaways (2010), and The Motel Life (2012). Fanning’s younger sister, Elle Fanning also rose to prominence as a child actress, having appeared in many films since before she turned three. Miranda Cosgrove, known mainly for her role on Drake & Josh as a child, gained more attention for her role as a teenager in the show iCarly. Since the end of the show she has been featured in other roles, including as the voice of Margo in the Despicable Me franchise. Once she was of age, she decided to pursue a college degree in film at the University of Southern California. Shirley Temple became a public figure and diplomat, beginning in the 1960s. Ambassador in countries such as Ghana and Czechoslovakia. Mary-Kate Olsen was treated for an eating disorder, deemed anorexia, but her twin sister remained less troubled. In an article with the magazine Marie Claire, Mary-Kate expressed the bittersweet nature of the twins’ childhood. “I look at old photos of me, and I don’t feel connected to them at all, ” she said. I would never wish my upbringing on anyone… But I wouldn’t take it back for the world. Since the beginning of her career at age 15 in 1999, Mandy Moore is one of the child stars to have success as an adult. Drew Barrymore started acting at age three. During her childhood she battled with drugs, but today she continues to act in films. Natalie Portman took a small break in acting to get a bachelor’s degree in Psychology from Harvard University before continuing her career as an actress. Rider Strong, known as “Shawn Hunter” in Boy Meets World, was educated at Columbia University and now runs a successful blog and published a graphic novel. [11] Neil Patrick Harris got his acting start in Doogie Howser, M. He continues to act in television, films and theater. Jonathan Lipnicki, known mostly for the Stuart Little films, now successfully competes in Brazilian jiu-jitsu. [11] Sara Gilbert is known for her role on Roseanne and is now successful as a talk show host on The Talk. Also from Rosanne, Michael Fishman continued to work in film, but behind the scenes and has since been nominated for an Emmy for the work he did in Sports Science. [11] Kirsten Dunst and Lacey Chabert both made the transition from a child actress to an adult actress with a rough patch including depression. After a stay in a rehabilitation center, Dunst was able to recover and continue her career. She proves that the pressures of growing up under the spotlight may not come without repercussions. Roddy McDowall, who had a long and distinguished career including as the regular star of the Planet of the Apes series; Micky Dolenz, who started his career as a child star in the 1950s, grew up to be a musician of the successful 1960s pop group The Monkees, which had its own successful television show; Ron Howard, who, in addition to being the star of both of the long running The Andy Griffith Show and Happy Days television series, became an Academy Award-winning director in adulthood; Elijah Wood, who continued his career successfully into adulthood starring as Frodo Baggins in The Lord of the Rings film series and starring as Ryan Newman in the television series Wilfred. Other child actors who have continued their careers into adulthood include Mandy Moore, Rose Marie, Hayley Mills, Ann Jillian, Johnny Whitaker, Kathy Garver, Tim Matheson, Bonnie Franklin, Melissa Gilbert, Danielle Brisebois, Erika Eleniak, Max Pomeranc, Christina Ricci, Shelley Fabares, Candace Cameron Bure, Karron Graves, Gaby Hoffmann, Hilary Duff, Molly Ringwald, Stacy Ferguson, Jennifer Love Hewitt, Lisa Whelchel, Sarah Michelle Gellar, Soleil Moon Frye, Melissa Joan Hart, Dean Stockwell, Kurt Russell, Fred Savage, Neil Patrick Harris, Michelle Chia, Shawn Lee, Joshua Ang, Aloysius Pang, Raven-Symoné and other Academy Award winners and nominees include; Mickey Rooney, Judy Garland, Scarlett Johansson, Jake Gyllenhaal, Joaquin Phoenix, Helen Hunt, Irene Cara, Reese Witherspoon, Hilary Swank, Christian Bale, Saoirse Ronan, Brie Larson, Regina King, Jennifer Lawrence, Emma Stone, Elizabeth Taylor, and Leonardo DiCaprio. Many actors’ careers are short-lived and this is also true of child actors. Many actors out of personal choice that start their careers as child actors decide not to pursue the same careers as adults, Shirley Temple became a public figure and diplomat. Peter Ostrum, appearing in his only role, the title character of Charlie Bucket in Willy Wonka and the Chocolate Factory became a large-scale veterinarian surgeon. Whilst Jenny Lewis, formerly of film Troop Beverly Hills in 1989, is a well-known singer-songwriter indie rock musician. In Poland, former child actors and identical twin brothers Lech and Jaroslaw Kaczynski became successful politicians, at one time Lech being President and Jaroslaw the Prime Minister. This item is in the category “Collectibles\Autographs\Movies”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Original/Reproduction: Original

MADGE EVANS CHILD ACTOR AUTOGRAPH ORIGINAL PHOTO SIGNED 1920s VINTAGE

Bill Nighy Autograph Signed Underworld 11×14 Photo Beckett Bas Coa Viktor

bill
Bill Nighy Autograph Signed Underworld 11x14 Photo Beckett Bas Coa Viktor

Bill Nighy Autograph Signed Underworld 11x14 Photo Beckett Bas Coa Viktor
The photograph was signed in person in New York City. The photograph has been authenticated by Beckett Authentication. The Beckett cert number is BH082012. This item is in the category “Entertainment Memorabilia\Autographs-Original\Movies\Photographs”. The seller is “simplybub” and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Iraq, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Kuwait, Liechtenstein, Benin, Algeria, Antigua and Barbuda, Italy, Swaziland, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Malta, Tajikistan, Vietnam, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Western Sahara, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, British Virgin Islands, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Luxembourg, Uganda, Brazil, Turkey, Tuvalu, Germany, Egypt, Latvia, Jamaica, Niue, South Africa, Brunei Darussalam, Honduras.
  • Industry: Movies
  • Movie: UNDERWORLD
  • Signed by: BILL NIGHY
  • Autograph Authentication: Beckett
  • Object Type: Photograph
  • Original/Reproduction: Original

Bill Nighy Autograph Signed Underworld 11x14 Photo Beckett Bas Coa Viktor

1991 Jazz Contract Signed Rare Nbc Autograph Wynton Marsalis Today Show

jazz
1991 Jazz Contract Signed Rare Nbc Autograph Wynton Marsalis Today Show

1991 Jazz Contract Signed Rare Nbc Autograph Wynton Marsalis Today Show
A GUEST CONTRACT FOR TODAY SHOW. SIGNED BY JAZZ LEGEND. ON 8.5X11 INCH PAPER. Wynton Learson Marsalis is an American trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. He has promoted classical and jazz music, often to young audiences. Successful jazz trumpeter Wynton Marsalis (born 1961) is America’s top modern purist of the genre. Influenced by the jazz artists from the early 1900s through the 1960s and annoyed with the music labeled “jazz” in the 1970s, Marsalis took on the mission of not only creating “true” jazz, but teaching its definition as well. Asuccessful jazz and classical musician and composer, Marsalis had won more than eight Grammy awards and released over 30 albums in both genres by the late 1990s. In 1997, he received the first Pulitzer Prize ever awarded for nonclassical music. He also co-founded and directed the ground-breaking jazz program at New York’s Lincoln Center, and became an influential jazz educator for America’s youth. Marsalis was born into a family of musicians on October 18, 1961, in New Orleans. His father, Ellis Marsalis, played piano and worked as a jazz improvisation instructor at the New Orleans Center for the Creative Arts. Before dedicating her life to raising her six sons, Dolores Marsalis sang in jazz bands. The second eldest child, Wynton’s older brother Branford set the stage as the family’s first musical prodigy. Branford Marsalis played both clarinet and piano by the time he entered the second grade, and eventually became a professional saxophonist. Wynton Marsalis didn’t follow his brother’s lead quite as diligently, however. When he was six years old, his father played with Al Hirt, who gave the young Marsalis one of his old trumpets. Wynton Marsalis made his performing debut at the tender age of seven when he played “The Marine Hymn” at the Xavier Junior School of Music. As a child, Marsalis didn’t take practicing the trumpet very seriously. He spent more time with his school work, playing basketball, and participating in Boy Scout activities. Discovered Influences in Two Genres. When Marsalis was 12, his family moved from Kenner, Louisiana, to New Orleans. When he listened to a recording by jazz trumpeter Clifford Brown, he was moved to take his trumpet seriously. “I didn’t know someone could play a trumpet like that, ” Marsalis later told Mitchell Seidel in Down Beat. Soon after, a college student gave Marsalis an album by classical trumpet player Maurice Andre, which also sparked his interest in classical music. Marsalis began taking lessons from John Longo in New Orleans, who had an interest in both genres, as well. “I hardly ever even paid him, ” Marsalis recalled to Howard Mandell in Down Beat, and he used to give me two-and three-hour lessons, never looking at the clock. Marsalis attended Benjamin Franklin High School in New Orleans, where he graduated with a 3.98 grade point average on a 4.0 scale. He became a National Merit Scholarship finalist and received scholarship offers from Yale University, among other prestigious schools. He also attended the New Orleans Center for the Creative Arts. At the age of 14, he won a Louisiana youth competition. This award granted him the opportunity to perform with the New Orleans Philharmonic Orchestra as a featured soloist. During his high school years, he played a variety of music with a number of groups, including first trumpet with the New Orleans Civic Orchestra, the New Orleans Brass Quintet, an a teenage funk group called the Creators, along with his brother Branford. In 1977, Marsalis won the “Most Outstanding Musician Award” at the Eastern Music Festival in North Carolina. Started Spreading the News. He went on to study music at the Berkshire Music Center at Tanglewood in Massachusetts, where he received their Harvey Shapiro Award for the outstanding brass player. He turned down the scholarship offers from Ivy League schools to attend New York’s Juilliard School of Music on full scholarship. While in school, he played with the Brooklyn Philharmonia and the Mexico City Symphony. He supported himself with a position in the pit band for Sweeney Todd on Broadway. In 1980, Art Blakey asked Marsalis to spend the summer touring with his Jazz Messengers. His performances began to attract national attention, and he eventually became the band’s musical director. While on the road with Blakey, Marsalis decided to change his image and began wearing suits to his performances. “For us, it was a statement of seriousness, ” Marsalis told Howard Reich in Down Beat. We come out here, we try to entertain our audience and play, and we want to look good so they can feel good. The following year, Marsalis decided to leave Juilliard to continue his education on the road. He played with Blakey and received an offer to tour with Herbie Hancock’s V. Marsalis jumped at the chance, as the V. Included bassist Ron Carter and drummer Tony Williams, who had both played with Miles Davis. “I knew he was only 19, just on the scene-it’s a lot to put on somebody, ” Hancock told Steve Bloom in Rolling Stone. But then I realized if we don’t hand down some of this stuff that happened with Miles, it’ll just die when we die. Marsalis performed throughout the United States and Japan with the V. And played on the double album Quartet. The increased attention led to an unprecedented recording contract with Columbia Records for both jazz and classical music. He released his self-titled debut album as a leader in 1981. Later that year, he formed his own jazz band with his brother Branford, Kenny Kirkland, Jeff Watts, and bassists Phil Bowler and Ray Drummond. His success didn’t go unnoticed in his hometown, either. New Orleans Mayor Ernest Morial proclaimed a Wynton Marsalis Day in February of 1982. Wynton Marsalis recorded one side of an album with his father Ellis and Branford Marsalis, called For Fathers and Sons. The other side was recorded by saxophonist Chico Freeman and his father Von Freeman. In 1983, Marsalis released jazz and classical LPS simultaneously. The recording and Marsalis received many comparisons to Miles Davis and other musicians of the 1960s. “We don’t reclaim music from the 1960s; music is a continuous thing, ” Marsalis explained to Mandell in Down Beat. We’re just trying to play what we hear as the logical extension. A tree’s got to have roots. He recorded his classical debut, Trumpet Concertos, in London with Raymond Leppard and the National Philharmonic Orchestra. In 1984, Marsalis set another precedent by becoming the first artist to be nominated or win two Grammy awards in two categories during the same year. Big Sounds in the Big Apple. He won another Grammy award in 1987 for his album Marsalis Standard Time Vol. During the same year, he co-founded the Jazz at Lincoln Center program in New York City. When the program began, Marsalis became the artistic director for the eleven-month season. As part of his contract, he had to compose one piece of music for each year. Despite his new position, he continued to record and tour in both jazz and classical music. He released Majesty of the Blues in 1989 and The Resolution of Romance in 1990. He dedicated the latter to his mother, and it included contributions from his father Ellis and his brother Delfeayo. “If you are really dealing with music, you are trying to elevate consciousness about romance, ” Marsalis explained to Dave Helland in Down Beat. Music is so closely tied up with sex and sensuality that when you are dealing with music, you are trying to enter the world of that experience, trying to address the richness of the interaction between a man and a woman, not its lowest reduction. Marsalis’ study of New Orleans styles resulted in a trilogy called Soul Gestures in Southern Blue in 1990. Describing the set, Howard Reich wrote in Down Beat, the crying blue notes of’Levee Low Moan,’ the church harmonies of’Psalm 26,’ the sultry ambiance of’Thick in the South’ all recalled different settings and epochs in New Orleans music. And yet the tautness of Marsalis’ septet, the economy of the motifs, and the adventurousness of the harmonies proclaimed this as new music, as well. Using history to create his present sound became Marsalis’ goal, along with exploring the rich tapestry of the different eras and styles of jazz. His first commission for the jazz program at Lincoln Center, In This House, On This Morning was performed in 1993. In it, he used the music of the African-American church as his primary inspiration. Evolved into Jazz Spokesman. In the fall of 1994, Marsalis announced that his septet had disbanded. However, he continued composing, recording, and performing. The following year, he produced a four-part video series called Marsalis on Music, which aired on PBS. In May of 1995, his first string quartet, (At the) Octoroon Balls debuted at the Lincoln Center. He continued to release classical works as well. He re-recorded the Haydn, Hummel, and Leopold Mozart concertos from Trumpet Concertos in 1994. Two years later, he released In Gabriel’s Garden, which he recorded with the English Chamber Orchestra and Anthony Newman on harp-sichord and organ. “I want to keep developing myself as a complete musician, ” Marsalis told Ken Smith in Stereo Review, so I take on projects either to teach me something new or else to document some development. With this new Baroque album, I felt that I’d never really played that music before with the right authority or rhythmic fire. ” Marsalis produced the Olympic Jazz Summit at the 1996 Olympics in Atlanta, and won 1996 Peabody Awards for both Marsalis on Music and for his National Public Radio Show “Wynton Marsalis: Making the Music. At the end of 1996, Time magazine named him one of America’s 25 Most Influential People. A major part of his influence went out to the country’s youth. When he’s not working on his own music, he traveled to schools across the country to talk about music in an effort to continue the tradition of jazz. “I’m always ready to put my own neck on the line for change, ” Marsalis told Lynn Norment in Ebony. No school is too bad for me to go to. I’ll try to teach anybody. We are all striving for the same thing, to make our community stronger and richer. That’s what the jazz musician has always been about. In April of 1994, his biggest piece, Blood on the Fields, had its debut performance at the Lincoln Center. Marsalis composed the oratorio for three singers and a 14-piece orchestra, and it described the story of two Africans, Leona and Jesse, who found love despite the difficulties of American slavery. “I wanted to orchestrate for the larger ensemble and write for voices-something I’d never done, ” Marsalis said to V. Peterson in a People magazine interview. I wanted to make the music combine with the words, yet make the characters seem real. With Blood on the Fields, Marsalis won the first non-classical Pulitzer Prize award in history. Because of his piece, the selection board changed the criteria from “for larger forms including chamber, orchestra, song, dance, or other forms of musical theater” to for distinguished musical composition of significant dimension. Columbia Records released the oratorio on a three-CD set in June of 1997. He followed the release with recordings of two other previously performed works on one album. His collaboration with New York City Ballet director, Peter Martins’ Jazz/ Six Syncopated Movements and Jump Start written for ballet director, Twyla Tharp, were both included on the record. Marsalis’ work in jazz and classical music combined with his often outspoken attitude toward musical integrity surrounded him with controversy throughout his career. Despite the criticism, his talent was never questioned. As Eric Alterman described in The Nation, he’s a man universally acknowledged to be a master musician and perhaps the most ambitious composer alive. Who gave you your first trumpet? I got my first trumpet when I was six from Al Hirt. My father was playing piano in his band, and as a Christmas present I received a trumpet – a LeBlanc. What influence did your father/mother have on your desire to become a musician? My father was an example to me, because of the type of integrity he had when he would play. I also liked the musicians that my father played with. They were always around: James Black the drummer, Nat Perlatt on saxophone. I liked Richard Payne the bass player, the great clarinetist Alvin Batiste. John Fernandez was a great trumpet player and a teacher. I didn’t like the music they played so much but I liked them. And I always liked to hang at the gigs and listen to them play and see what was going on. Also, for that whole generation of Southern musicians – like my father, like Alvin Batiste – playing the music was a stab against segregation. It was a matter of their identity, of their high-minded nature and of them as men. In their own way, it was a sign of protest against the environment they grew up in. Not just in terms of segregation of whites, because black people were also apathetic toward what they were playing. Some people considered it to be devil’s music, and others just considered it to be a waste of time. So they had certain defiance in their personality that I always could gravitate toward in life. My mama stayed on us about practicing. She took her time to take us to music classes and see that we received an education. So, in terms of discipline and investing her time and love and energy in us – she was always doing that for me and all my brothers. Did you always want to be a jazz musician or did you try other genres first? I always wanted to be a jazz musician because I liked the way that they played, but you couldn’t get a gig playing jazz. So I played funk gigs all the time with a band called Funky Creative. We used to play clubs, dances, proms. I joined the band when I was 12, and I played until I was 16. We’d work every weekend, and sometimes on the weekdays. We had one of the most popular bands in New Orleans, playing Top 40 cover songs. This was the 70’s, so everybody had their afro, bellbottom jeans, platform heeled shoes. We had the whole uniform – we had these jumpsuits and this all this crazy looking stuff. It took us an hour just to put our equipment up. Which artists have influenced you the most? A lot of jazz musicians like Monk, Duke, Miles, Charlie Parker, Dizzy, Jelly Roll Morton, Wayne Shorter. I listen to a lot of them and try to incorporate things that I like into my own style. Trumpet players such as Maurice Andre, Adolph Hofner, Cootie Williams, Ray Nance and Sweets Edison have all had an influence on my style. When I was in high school, Clark Terry influenced me a lot. I can’t forget him. In terms of classical music, I like Stravinsky and Beethoven a lot. What is the best advice another musician has ever given you? One time Sweets Edison told me, Don’t play like you’re trying to prove that you can play. Are different skills required to perform classical vs. In jazz, you have a heavier sound, a heavier attack than in classical. Also, classical music is all written down, so you have to concentrate on executing it. In jazz, you’re making the music up, so you have to know the harmony of the songs, and how to interact with the different musicians. It’s a matter of reflexes. Who are the greatest trumpeters (or musicians of) of all time? The first one is Gottfried Reich. Bach wrote the Brandenberg Concerto for him. In mythology, it really starts with Gabriel. Gabriel actually was a woman. They were cheating women even back then. Her name was actually Gabrielle. She was the first great trumpet player. Then you have the German trumpet player, Gottfried Reich. Then there’s Anton Veidenger. He’s the guy who the Haydn trumpet concerto and the Hummel trumpet concerto were written for. Then you have all the great cornet soloists. There are so many of them. A lot of Americans. Patrick Gilmore had a great band after the Civil War. Then there were all the great soloists with John Philip Sousa. You have Herbert L. Clarke, Krill, George Swift, Jules Levy, Del Stagers. Each one had a different specialty. Some could play double tongue real fast, some slur, some do triple tongue, some trick fingers. Everybody had a different thing. Some played real sweet. Matthew Arbuckle used to have a battle of cornets. You’d see them go in. It would be who could play the most. Then you got the jazz musicians: Buddy Bolden, King Oliver, Freddy Keppard, Buddy Petit. Then you get to Red Allen, and then you’ve got Louis Armstrong. From there, you get all the trumpet players influenced by him. Various trumpet players like Buddy Barry, Cootie Williams, Rex Stewart, Ray Nance, Sweets Edison, Buck Clayton, Roy Eldrige, Doug Mascoll. There are a lot of people. At the same time, there are the great classical trumpet players, William Vacchiano and Max Schlossberg. Then you come up in the more modern era with Dizzy and Miles, Freddy Hubbard, Don Ellis, Don Cherry, Booker Little, Lee Morgan. In classical music, there’s Aldoph Herseth, a great trumpet player. There’s Maurice Andre, a classical trumpet player, Rafael Mendez, an all around unbelievable trumpeter, Doc Sevrenson, Al Hirt. You start to get a lot of great trumpet players of different types. Do you know everything there is to know about trumpet playing? There’s so much to know, it’s hard to know everything about anything. There’s so much to know, period. What performers today do you find to be the most interesting or promising? I like Nicholas Payton, I like Roy Hargrove, Terence Blanchard. Dave Douglas is interesting. You’ve got a lot of young trumpet players. Omar Butler, a young student at Juilliard. Keyon Harold is an interesting trumpet player who plays with a lot of feeling. Jermanie Smith, Mike Rodriguez, Trombone Shorty on the trumpet from New Orleans can play. Dominic Faranacci, Brandon Lee and Tatum Greenblatt are a few of the great young kids coming out of high school. What advice would you give a youngster who is interested in playing the trumpet? You don’t have to practice for hours. Just get on your horn every day and listen to the people who really can play. Just try to keep going and develop. Why are you so involved in education, master classes, etc. My father was always teaching, and the musicians he played with were all teachers. I was always taking classes. I just grew up around it. What qualities do you look for in a band member? Individuality, deep sound and a willingness to do work. Is your new trumpet one of a kind? Tell us about it. It’s made by Dave Monette and it’s one of a kind-he made it for me. It has personalized engravings from all aspects of my life. Symbols of playing, the great “j master” Marcus Roberts is on there, things about my kids. This is the first trumpet Monette ever made in this way. He has subsequently made other trumpets like that. Not with the same designs on it, of course. You’ve described jazz as America’s music. Well not to be a sloganist, but it’s part of the fabric of our country-the way we speak our language, the way we interact with each other, the tensions and dynamics that make our country what it is, the basic forms and things that we use to comport ourselves-all of that is in jazz. You can see it in songs like “Birmingham Breakdown, ” Duke Ellington’s East St. Louis Toodle-oo, ” and “Sidewalks of New York. Jazz also shows the influence of the Broadway show tune, which is an American tradition. There’s also the idea of improvisation, which was developed in America. There’s a whole relationship between the history of the music and race relations in our country. Jazz just deals with a lot of different aspects of our way of life. When you became the first jazz artist to win a Pulitzer Prize (for “Blood On The Fields”) you spoke often of Duke Ellington. I feel it’s always important to stress the fact that I’m a part of a continuum, and that our music continues. It’s not a fad, it continues on. And Duke laid the ground work for us to understand how to compose with the blues harmonies and what the American orchestra was. He laid out the framework for it. And it’s important for all the musicians that come after to realize it’s a continuum. It doesn’t live and die with anyone personally. Is it true that you often have several different projects underway at once? Why do you work so hard? I like to do a lot of different things. I like to stay busy. I grew up working all the time, and that’s just what I like to do. It doesn’t bother me really. I’m used to it. Your historic “Swinging Into the 21st” series ushered in the new millennium. What are you striving to achieve in these years ahead? We’ve laid out a good framework with Jazz at Lincoln Center. In the coming years, we want to continue to play the great music of our tradition, and continue to write new music that addresses the fundamentals while introducing new things. We want to collaborate with more musicians around the world-New Zealand musicians, Argentinean musicians-in order to deal with the ongoing relationship of jazz music to other forms of music. This is something that was well established by Jelly Roll Morton, Duke Ellington and Miles Davis with records like Sketches of Spain. Dizzy Gillespie did many works with Afro-Cuban music and later with the United Nations orchestra. I want to continue to go in that direction-continue to collaborate with different arts and arts organizations, like the New York Philharmonic, the New York City Ballet, The Chamber Music Society, The Film Society and Lincoln Center Institute. We want to do a lot of different things, get involved in some theater projects, try and write an opera, try to write a mass. I just want to expand and write more sophisticated music. In what way do you think the Internet will impact the arts? The Internet is just transference of information, and music is about information- passing information on with you. What you think, what you feel, what is revealed to you to anybody who’s interested in it. It’s just another tool of communication. What accomplishment are you most pleased with as Artistic Director of JALC? That we’ve successfully challenged the status quo of our music. When we started, nobody was thinking about Duke Ellington’s music and the seriousness of jazz as an art form. We’ve been able to challenge a lot of what was held to be true because of the presence of Jazz at Lincoln Center. We’ve done dances, we’ve brought musicians in from all over the world, we’ve played concerts. We’ve commissioned pieces and done first-ever concerts. Gerry Mulligan requested that, when he died, we do his posthumous concert and play his music. He told me to make sure that I do it. Just the fact that a musician of that magnitude and stature would make that request is a serious thing. He wanted us to play the New Orleans March, and we did. That was one of the greatest tributes we could have. Wynton Marsalis is an internationally acclaimed musician, composer and bandleader, an educator and a leading advocate of American culture. He has created and performed an expansive range of music from quartets to big bands, chamber music ensembles to symphony orchestras and tap dance to ballet, expanding the vocabulary for jazz and classical music with a vital body of work that places him among the world’s finest musicians and composers. Always swinging, Marsalis blows his trumpet with a clear tone, a depth of emotion and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. When you hear Marsalis play, you’re hearing life being played out through music. Marsalis’ core beliefs and foundation for living are based on the principals of jazz. He promotes individual creativity (improvisation), collective cooperation (swing), gratitude and good manners (sophistication), and faces adversity with persistent optimism (the blues). With his evolved humanity and through his selfless work, Marsalis has elevated the quality of human engagement for individuals, social networks and cultural institutions throughout the world. Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age, he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators. At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harry Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he started gigging around the City, the grapevine began to buzz. The excitement around Wynton attracted the attention of Columbia Records executives who signed him to his first recording contract. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends. Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and a far-reaching series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world and inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians to emerge for the decades to follow reveals the efficacy of Marsalis’ workshops and includes: James Carter, Christian McBride, Roy Hargrove, Marcus Roberts, Wycliffe Gordon, Harry Connick Jr. Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Wynton also embraced the jazz lineage to bring recognition to the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalogs by record companies worldwide. Wynton’s love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. He recorded the Haydn, Hummel and Leopold Mozart trumpet concertos at age 20. His debut recording received glorious reviews and won the Grammy Award® for Best Classical Soloist with an Orchestra. Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, English Chamber Orchestra, Toronto Symphony Orchestra and London’s Royal Philharmonic, working with an eminent group of conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen and Tilson-Thomas. A timeless highlight of Wynton’s classical career is his collaboration with soprano Kathleen Battle on their recording Baroque Duet. Famed classical trumpeter Maurice André praised Wynton as potentially the greatest trumpeter of all time. His recordings consistently incorporate a heavy emphasis on the blues, an inclusive approach to all forms of jazz from New Orleans to modern jazz, persistent use of swing as the primary rhythm, an embrace of the American popular song, individual and collective improvisation, and a panoramic vision of compositional styles from dittys to dynamic call and response patterns (both within the rhythm section and between the rhythm section and horn players). Wynton Marsalis is a prolific and inventive composer. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. He has also composed a violin concerto and four symphonies to introduce new rhythms to the classical music canon. Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. Several prominent choreographers embraced Wynton’s inventiveness with commissions to compose suites to fuel their imagination for movement. This impressive list includes Garth Fagan (Citi Movement-Griot New York & Lighthouse/Lightening Rod), Peter Martins at the New York City Ballet (Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre (Sweet Release and Here. Now), and Savion Glover (Petite Suite and Spaces). Wynton reconnected audiences with the beauty of the American popular song with his collection of standards recordings (Standard Time Volumes I-VI). He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. And he extended the jazz musician’s interplay with the blues in Uptown Ruler, Levee Low Moan, Thick In The South and other blues recordings. Marsalis introduced a fresh conception for extended form compositions with Citi Movement, his sanctified In This House, On This Morning and Blood On The Fields. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms — using Greek chorus-style recitations with great affect to move the work along. The New York Times Magazine said Blood On The Fields marked a symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present. ” The San Francisco Examiner stated, “Marsalis’ orchestral arrangements are magnificent. Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era. Blood on the Fields became the first jazz composition ever to be awarded the coveted Pulitzer Prize in Music in 1997. Wynton extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra – a classic work of high art – which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006). For the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. Marsalis infused blues and ragtime rhythms with symphonic orchestrations to create a fresh type of enjoyment of classical repertoire. Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, employing complex layers of collective improvisation. The work was premiered by the renowned Berlin Philharmonic and performed with the Jazz at Lincoln Center Orchestra in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. Wynton made a significant addition to his oeuvre with Concerto in D, a violin concerto composed for virtuoso Nicola Benedetti. The concerto is in four movements, “Rhapsody, ” “Rhondo, ” “Blues, ” and Hootenanny. With this masterful composition Marsalis celebrates the American vernacular in ultra-sophisticated ways. Its fundamental character is Americana with sweeping melodies, jazzy orchestral dissonances, blues-tinged themes, fancy fiddling and a rhythmic swagger. Concerto in D received its world premiere by the London Symphony Orchestra in November 2015 and its American premiere by the Chicago Symphony Orchestra at Ravinia in July 2016. In December 2016 Marsalis again demonstrated his expansive musical imagination and dexterity for seasoning the classical music realm with jazz and blues influences with The Jungle, performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra. “The Jungle, ” according to Marsalis, is a musical portrait of New York City, the most fluid, pressure-packed, and cosmopolitan metropolis the modern world has ever seen. The New York Philharmonic and the Jazz at Lincoln Center Orchestra re-united to present The Jungle in Shanghai in July 2017. Marsalis’ rich and expansive body of music for the ages places him among the world’s most significant composers. Television, Radio & Literary. In the fall of 1995 Wynton launched two major broadcast events. In October on PBS he premiered Marsalis On Music, an educational television series on jazz and classical music. Written and hosted by Marsalis, the series and was enjoyed by millions of parents and children. Writers distinguished Marsalis On Music with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music. These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award. The Spirit of New Orleans, Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) also received an Emmy Award for Outstanding Short Feature (2011). From 2012 to 2014 Wynton served as cultural correspondent for CBS News, writing and presenting features for CBS This Morning on an array topics from Martin Luther King, Jr. Nelson Mandela and Louis Armstrong to Juke Joints, BBQ, the Quarterback & Conducting and Thankfulness. Marsalis has written six books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! A sonic adventure for kids. Wynton Marsalis has won nine Grammy Awards® in grand style. In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Honorary degrees have been conferred upon Wynton by over 30 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the I Have a Dream Foundation. The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people. In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). Marsalis was honored with The National Humanities Medal by President Barak Obama in 2015, in recognition of his work in deepened the nation’s understanding of the humanities and broadened American citizens’ engagement with history, literature, languages and philosophy. In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote. I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all. I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you. Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor, an honor that was first awarded by Napoleon Bonaparte. French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction. We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary. I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality. Jazz at Lincoln Center. In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, due to its significant success, Jazz at Lincoln Center (JALC) was installed as a new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under his leadership Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. The JALC mission is to entertain, enrich and expand a global community for jazz through performance, education and advocacy, and to bolster the cultural infrastructure for jazz globally. Jazz at Lincoln Center has become a mecca for learning as well as a hub for performance. Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2009 Wynton created and presented Ballad of the American Arts before a capacity crowd at the Kennedy Center. The lecture/performance was written to elucidate the essential role the arts have played in establishing America’s cultural identity. “This is our story, this is our song, ” states Marsalis, and if well sung, it tells us who we are and where we belong. In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community. Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A. White Professor at Cornell University. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students. Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths), the Hugs Foundation (Help Us Give Smiles – provides free life changing surgical procedures for children with microtia, cleft lip and other facial deformities) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. Brown University (Doctor of Music, 1988). Southern University at New Orleans (Doctor of Music, 1988). University at Buffalo – State University of New York (Doctor of Music, 1990). Boston University (Doctor of Music, 1992). Academy of Southern Arts & Letters (Doctor of Philosophy in Arts, 1993). University of Miami (Doctor of Music, 1994). Hunter College (Doctor of Humane Letters, 1995). Manhattan School of Music (Doctor of Music, 1995). Princeton University (Doctor of Arts, 1995). Yale University (Doctor of Music, 1995). Royal Academy of Music (Honorary Member, 1996). Brandeis University (Doctor of Humane Letters, 1996). Columbia University (Doctor of Music, 1996). Governors State University (Doctor of Humane Letters, 1996). Rensselaer Polytechnic Institute (Doctor of Fine Arts, 1996). University of Scranton (Doctor of Fine Arts, 1996). Amherst College (Doctor of Music, 1997). Howard University (Doctor of Music, 1997). Long Island University (Doctor of Music, 1997). Rutgers University (Doctor of Fine Arts, 1997). Bard College (Doctor of Fine Arts, 1998). Haverford College (Doctor of Humane Letters, 1998). University of Massachusetts Amherst (Doctor of Fine Arts, 1998). Middlebury College (Doctor of Arts, 2000). University of Pennsylvania (Doctor of Music, 2000). Clark Atlanta University (Doctor of Humane Letters, 2001). Connecticut College (Doctor of Fine Arts, 2001). Bloomfield College (Doctor of Fine Arts, 2004). Julliard School of Music (Doctor of Music, 2006). Denison University (Doctor of Music, 2006). New York University (Doctor of Fine Arts, 2007). Harvard University (Doctor of Music, 2009). Northwestern University (Doctor of Arts, 2009). State University of New York at Potsdam (Doctor of Music, 2010). The College of New Rochelle (Doctor of Humane Letters, 2011). Tulane University (Doctor of Humane Letters, 2014). Hunter College (President’s Medal, 2014). University Jean Moulin Lyon3 (Doctor Honoris Causa, 2016). Kenyon College (Doctor of Arts, 2019). Wynton Learson Marsalis (born October 18, 1961) is an American trumpeter, composer, teacher, and artistic director of Jazz at Lincoln Center. Marsalis has won at least nine Grammy Awards, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. He is the only musician to win a Grammy Award in jazz and classical during the same year. Marsalis was born in New Orleans, Louisiana, on October 18, 1961 and grew up in the suburb of Kenner. [1] He is the second of six sons born to Dolores Ferdinand Marsalis and Ellis Marsalis Jr. A pianist and music teacher. [2] He was named for jazz pianist Wynton Kelly. [3] Branford Marsalis is his older brother and Jason Marsalis and Delfeayo Marsalis are younger. All three are jazz musicians. [4] While sitting at a table with trumpeters Al Hirt, Miles Davis, and Clark Terry, his father jokingly suggested that he might as well get Wynton a trumpet, too. Hirt volunteered to give him one, so at the age of six Marsalis received his first trumpet. Although he owned a trumpet when he was six, he did not practice much until he was 12. [1] He attended Benjamin Franklin High School and the New Orleans Center for Creative Arts. [6][7] He studied classical music at school and jazz at home with his father. He played in funk bands and a marching band led by Danny Barker. He performed on trumpet publicly as the only black musician in the New Orleans Civic Orchestra. After winning a music contest at fourteen, he performed a trumpet concerto by Joseph Haydn with the New Orleans Philharmonic. Two years later he performed Brandenburg Concerto No. 2 in F Major by Bach. [5] At seventeen, he was the youngest musician admitted to Tanglewood Music Center. Marsalis reaching toward the camera. Marsalis backstage in 2007. In 1979, he moved to New York City to attend Juilliard. He intended to pursue a career in classical music. In 1980, he toured Europe as a member of the Art Blakey big band, becoming a member of The Jazz Messengers and remaining with Blakey until 1982. He changed his mind about his career and turned to jazz. He has said that years of playing with Blakey influenced his decision. [5] He recorded for the first time with Blakey and one year later he went on tour with Herbie Hancock. After signing a contract with Columbia, he recorded his first solo album. In 1982, he established a quintet with his brother Branford Marsalis, Kenny Kirkland, Charnett Moffett, and Jeff “Tain” Watts. When Branford and Kenny Kirkland left three years later to record and tour with Sting, Marsalis formed another quartet, this time with Marcus Roberts on piano, Robert Hurst on double bass, and Watts on drums. After a while, the band expanded to include Wessell Anderson, Wycliffe Gordon, Eric Reed, Herlin Riley, Reginald Veal, and Todd Williams. When asked about influences on his playing style, he cites Duke Ellington, Miles Davis, Harry Sweets Edison, Clark Terry, Dizzy Gillespie, Jelly Roll Morton, Charlie Parker, Wayne Shorter, Thelonious Monk, Cootie Williams, Ray Nance, Maurice Andre, and Adolph Hofner. Marsalis at Lincoln Center in 2004. In 1987, Marsalis helped start the Classical Jazz summer concert series at Lincoln Center in New York City. [9] The success of the series led to Jazz at Lincoln Center becoming a department at Lincoln Center, [10] then to becoming an independent entity in 1996 with organizations such as the New York Philharmonic and the Metropolitan Opera. [11] Marsalis became artistic director of the Center and the musical director of the band, the Jazz at Lincoln Center Orchestra. The orchestra performs at its home venue, Rose Hall, goes on tour, visits schools, appears on radio and television, and produces albums through its label, Blue Engine Records. In 2011, Marsalis and rock guitarist Eric Clapton performed together in a Jazz at Lincoln Center concert. The concert was recorded and released as the album Play the Blues: Live from Jazz at Lincoln Center. In 1986, Marsalis guest starred in an episode of Sesame Street. In 1995, he hosted the educational program Marsalis on Music on public television, while during the same year National Public Radio broadcast his series Making the Music. Both programs won the George Foster Peabody Award, the highest award given in journalism. In December 2011, Marsalis was named cultural correspondent for CBS This Morning. [12] He is a member of the CuriosityStream Advisory Board. [13] He serves as director of the Juilliard Jazz Studies program. In 2015, Cornell University appointed him A. Marsalis was involved in writing, arranging, and performing music for the 2019 Daniel Pritzker film Bolden. In The Jazz Book, the authors list what Marsalis considers to be the fundamentals of jazz: blues, standards, a swing beat, tonality, harmony, craftsmanship, and mastery of the tradition beginning with New Orleans jazz up to Ornette Coleman. He has little or no respect for free jazz, avant-garde, hip hop, fusion, European, or Asian jazz. Jazz critic Scott Yanow regards Marsalis as talented but criticizes his “selective knowledge of jazz history” and has said Marsalis considers “post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren” and the unfortunate result of the “somewhat eccentric beliefs of Stanley Crouch”. [4] In The New York Times in 1997, pianist Keith Jarrett said Marsalis imitates other people’s styles too well… His music sounds like a high school trumpet player to me. Bassist Stanley Clarke said, All the guys that are criticizing – like Wynton Marsalis and those guys – I would hate to be around to hear those guys playing on top of a groove! ” But Clarke also said, “These things I’ve said about Wynton are my criticism of him, but the positive things I have to say about him outweigh the negative. He has brought respectability back to jazz. When he met Miles Davis, one of his idols, Davis said, So here’s the police… “[5] For his part, Marsalis compared Miles Davis’s embrace of pop music to “a general who has betrayed his country. “[5] He called rap “hormone driven pop music”[5] and said that hip hop “reinforces destructive behavior at home and influences the world’s view of the Afro American in a decidedly negative direction. Marsalis responded to criticism by saying, You can’t enter a battle and expect not to get hurt. “[5] He said that losing the freedom to criticize is “to accept mob rule, it is a step back towards slavery. Marsalis is the son of jazz musician Ellis Marsalis Jr. (pianist), grandson of Ellis Marsalis Sr. And brother of Branford (saxophonist), Delfeayo (trombonist), and Jason (drummer). Marsalis’s son, Jasper Armstrong Marsalis, is a music producer known professionally as Slauson Malone. Marsalis was raised Catholic. Marsalis received the National Medal of Arts from President George W. In 1983, at the age of 22, he became the only musician to win Grammy Awards in jazz and classical music during the same year. [5] At the award ceremonies the next year, he won again in both categories. After his first album came out in 1982, Marsalis won polls in DownBeat magazine for Musician of the Year, Best Trumpeter, and Album of the Year. In 2017, he was one of the youngest members to be inducted into the DownBeat Hall of Fame. In 1997, he became the first jazz musician to win the Pulitzer Prize for Music for his oratorio Blood on the Fields. In a note to him, Zarin Mehta wrote, I was not surprised at your winning the Pulitzer Prize for Blood on the Fields. It speaks to us all… I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you. Wynton Marsalis has won the National Medal of Arts, the National Humanities Medal, [22] and been named an NEA Jazz Master. Statue dedicated to Wynton Marsalis in Vitoria-Gasteiz, Spain. [24] He has toured in 30 countries and on every continent except Antarctica. He was given the Louis Armstrong Memorial Medal and the Algur H. He was inducted into the American Academy of Achievement[26] and was dubbed an Honorary Dreamer by the I Have a Dream Foundation. The New York Urban League awarded Marsalis the Frederick Douglass Medallion for distinguished leadership. The American Arts Council presented him with the Arts Education Award. He won the Dutch Edison Award and the French Grand Prix du Disque. The Mayor of Vitoria, Spain, gave him the city’s Gold Medal, its most coveted distinction. In 1996, Britain’s senior conservatoire, the Royal Academy of Music, made him an honorary member, the Academy’s highest decoration for a non-British citizen. The city of Marciac, France, erected a bronze statue in his honor for the key role he played in the story of the festival. The French Ministry of Culture gave him the rank of Knight in the Order of Arts and Literature. In 2008, he received France’s highest distinction, the insignia Chevalier of the Legion of Honour. He has received honorary degrees from the Frost School of Music at the University of Miami (1994), University of Scranton (1996), [28] Kenyon College (2019), New York University, [29] Columbia, Connecticut College, [30] Harvard, Howard, Northwestern, Princeton, Vermont, and the State University of New York. Best Jazz Instrumental Solo. Think of One (1983). Hot House Flowers (1984). Black Codes (From the Underground) (1985). Best Jazz Instrumental Album, Individual or Group. Marsalis Standard Time, Vol. Best Instrumental Soloist(s) Performance (with orchestra). Raymond Leppard (conductor), Wynton Marsalis and the National Philharmonic Orchestra for Haydn: Trumpet Concerto in E Flat/Leopold Mozart: Trumpet Concerto in D/Hummel: Trumpet Concerto in E Flat (1983). Raymond Leppard (conductor), Wynton Marsalis and the English Chamber Orchestra for Wynton Marsalis, Edita Gruberova: Handel, Purcell, Torelli, Fasch, Molter (1984). Best Spoken Word Album for Children. Listen to the Storytellers (2000). Main article: Wynton Marsalis discography. Sweet Swing Blues on the Road with Frank Stewart (1994). Marsalis on Music (1995). Jazz in the Bittersweet Blues of Life with Carl Vigeland (2002). To a Young Jazz Musician: Letters from the Road with Selwyn Seyfu Hinds (2004). Jazz ABZ: An A to Z Collection of Jazz Portraits with Paul Rogers (2007). Moving to Higher Ground: How Jazz Can Change Your Life with Geoffrey Ward (2008). A Sonic Adventure with Paul Rogers (2012)[32]. This item is in the category “Collectibles\Autographs\Music”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Industry: Music
  • Signed: Yes

1991 Jazz Contract Signed Rare Nbc Autograph Wynton Marsalis Today Show

Antonio Banderas Signed 11×14 Photo Authentic Autograph Beckett Coa B

antonio
Antonio Banderas Signed 11x14 Photo Authentic Autograph Beckett Coa B
Antonio Banderas Signed 11x14 Photo Authentic Autograph Beckett Coa B

Antonio Banderas Signed 11x14 Photo Authentic Autograph Beckett Coa B
Hello and Welcome to PrimeTimeSignatures! DETAILS ABOUT THE ITEM. Item: 11 x14 PHOTO. Signature Obtained: NYC HOTEL 2018. COA Beckett Hologram & COA. Prime Time Signatures is dedicated in providing 100% authentic autographed memorabilia and collectibles by obtaining all our autographs in person by Prime Time Signature’s staff. To verify the authenticity of your autographed item all items can be viewed through their unique certification number on our website. This number can be found on the item’s Certificate of Authenticity as well as the tamper-proof hologram affixed to the item. Please Read All Photos Printed On the Highest Quality Professional Photograph Paper at a professional photograph lab. Copies of all proof photos are available upon buyers request. Prime Time Signatures Bio. We are based out of NYC and make several trips to Los Angeles, and Las Vegas locations in which celebs, musicans and athletes are constantly. We live and travel to where these celebrities are and obtain all signatures in-person. This is how we can assure you all of our items are 100% authentic, again, all items are obtained by our staff in-person. Zero signed items are ever bought from any second hand individual. All of our items come with Certificate of Authencities in which we issue. This item is in the category “Collectibles\Autographs\Movies”. The seller is “primetimesignatures08″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Iraq, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Kuwait, Liechtenstein, Benin, Algeria, Antigua and Barbuda, Italy, Swaziland, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Malta, Tajikistan, Vietnam, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Western Sahara, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, British Virgin Islands, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Luxembourg, Uganda, Brazil, Turkey, Tuvalu, Germany, Egypt, Latvia, Jamaica, Niue, South Africa, Brunei Darussalam, Honduras.
Antonio Banderas Signed 11x14 Photo Authentic Autograph Beckett Coa B

Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph

trouble
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph

Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph
“Trouble is” Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph. There are some minor holes in the plastic but the item has never been unwrapped or used. Please see pictures for details. This item is in the category “Collectibles\Autographs\Music”. The seller is “junkersfieldtrading” and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Industry: Music
  • Signed by: Kenny Wayne Shepherd
  • Signed: Yes
  • Autograph Authentication: COA
  • Original/Reproduction: Original
  • Country/Region of Manufacture: United States
  • Modified Item: No

Trouble is Signed Music Record Kenny Wayne Shepherd Limited Edition Autograph

Christian Bale Signed Autograph 11×14 Batman Dark Knight Photo DC Bas Beckett

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Christian Bale Signed Autograph 11x14 Batman Dark Knight Photo DC Bas Beckett

Christian Bale Signed Autograph 11x14 Batman Dark Knight Photo DC Bas Beckett
The photograph was signed in person in New York City. The photograph has been authenticated by Beckett Authentication. The Beckett cert number is BE57260. This item is in the category “Entertainment Memorabilia\Autographs-Original\Movies\Photographs”. The seller is “simplybub” and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Size: 11X14
  • Movie: THE DARK KNIGHT
  • Original/Reproduction: Original
  • Object Type: Photograph
  • Signed by: CHRISTIAN BALE
  • Autograph Authentication: Beckett
  • Industry: Movies

Christian Bale Signed Autograph 11x14 Batman Dark Knight Photo DC Bas Beckett