45 names.

Bruce Boxleitner

As one of Hollywood's leading men, Bruce Boxleitner has starred in a major motion picture franchise, numerous feature films, several popular television series, produced a major network film and TV series, performed on Broadway, and authored two science fiction novels.

Boxleitner received his formal acting training on stage. A native mid-westerner, he is an alumnus of Chicago's prestigious Goodman Theatre. In 1972, he starred in the Broadway production of Status Quo Vadis with Ted Danson. He then relocated to Los Angeles and quickly landed a guest spot on the legendary TV series The Mary Tyler Moore Show as well as numerous guest roles on series, including Hawaii 5-0, Beretta, Police Woman, and Gunsmoke.

Boxleitner's big break occurred when he was cast opposite James Arness in the pilot for the epic TV series How the West Was Won. He went on to star in the CBS series Bring 'em Back Alive; mini-series East of Eden; and TV movie The Last Convertible.

In 1982, Boxleitner was cast as the title role in Disney's cult film TRON which garnered him science fiction fans worldwide. However, it was in Boxleitner's four-year run for CBS's 'Scarecrow and Mrs. King', starring opposite Kate Jackson, which endeared him to fans everywhere and made him a household name. In 1994, Boxleitner joined the cast of the popular TV series Babylon 5 as John Sheridan, President of the Interstellar Alliance, a war hero-turned-diplomat at the helm of Earth Alliance Space Station in the year 2259. The show aired for five seasons.

Boxleitner most recently starred with Jeff Bridges in TRON: Legacy, the popular motion picture sequel to TRON. The cast includes Garrett Hedlund and Olivia Wilde. In addition, Boxleitner reprised his role in TRON: Uprising on Disney's XD TV network, his first animated TV series. The multi-talented cast includes Elijah Wood, Mandy Moore, Lance Henriksen, and Paul Reubens. The original TRON recently celebrated its 30th anniversary.

Several motion pictures include Gods and Generals with Robert Duvall, Jeff Daniels, Stephen Lang and Mira Sorvino; The Babe with John Goodman and Kelly McGillis; Kuffs with Christian Slater; and The Baltimore Bullet with James Coburn.

Numerous TV movie credits include The Secret with Kirk Douglas; Perfect Family with Jennifer O'Neal and Joanna Cassidy; Double Jeopardy with Rachel Ward, Sally Kirkland and Sela Ward; Passion Flower with Barbara Hershey and Nicol Williamson; and Hallmark Channel movies, 'Love's Resounding Courage' and 'Falling in Love with the Girl Next Door'; among many others. The veteran actor has appeared in numerous recurring roles on TV series including GCB and Heroes, and has guest-starred on NCIS and Chuck, among others.

A skilled horseman, Boxleitner utilized his talents in numerous Western TV series and films including Kenny Rogers television movie series that aired on CBS and NBC, starring opposite Kenny Rogers; 'Gunsmoke V: One Man's Justice' with James Arness (Arness' final film); CBS' remake of Red River with Gregory Harrison, James Arness and Laura Johnson; 'Wyatt Earp: Return to Tombstone' with Hugh O'Brian; and Down the Long Hills, based on legendary western author Louis L'Amour's novel of the same name.

Boxleitner was inducted into the Hall of Great Western Performers at the National Cowboy and Western Heritage Museum in Oklahoma City in April 2012 honoring him for his illustrious career in western films. He is a two-time recipient of the Wrangler Award.

In 2013, Boxleitner co-starred with Andie MacDowell and Dylan Neal in Hallmark Channel's first-ever prime-time series, Debbie Macomber's Cedar Cove to rave reviews and an average of 2 million viewers. The #1 rated cable program was renewed for a third season and is scheduled to premiere in the summer of 2015.

In 1999, Boxleitner authored "Frontier Earth" and in 2001, its sequel "Frontier Earth: Searcher", published by The Berkley Publishing Group. Bruce Boxleitner resides in Los Angeles and has three sons: Sam, Lee and Michael.

Craig Fairbrass

At six foot three, Craig Fairbrass is a versatile and experienced British actor. Craig has starred in over forty feature films, including the lead role in fifteen independent films in the U.K and U.S as well as Award winning British TV along with guest star roles in five major U.S. TV series. Craig also became one of the most iconic voices within the most successful video game franchise ever, Call Of Duty, Modern Warfare by lending his voice to Gaz, Ghost and Walcroft in Call of Duty MW: 1,2 and 3.

Craig was born in Mile End hospital in London's East End, his father Jack was one of nine kids and was a Stevedore the best you could be as a London docker, his mother Maureen was a machinist dressmaker in Petticoat Lane, she was one of ten kids. Along with his younger sister Lindsey they lived in Stepney where Craig grew up.

It was at Eaglesfield boys secondary comprehensive in Woolwich where Craig became fascinated with films and acting, although struggling from one year to the next and not top of the class academically he found drama an outlet and it was here that he got the acting bug. After being expelled at 15 he worked as a roofer's labourer, a job he would return to time and time again in the coming years for support while securing acting roles, this earned him enough money to attend a course at drama school.

Leaving drama school Craig soon realised that to survive he needed a second string to his bow if he was to pursue his dream as an actor, so he returned to roofing in the day and working on the doors of some of S.E. London's less desirable nightspots for the next five years until securing enough money to buy his own business, a sandwich bar in Woolwich market.

Movie experience began as well in the breakout role of Challoner, opposite Denzel Washington in the powerful British film For Queen And Country. Television soon followed, with the BBC drama Big Deal a regular role in LWT'S award winning London's Burning and the highly acclaimed BAFTA /EMMY award-winning TV series Prime Suspect 1 and 2 in which Craig played hard-bitten detective Frank Burkin opposite Helen Mirren.

1992 saw Craig use this as a calling card in Los Angeles, securing a starring a role in one of the biggest action movies of the 90s, Cliffhanger with Sylvester Stallone, which opened doors in the U.S independent film arena, starring in the action films, Nightscare, Terminal Force and Proteus before returning to the UK to star in the British thriller Killing Time and the award-winning horror, Darklands.

In 1999 Craig joined the cast of the BBC's flagship show EastEnders where his recurring character of Dan Sullivan over three years won record viewing figures and a four-hander Sunday evening special Directed by Tom Hooper a TV BAFTA for best drama. Other strong roles followed, lead villain Ray Betson in TV movie - The Great Dome Robbery, then to Rome to complete his role on Moro, for controversial award-winning Italian art-house director Aurellio Grimaldi and guest lead in Radio 4's afternoon play Fair Maids Are Shining.

Craig's role of the killer Henry Caine in White Noise 2, the sequel to the No. 1 box office hit White Noise reaches no. 5 in the top ten cinema films in London. It was in 2007 that saw Craig in his most powerful performance to date, that of true life gangster Pat Tate in Rise Of The Footsoldier the gangster epic based on true life events directed by BAFTA nominee Julian Gilbey, followed by a strong supporting role in The Bank Job, opposite Jason Statham.

2008 Craig returned to L.A to guest-star in U.S TV series Terminator The Sarah Connor Chronicles the top rated, David Mamett action drama series The Unit, Stargate SG1 and the action film Far Cry.

2009/10 Craig continues to forge a strong position in the independent film arena with lead roles in Freight, Dead Cert and Devils Playground - comedy cameos in The Shouting Men and Just For The Record. 2011 sees Craig in U.S action thriller House Of The Rising Sun opposite Dave Bautista, co-lead in British thriller St Georges Day, U.S actioner Hijacked and the multi-million dollar Vikingdom 3D.

2012 kicks off with Universal's Get Lucky and Bula Quo the Status Quo action comedy and the male lead in Let Me Survive a drama based on the best selling book.

Oct 2012 Craig plays the lead role of British mercenary Lex Walker opposite Jason Patric and James Caan in the U.S action thriller The Outsider, followed by Universal's gangster spoof The Hooligan Factory.

2014 Craig takes the lead role of Alfie Jennings in Jonnie Malachi's violent stylized contract killer movie Breakdown. Craig finished filming London Heist earlier this year which was Directed by Mark McQueen and written by Craig - London Heist is a dark violent revenge thriller set in Spain's glamorous Marbella and London's underworld.

Craig has just finished his work on the eagerly anticipated stop motion sci-fi game - Star Citizen/ Squadron 42 alongside Gary Oldman, Gillian Anderson and Mark Strong.

Mark Cuban

Mark Cuban was born July 31, 1958 in Pittsburgh, Pennsylvania, to Shirley (Feldman) and Norton Cuban, an automobile upholsterer. He graduated from Indiana University in 1981 with a degree in Business. After college, Cuban moved to Dallas, Texas and created a computer consulting business called "MicroSolutions" which transformed him into a millionaire when he sold the business to CompuServe in 1990. In 1995, Mark and his business partner Todd Wagner began working on an idea (that later became known as Broadcast.com) in order to stream live events over the Internet. This innovative duo sold their company to Yahoo.com in 1999 for billions of dollars in Yahoo! stock. Mr. Cuban went on to purchase the NBA's Dallas Mavericks basketball franchise for $285 million on January 14, 2000, dramatically changing the team for the better. Mark's brilliant ability to lead this organization and mold the Mavericks into an evolving superior force led the team to reach the NBA Finals in 2006 for the first time in franchise history.

Beyond that, Cuban launched the high-definition television network "HDNet" in September of 2001 with Philip Garvin. HDNet provides the highest level of digital broadcast quality available. Mark and Todd Wagner established a media company named "2929" with holdings that cover many aspects of entertainment. This includes film production companies HDNet Films and 2929 Productions, movie distributor Magnolia Pictures, home video distributor Magnolia Home Entertainment, the Landmark Theatres chain, and a stake in Lions Gate Entertainment.

Mr. Cuban is famous for his bold, unambiguous views and mindset, which has a great deal to do with his perpetual success. He continues to challenge the status quo in the worlds of media and technology. In 2005, Mark announced he was financially backing the underdog in a U.S. Supreme Court "peer-to-peer" file-sharing case. Also in 2005, Cuban experimented with a "day-and-date" model when he produced the film Bubble which was released simultaneously across theatrical, television and home video platforms. His stated goal of collapsing the traditional release windows was intended to give consumers the choice in terms of exactly how they might be interested in viewing a film.

It's impossible to truly know what Mark Cuban will create, produce, buy, or sell next, but you can bet it will be considered "genius" just like the man himself.

Gail Strickland

Gail Strickland attended acting courses at the University of Florida, then studied with Sanford Meisner. She made her debut on television in the series 'As the World Turns' and she landed her first theatrical role (as the schoolteacher who has all the answers) in Donald Driver's 'Status Quo Vadis' (1971-1972). Going out to California, she appeared as guest star in the series "Barnaby Jones", 'Hawaii Five-O', 'Police Story' and in other productions, before signing as Maureen Stapleton's partner in the television picture, 'The Gathering', and playing opposite Beau Bridges in 'The President's Mistress' Her first theatrical movie was 'The Drowning Pool', starring Paul Newman.

Malachi Throne

Malachi Throne, the character actor who became one of the more ubiquitous faces on television from the "Golden Age" of the 1950s through the 21st Century, was born in New York City on December 1, 1928, the son of Samuel and Rebecca Throne, who had immigrated to America from the Austro-Hungarian Empire. He began performing at an early age.

During World War Two, the young Malachi quit school to work in theater, though he later returned and got his high school diploma. He then set out upon a life as a "wandering player", as he describes it, playing in summer and winter stock companies while matriculating at Brooklyn College and Long Island University. Though he loved acting, he believed he'd eventually wind up as an English teacher, which is why he doggedly kept at his studies between tours.

When he was 21 years old, the Korean Conflict broke out, and Throne wound up in the infantry attached to an armored unit. When he returned to the New York theatrical scene, he found out that the revolution Marlon Brando had started in 1947 playing Stanley Kowalski in A Streetcar Named Desire was now the status quo.

Possessed of a deep, classically trained voice, Throne was cast in the parts of characters much older than his actual age. His clear enunciation also made him a natural for live television, and he went to work on the now-defunct DuMont TV network. He continued his acting studies in New York, tutored by such luminaries as Uta Hagen and William Hickey.

In addition to TV, he continued to work on the the stage, appearing in the landmark Off-Broadway production of Eugene O'Neill's "The Iceman Cometh", in support of Jason Robards. He also played in the famous Off-Broadway revivals of "The Threepenny Opera" and Clifford Odets' "Rocket To The Moon", as well as appeared on Broadway in such top shows as Jean Anouilh's "Becket" in support of Laurence Olivier.

In 1958-59, he found himself in California, playing a season at San Deigo's Old Globe Theater. After his stint with the Globe was over, he went north, to Hollywood, and established himself as a major character actor in guest spots on series television during the 1960s. He had memorable appearances as "Falseface" on the Batman TV series and the Arab-styled "Thief of Outer Space" on the Lost in Space TV series. He also provided the voice of "The Keeper" for "The Cage", the pilot episode of the Star Trek series. He turned down an offer to be a regular cast member on that show, rejecting the part of Dr. McCoy as he did not want to play third fiddle to William Shatner and Leonard Nimoy. Producer Gene Roddenberry, who had offered him the role of "Bones" McCoy, was not offended by Throne turning him down, and cast him as "Commodore José Mendez" in the two-part episode "The Menagerie", which included most of the original pilot, although by then The Keeper's voice had been re-dubbed by another actor, Meg Wyllie. He also later played "Senator Pardac" in the "Star Trek: The Next Generation" two-part episode "Unification," appearing with Leonard Nimoy, whose Mr. Spock was the role he had coveted a generation before.

In 1968, two years after "Star Trek" debuted, Throne was cast as Robert Wagner's boss on the TV show It Takes a Thief while continuing to guest on other TV shows. Throne also remained committed to the stage, appearing as a resident actor with a variety of regional theaters, including the SanFrancisco Actors' Workshop, the Los Angeles Inner City Repertory Co., the MarkTaper Forum and the Louisville Free Theatre.

Malachi Throne lives in southern California, where he appears in local theater. When not acting, he writes historical novels. His two sons are also in show business: Zachary Throne is an actor/musician while Joshua Throne is a Producer/Unit Production Manager.

George Stevens

George Stevens, a filmmaker known as a meticulous craftsman with a brilliant eye for composition and a sensitive touch with actors, is one of the great American filmmakers, ranking with John Ford, William Wyler and Howard Hawks as a creator of classic Hollywood cinema, bringing to the screen mytho-poetic worlds that were also mass entertainment. One of the most honored and respected directors in Hollywood history, Stevens enjoyed a great degree of independence from studios, producing most of his own films after coming into his own as a director in the late 1930s. Though his work ranged across all genres, including comedies, musicals and dramas, whatever he did carried the hallmark of his personal vision, which is predicated upon humanism.

Although the cinema is an industrial process that makes attributions of "authorship" difficult if not downright ridiculous (despite the contractual guarantees in Directors Guild of America-negotiated contracts), there is no doubt that George Stevens is in control of a George Stevens picture. Though he was unjustly derided by critics of the 1960s for not being an "auteur," an auteur he truly is, for a Stevens picture features meticulous attention to detail, the thorough exploitation of a scene's visual possibilities and ingenious and innovative editing that creates many layers of meanings. A Stevens picture contains compelling performances from actors whose interactions have a depth and intimacy rare in motion pictures. A Stevens picture typically is fully engaged with American society and is a chronicled photoplay of the pursuit of The American Dream.

George Stevens was nominated five times for an Academy Award as Best Director, winning twice, and six of the movies he produced and directed were nominated for Best Picture Oscars. In 1953 he was the recipient of the Irving Thalberg Memorial Award for maintaining a consistent level of high-quality production. He served as president of the Academy of Motion Picture Arts & Sciences from 1958 to 1959. Stevens won the Directors Guild of America Best Director Award three times as well as the D.W. Griffith Lifetime Achievement Award. He made five indisputable classics: Swing Time, a Fred Astaire-Ginger Rogers musical; Gunga Din, a rousing adventure film; Woman of the Year, a battle-of-the-sexes comedy; A Place in the Sun, a drama that broke new ground in the use of close-ups and editing; and Shane, a distillation of every Western cliché that managed to both sum up and transcend the genre. His Penny Serenade, The Talk of the Town, The More the Merrier, I Remember Mama and Giant all live on in the front rank of motion pictures.

George Cooper Stevens was born on December 18, 1904, in Oakland, California, to actor Landers Stevens and his wife, actress Georgie Cooper, who ran their own theatrical company in Oakland, Ye Liberty Playhouse. Cooper herself was the daughter of an actress, Georgia Woodthorpe (both ladies' Christian names offstage were Georgia, though their stage names were Georgie). Georgie Cooper appeared as Little Lord Fauntleroy as a child along with her mother at Los Angeles' Burbank Theater. George's parents' company performed in the San Francisco Bay area, and as individual performers they also toured the West Coast as vaudevillians on the Opheum circuit. Their theatrical repertoire included the classics, giving the young George the chance to forge an understanding of dramatic structure and what works with an audience. In 1922 Stevens' parents abandoned live theater and moved their family, which consisted of George and his older brother John Landers Stevens (later to be known as Jack Stevens), south to Glendale, California, to find work in the movie industry.

Both of Stevens' parents gained steady employment as movie actors. Landers appeared in Little Caesar, The Public Enemy and Citizen Kane in small parts. His brother was Chicago Herald-American drama critic Ashton Stevens (1872-1951), who was hired by William Randolph Hearst for his San Francisco Examiner after Ashton had taught him how to play the banjo. An interviewer of movie stars and a notable man-about-town, Ashton mentored the young Orson Welles, who based the Jedediah Leland character in Citizen Kane on him. Georgie Cooper's sister Olive Cooper became a screenwriter after a short stint as an actress. Jack became a movie cameraman, as did their second son.

Stevens' movie adaptation of "I Remember Mama," the chronicle of a Norwegian immigrant family trying to assimilate in San Francisco circa 1910, could be a mirror on the Stevens family's own move to Los Angeles circa 1922. In "Mama", the members of the Hanson family feel like outsiders, a theme that resonates throughout Stevens' work. Acting was considered an insalubrious profession before the rise of Ronald Reagan's generation of actors into the halls of power, and being a member of an acting family necessarily marked one as an outsider in the first half of the 20th century. Young George had to drop out of high school to drive his father to his acting auditions, which would have further enhanced his sense of being an outsider. To compensate for his lack of formal education, Stevens closely studied theater, literature and the emerging medium of the motion picture.

Soon after arriving in Hollywood, the 17-year-old Stevens got a job at the Hal Roach Studios as an assistant cameraman; it was a matter of being in the right place at the right time. Of that period, when the cinema was young, Stevens reminisced, "There were no unions, so it was possible to become an assistant cameraman if you happened to find out just when they were starting a picture. There was no organization; if a cameraman didn't have an assistant, he didn't know where to find one."

As part of Hal Roach's company, Stevens learned the art of visual storytelling while the form was still being developed. Part of his visual education entailed the shooting of low-budget westerns, some of which featured Rex the Wonder Horse. Within two years Stevens became a director of photography and a writer of gags for Roach on the comedies of Stan Laurel and Oliver Hardy.

His first credited work as a cameraman at the Roach Studios was for the Laurel & Hardy short Roughest Africa. Stevens was a terrific cameraman, most notably in Laurel & Hardy's comedies (both silent and talkies), and it was as a cameraman that his aesthetic began to develop. The cinema of George Stevens was rooted in humanism, and he focused on telling details and behavior that elucidated character and relationships. This aesthetic started developing on the Laurel & Hardy comedies, where he learned about the interplay of relationships between "the one who is looked at" and "the one doing the looking." Verisimilitude, always a hallmark of a Stevens picture, also was part of the Laurel and Hardy curricula; Oliver Hardy once said, "We did a lot of crazy things in our pictures, but we were always real."

From a lighting cameraman, Stevens advanced to a director of short subjects for Roach at Universal. Within a year of moving to RKO in 1933, he began directing comedy features. His break came in 1935 at RKO, when house diva Katharine Hepburn chose Stevens as the director of Alice Adams. Based on a Booth Tarkington novel about a young woman from the lower-middle class who dares to dream big, the movie injected the theme of class aspiration and the frustrations of the pursuit of happiness while dreaming the American dream into Stevens' oeuvre. Before there was cinema of "outsiders" recognized in the late 1970s, there were Stevens' outsiders, fighting against their atomization and alienation through their not-always-successful interactions with other people.

Stevens created his first classic in 1936, when RKO assigned him to helm the sixth Astaire-Rogers musical, Swing Time. Stevens' past as a lighting cameraman prepared him for the innovative visuals of this musical comedy. Through his control of the camera's field of vision, Stevens as a director creates an atmosphere that engenders emotional effects in his audience. In one scene Astaire opens a mirrored door that the scene's reflection in actuality is being shot on, and being keyed into the illusion emotionally introduces the audience into the picture, in sly counterpoint to Buster Keaton's walk into the screen in his _Sherlock, Jr. (1924)_ . Stevens' use of light in "Swing Time" is audacious. He freely introduces light into scenes, with the effect that it enlivens them and gives them a "light" touch, such as the final scene where "sunlight" breaks out over the painted backdrop. The film never drags and is a brilliant showcase for the dancing team. Rogers claimed it was her favorite of all her pictures with Astaire.

Stevens' next classic was the rip-roaring adventure yarn Gunga Din, based on the Rudyard Kipling poem. Though no longer politically correct in the 21st century, the picture still works in terms of action and star power, as three British sergeants--Cary Grant, Victor McLaglen and Douglas Fairbanks Jr.--try to put down a rampage by a notorious death cult in 19th-century colonial India.

Having learned his craft in the improvisational milieu of silent pictures, Stevens would often wing it, shooting from an underdeveloped screenplay that was ever in flux, finding the film as he shot it and later edited it. With filmmaking becoming more and more expensive in the 1930s due to the studios' penchant for making movies on a vaster scale than they had previously, Stevens methods led to anxiety for the bean-counters in RKO's headquarters. His improvisatory crafting of "Gunga Din" resulted in the film's shooting schedule almost doubling from 64 to 124 days, with its cost reaching a then-incredible $2 million (few sound films had grossed more than $5 million up to that point, and a picture needed to gross from two to 2-1/2 times its negative cost to break even).

Studio executives were driven to distraction by Stevens' methods, such as his taking nearly a year to edit the footage he shot for "Shane." His films typically were successful, though, and in the late 1930s he became his own producer, earning him greater latitude than that enjoyed by virtually any other filmmaker with the obvious exceptions of Cecil B. DeMille and Frank Capra. He made three significant comedies in the early 1940s: Woman of the Year, the darker-in-tone The Talk of the Town (a film that touches on the subject of civil rights and the miscarriage of justice) and The More the Merrier before going off to war.

Joining the Army Signal Corps, Stevens headed up a combat motion picture unit from 1944 to 1946. In addition to filming the Normandy landings, his unit shot both the liberation of Paris and the liberation of the Nazi extermination camp Dachau, and his unit's footage was used both as evidence in the Nuremberg trials and in the de-Nazification program after the war. Stevens was awarded the Legion of Merit for his services. Many critics claim that the somber, deeply personal tone of the movies he made when he returned from World War II were the result of the horrors he saw during the war. Stevens' first wife, Yvonne, recalled that he "was a very sensitive man. He just never dreamed, I'm sure, what he was getting into when he enlisted." Stevens wrote a letter to Yvonne in 1945, telling her that "if it hadn't been for your letters . . . there would have been nothing to think cheerfully about, because you know that I find much [of] this difficult to believe in fundamentally."

The images of war and Dachau continued to haunt Stevens, but it also engendered in him the belief that motion pictures had to be socially meaningful to be of value. Along with fellow Signal Corps veterans Frank Capra and William Wyler, Stevens founded Liberty Films to produce his vision of the human condition. The major carryover from his prewar oeuvre to his postwar films is the affection the director has for his central characters, emblematic of his humanism.

Stevens' second postwar film, A Place in the Sun, was his adaptation of Theodore Dreiser's "An American Tragedy," updated to contemporary America. Released three years after his family film I Remember Mama, it features an outsider, George Eastman, trapped in the net of the American Dream, the pursuit of which dooms him. Sergei M. Eisenstein had written an adaptation for Paramount of "An American Tragedy" (the title a sly reversal of "The American Dream"), but Eisenstein's participation in the project was jettisoned when the studio came under attack by right-wing politicians and organizations for hiring a "Communist", and the U.S. government deported Eisenstein shortly afterward. His script was unceremoniously dumped, and Josef von Sternberg eventually made the picture, but his vision was so far from Dreiser's that the old literary lion sued the studio. The film was recut and proved to be both a critical and box-office failure.

Alfred Hitchcock maintained that it was far easier to make a good picture from a mediocre or bad drama or book than it was from a good work or a masterpiece. It remained for George Stevens to turn a literary masterpiece into a cinematic one--a unique trick in Hollywood. What was revolutionary about "A Place in the Sun," in terms of technique, is Stevens' use of close-ups. Charlton Heston has pointed out that no one had ever used close-ups the way Stevens had in the picture. He used them more frequently than was the norm circa 1950, and he used extreme close-ups that, when combined with his innovative, slow-dissolve editing, created its own atmosphere, its own world that brought the audience into George Eastman's world, even into his embrace with the girl of his dreams, and also into the rowboat on that fateful day that would forever change his life. The editing technique of slow-lapping dissolves slowed down time and elongated the tempo of a scene in a way never before seen on screen.

Stevens' mastery over the art of the motion picture was recognized with his first Academy Award for direction, beating out Elia Kazan for that director's own masterpiece, A Streetcar Named Desire and Stanley Donen and Gene Kelly for THEIR masterpiece, An American in Paris, for the Best Picture Oscar winner that year (most observers had expected "Sun" or "Streetcar" to win, but they had split the vote and allowed "American" to nose them out at the finish line. MGM's publicity department acknowledged as much when it ran a post-Oscar ad featuring Leo the Lion with copy that began, "I was standing in the Sun waiting for a Streetcar when . . . ").

Stevens' theme of the outsider continued with his next classic, Shane. The eponymous gunman is an outsider, but so is the Starrett family he has decided to defend, as are the "sodbusters", and even the range baron who is now outside his time, outside his community and outside human decency. Giant, Stevens' sprawling three-hour epic based on Edna Ferber's novel about Texas, also features outsiders: sister Luz Benedict, hired-hand transformed into millionaire oilman Jett Rink, transplanted Tidewater belle Leslie Benedict, her two rebellious children and eventually her husband Bick Benedict, a near-stereotypical Texan who finally steps outside of his parochialism and is transformed into an outsider when he decides to fight, physically, against discrimination against Latinos as a point of honor. The Otto Frank family and their compatriots in hiding in The Diary of Anne Frank, American cinema's first movie to deal with the Holocaust, are outsiders, while Christ in his The Greatest Story Ever Told--subtle, complex and unknowable--is the ultimate outsider. The Only Game in Town--Stevens' last film with Elizabeth Taylor, his female lead in "A Place in the Sun" and "Giant"--was about two outsiders, an aging chorus girl and a petty gambler.

Stevens' reputation suffered after the 1950s, and he didn't make another film until halfway into the 1960s. The film he did produce after that long hiatus was misunderstood and underappreciated when it was released. The Greatest Story Ever Told, a picture about the ministry and passion of Christ, was one of the last epic films. It was maligned by critics and failed at the box office. It was on this picture that Stevens' improvisatory method began to take a toll on him. It took six years from the release of "Anne Frank," which had garnered Oscar nominations for Best Picture and Best Director, until the release of "Greatest Story." There had been a long gestation period for the film, and it was renowned as a difficult shoot, so much so that David Lean helped out a man he considered a master by shooting some ancillary scenes for the picture. The film has a look of vastness that many critics misunderstood as emptiness rather than as a visual correlative of the soul. Stevens' script is inspired by the three Synoptic Gospels, particular the Gospel According to St. John. John stresses the interior relation between the self and things beyond its knowledge. Though misunderstood by critics at the time of its release, the film has become more appreciated some 40 years later. Stevens is a master of the cinema, and is fully in command of the dissolves and emotive use of sound he used so effectively in "A Place in the Sun."

His last film, The Only Game in Town, also was not a critical or box-office success, as Elizabeth Taylor's star had gone into steep decline as the 1970s dawned. Frank Sinatra had originally been slated to be her co-star, but Ol' Blue Eyes, notorious for preferring one-take directors, likely had second thoughts about being in a film directed by Stevens, who had a (well-deserved) reputation for multiple takes. His filmmaking method entailed shooting take after take of a scene during principal photography from every conceivable angle and from multiple focal points, so he'd have a plethora of choices in the editing room, which is where he made his films (unlike John Ford, famous for his lack of coverage, who had a reputation of "editing" in the camera, shooting only what he thought necessary for a film). Warren Beatty, typically underwhelming in films in which he wasn't in control, proved a poor substitute for Sinatra, and the film tanked big-time when it was released, further tarnishing Stevens' reputation.

In a money-dominated culture in which the ethos "What Have You Done For Me Lately?" is prominent, George Stevens was relegated to has-been status, and the fact that he had established himself as one of the greats of American cinema was ignored, then forgotten altogether in popular culture. Donald Richie's 1984 biography "George Stevens: An American Romantic" tags Stevens with the "R" word, but it is too simplistic a generalization for such a complicated artist. Stevens' films demand that the audience remain in the moment and absorb all the details on offer in order to fully understand the morality play he is telling. James Agee had been a great admirer of Stevens the director, but Agee died in the 1950s and the 1960s was a new age, an iconoclastic age, and George Stevens and the classical Hollywood cinema he was a master of were considered icons to be smashed. Film critic Andrew Sarris, who introduced the "auteur" theory to America, disrespected Stevens in his 1968 book "The American Cinema." Stevens was not an auteur, Sarris wrote, and his latter films were big and empty. He became the symbol of what the new, auteurist cinema was against.

The Cahiers du Cinema critics attacked Stevens by elevating Douglas Sirk. Sirk's Magnificent Obsession, so the argument went, was a much better and more cogent exegesis of America than "Giant," which was "big and empty" as was the country they attacked (though they loved its films). The point of iconoclasm is to smash idols, no matter what the reason--and Stevens, the master craftsman, was an idol. However, to say "Giant" was empty is absurd. To imply that George Stevens did not understand America is equally absurd. "Giant" contains what is arguably the premier moment in America cinema of the immediate postwar years, and it is an "American" moment--the confrontation between patrician rancher Bick Benedict and diner owner Sarge (Robert J. Wilke). Many critics and cinema historians have commented on the scene, favorably, but many miss the full import of it.

The film has been built up to this climax. Benedict has shared the prejudices of his class and his race. All his life he has exploited the Mexicans whom he has lived with in a symbiotic relationship on HIS ranch, giving little thought to the injustice his class of overlords has wrought on Latinos, on poor whites, or on his own family. His wife, an Easterner, is appalled by the poverty and state of peonage of the Mexicans who work on the ranch and tries to do something about it. Her idealism is echoed in her son, who becomes a doctor, rejects his father's rancher heritage, and marries a Mexican-American woman, giving his father an Anglo/Mexican-American grandson.

While out on a ride with his wife, daughter, daughter-in-law and her child, they stop at a roadside diner. Sarge, the proprietor, initially balks at serving them because of the Latinos in their party. He backs down, but when more Latinos come into his diner, he moves to throw them out. Benedict decides to intervene in a display of noblesse oblige, and also out of family duty. Sarge is unimpressed by Benedict's pedigree, and a fight breaks out between the hardened veteran--recently returned from the war, we are meant to understand--and the now aged Benedict. Bick first holds his own and Sarge crashes into the jukebox, setting off the song "The Yellow Rose of Texas" while he recovers and then sets out to systematically demolish Mr. Bick Benedict, the overlord. As the song plays on in ironic counterpoint, shots of his distraught daughter and other family members are undercut with the cinematic crucifixion of Bick Benedict, the overlord, by the former Centurion. After Sarge has finished thrashing Benedict, he takes a sign off of the wall and throws it on Benedict's prostrate body: "The management reserves the right to refuse service to anyone". This is not only America of the 1950s, but America of the 21st century. For just as Sarge is defending racism, he is also defending his once-constitutional right to free association, as well as exerting his belief in Jeffersonian-Jacksonian democracy in thrashing a plutocrat. This is a type of yahooism that Bruce Catton, in his Pulitzer Prize-winning history of the Civil War, attributed to the rebellion. There had always been a very well developed strain of reckless, individualistic violence in America, frequently encouraged, ritualized and sanctified by the state. The diner scene in "Giant" could only have been created by a man with a thorough knowledge of what America and Americans were (and continue to be). Sarge will try to accommodate Benedict, who has stepped out of his role as racist plutocrat into that of paternalistic pater familias, just as the sons of the robber barons of the 19th century--who justified their economic depravities with the doctrine of social Darwinism--did in the 20th century, endowing foundations that tried to right many wrongs, including racism, but Sarge will only go so far. When he is stretched beyond his limit, when his giving in is then "pushed too far," he reacts, and reacts violently.

This scene sums up American democracy and the human condition in America perhaps better than any other. America is a violent society, a gladiator society, in which progress is measured in, if not gained by, violence. Yes, Sarge is standing up for racism and segregation (a huge topic after the 1954 Brown v. Board of Education Supreme Court ruling outlawing segregation), but he is also standing up for himself, and his beliefs, something he has recently fought for in World War II. The ironies are rich, just as the irony of American democracy, which excluded African-Americans and women and the native American tribes from the very first days of the U.S. Constitution, is rich. This is America, the scene in Sarge's diner says, and it is a critique only an American with a thorough knowledge of and sympathy for America could create. It is much more effective and philosophically true than the petty neo-Nazi caricatures of Lars von Trier's Dogville, who are cowards. Characters in a George Stevens film may be reluctant, they may be hesitant, they may be conflicted, but they aren't cowardly.

Another ironic scene in "Giant" features Mexican children singing the National Anthem during the funeral of Angel, who in counterpoint to Bick's son, his contemporary in age, is of the land, to the manor born, so to speak, but lacking those rights because of the color of his skin. Angel had gone off to war, and he returns to the Texas in which he was born on a caisson, in a coffin, starkly silhouetted against the Texas sky as the Benedict mansion had been earlier in the film when Leslie had first come to this benighted land. Angel, who had experienced racial bigotry due to his birth into poverty on the Benedict ranch, had fought Adolf Hitler. He is the only hero in "Giant," and his death would be empty and meaningless without Bick Benedict's reluctant conversion to integration through fisticuffs.

The great turning points in American cinema typically have involved race. The biggest, most significant movies of the first 50 years of the American cinema death with race: Uncle Tom's Cabin, Edwin S. Porter's major movie before his The Great Train Robbery and the first film to feature inter-titles; The Birth of a Nation, D.W. Griffith's racist masterpiece--which was a filming of a notorious pro-Ku Klux Klan book called "The Clansman"--in which a non-sectarian America is formed in the linking of Southern and Northern whites to fight the African-American freedman; The Jazz Singer, in which a Jewish cantor's son achieves assimilation by donning blackface and disenfranchising black folk by purloining their music, which he deracinates, while turning his back on his Jewish identity by marrying a Gentile; and Gone with the Wind, the greatest Hollywood movie of all time--in which the Klan is never shown and the "N" word is never used, although the entire movie takes place in the immediate post-Civil War South--a sweeping, romantic masterpiece in which a reactionary, ultra-racist plutocracy is made out to be the flower of American chivalry and romance.

Stevens' "Giant" was a major film of its time, and remains a motion picture of the first rank, but it was not the cultural blockbuster these movies were. Yet it more than any other Hollywood film of its time, aside from Elia Kazan's rather whitebread Gentleman's Agreement and Pinky, directly addresses the great American dilemma, race, and its implications, and not from the familiar racist, white supremacist point of view that had been part of American movies since the very beginning. Those attitudes had been rooted in the American psyche even before the days of The Perils of Pauline serials (simultaneously serialized in the white supremacist Hearst newspapers), in which many a sweet young thing was threatened with death or--even worse, the loss of her maidenhead--by a sinister person of color (always played by a Caucasian in yellow or brown face).

A 1934 "Fortune Magazine" story about the rosy financial prospects of the Technicolor Corp.'s new three-strip process contained a startling metaphor for a 21st-century reader: "Then - like the cowboy bursting into the cabin just as the heroine has thrown the last flowerpot at the Mexican - came the three-color process to the rescue." It was this endemic, accepted racism that Stevens challenged in "Giant," which is at the root of America's expansionist philosophy of manifest destiny, and which was at the root of much of the southern and western economies. Those who died in World War II had to have died for something, not just the continuation of the status quo. It was a direct and knowing challenge to the system by someone who thoroughly knew and thoroughly cared about America and Americans.

George Stevens died of a heart attack on March 8, 1975, in Lancaster, California. He would have been 100 years old in 2004, and in that year he was celebrated with screenings by The Academy of Motion Picture Arts and Sciences, London's British Film Institute, and the Museum of Modern Art in New York. His legacy lives on in the directorial work of fellow two-time Oscar-winning Best Director Clint Eastwood, particularly in Pale Rider, which suffers from being too-close a "Shane" clone, and most memorably in his masterpiece, Unforgiven.

Luis García Berlanga

Berlanga commenced his studies in Valencia in1928, although in 1929 his family sent him and his brother Fernando (due to a lung disease) to the Beau-soleil hospital school in Switzerland. In 1930, he returned to the San José School in Valencia where he stayed until 1931, the year in which the Jesuits were expelled from Spain. In 1936, while he was studying at the Academia Cabanilles, the Spanish Civil War began, and he saw active service in the riflemen's 40th Division. After the war Franco's dictatorship imprisoned his father, then a member of the Spanish Parliament for the 'Frente Popular' (Popular Front). In an attempt to improve his father's situation in jail, he joined the División Azul (Blue Division) in 1941, and fought in Russia at the Novgorod front, returning to Spain in 1942.

Towards 1943 he began to take an interest in poetry and cinema, and started to write a screenplay entitled 'Cajón de perro', together with his first cinematographic reviews. In 1947 he entered the 'Instituto de Investigaciones y Experiencias Cinematográficas' (IIEC) (Institute of Cinematographic Research and Experiences). During his second year at the institute, he filmed a short entitled 'Paseo por una guerra antigua', {which he finished with the help of Juan Antonio Bardem, Florentino Soria and Agustín Navarro}. In 1951, he directed (together with Bardem) the film That Happy Couple, starring Fernando Fernán Gómez and Elvira Quintillá.

After being expelled from the Falange, Berlanga started to adopt an individualistic and libertarian position, far removed from politics and considered fairly permissive. However, his open and conciliatory nature kept him out of trouble during the post-war period. Sadly his father died six months after being released from prison.

Berlanga and Bardem continued to collaborate on Welcome Mr. Marshall!; this film received an International Award and a Special Mention Award at the Cannes Festival. It was also shown at the Venice Festival, where the president of the Jury, Edward G. Robinson, expressed his indignation at what he interpreted as an anti-American film.

Berlanga's conceptual and political audacity, so evident in Welcome Mr. Marshall! continued in his other films during the 50s, which tended not to be very well received by the censor. In fact, his film Miracles of Thursday, was modified by the censors and was delayed for several years before its eventual release.

In 1955 he participated in the 'Conversaciones de Salamanca' (Salamanca's Discussions) where the future of Spanish cinema was debated. In 1956 he filmed Calabuch (1956), and in 1958 began lecturing at the IIEC. His subsequent film Se vende un tranvía was his first professional liaison with Rafael Azcona. Their next joint venture was Placido, which received an Oscar nomination in 1963. That same year, Berlanga made of his best films: The Executioner; however, his cruel portrait of Spanish society didn't please the pro-Franco authorities, although the film was well-received at the Venice Festival. In 1973 he went to Paris to begin filming _Grandeur nature (1973)_, another polemic film, focussing this time on the fetishism of a man who falls in love with a doll.

Several years later, after Franco's death, he filmed a trilogy comprising La escopeta nacional, National Heritage and National III, where he clarified the disorders evident in the Spanish upper middle-class upon being confronted with a new political status quo. Following the same theme he filmed The Heifer, set in the Spanish Civil War and also beset by difficulties with the censors.

The quality of his cinematography and independence of criteria was welcomed during the years following the end of the dictatorship. In 1978 he was made president of the 'Filmoteca Nacional' (National Archive), in 1980 he won the 'Premio Nacional de Cinematografía' (National Cinematography Award), in 1982 he received the 'Medalla de Oro a las Bellas Artes' (Gold Medal to Arts), in 1986 he won the 'Premio Príncipe de Asturias de las Artes' (Príncipe de Asturias Arts' Award), in 1988 he was named member of the 'Real Academia de Bellas Artes de San Fernando' (San Fernando's Art's Real Academy), and in 1997 he was awarded the Doctor Honoris Causa title by the 'Universidad Politécnica de Valencia' (Valencia's Politechnical University). In addition he was made president of the 'Asociación de Titulados en Cinematografía' (Graduates in Cinematography's Association) and he was the first president of the Academia de las Artes y Ciencias Cinematográficas de España (Spanish Academy of Arts and Cinematographic Sciences).

In 1994, his film Todos a la cárcel won three Goya Awards for Best Film, Best Director and Best Sound. In 2002, the 'Asociación de Directores de Cine' (Cinema Directors' Association) gave him an honorary award.

Kristina Ress

Kristina Deanna Ress was born on April 28, 1986 in Chicago, Illinois.

She knew she loved film at a very young age. Her biggest influence was her father who allowed her to see cult classic films such as The House of Dark Shadows, The Fearless Vampire Killers, Some Like It Hot, The Lost Boys, Goodfellas, and A Nightmare on Elm Street. His progressive attitude about the artistic qualities of these films overruled the status quo of more traditional parents. As a result, Kristina's creative side was nourished. She began writing and performing dark comedies and dramas with her sisters and cousin for family and friends. The performances featured a consistent vampire theme and advanced improvisational skills combined with original screenplays Kristina had scribbled diligently into her notebook.

Other childhood favorite films included The Little Mermaid, Edward Scissorhands, Cry Baby, Bad Girls, Batman Returns, My Fair Lady, Tommy Boy, and Gone With the Wind.

Her interest in variety propelled her to explore other talents including poetry, singing, and dancing. By the Age of 11, Kristina completed her first full length play. She reached out to children in her class to fill the roles and led rehearsals at recess and after school. Production shut down due to lack of funding.

Kristina continued to harness her performance and leadership skills by organizing and performing dances, skits, and musical acts throughout her teen years. She was extremely disciplined which was demonstrated by her intense regimen of 5:00am workouts, beauty routines, meditation, and honing of all her skills. Kristina kept her passions in her life but did not truly believe her dream of becoming a real actress was attainable.

While attending Loyola University Chicago, Kristina suffered a very traumatic personal event and put her first love of acting on hold.

She eventually entered an open casting call for The Express and was cast as featured extra "Model Daughter." Then as a "party goer" on The Dark Knight. Her experiences reignited her passion for acting. From there she became dedicated to her dream at all costs.

Kristina has remained true to the person she is; a confident, dramatic woman with romantic ideas and a wonderful sense of humor. In 2009 she was cast in her first principle role as Lina in Pequeno Gigante's film Orange Grove. She easily conquered the complicated character and achieved the daunting task of making a seemingly villainous character lovable.

Kristina currently resides between Hollywood and her hometown, Chicago.

Christine Jorgensen

George William Jorgensen, a Danish-American army veteran, wiped the news about the successful testing of the H-Bomb off of the front page of newspapers when - after a two-year hiatus in Denmark - he returned to the United States in late 1952 as Christine Jorgensen. George-Christine was not the first male-to-female sex reassignment - that had happened in Germany in 1930, and the first female-to-male sex change had been performed in Great Britain in 1947 - but he was the first "transsexual" (a term coined in the early 20th century but not commonly used until the 1960s) to be publicized. On December 1, 1952, Americans in the deep freeze of the Cold War with the Soviet Union (manifesting itself in the frustrating and bloody stalemate in Korea), living in a country racked by McCarthyism (one of whose subjects was homosexuals and other "deviants" in the federal government), were told about Christine by the "New York Daily News" in a banner headline: "EX-GI BECOMES BLONDE BEAUTY: OPERATIONS TRANSFORM BRONX YOUTH."

The German doctors who performed the first sex reassignment surgeries in 1930 came from an "enlightened" tradition rooted in the last half of the 19th century that saw male homosexuals as a kind of third gender, a buffer zone between the "normal" male and the female. Homosexuals were considered effeminate; all were considered to be suffering from too high a level of female hormones in their body, which caused inversion into this "third" sex when exposed to a precipitating event such as an overindulgent mother.

According to her 1967 autobiography, the man George Jorgensen was plagued by homo-erotic desire, but as a highly moral Christian the idea of having sex with another man sickened him physically. Raised a Lutheran, he had a "can do" philosophy and bought into that part of the Protestant ethic that held a person could transform themselves. He had a problem, and though many might think it insoluble, he was determined to fix it. Rather than surrender to the exigencies of gay love, which was "sinful", the devout Lutheran sought to reassign his body to the correct gender for incorporating sexual desire for men: the female.

Homosexuality until the early 1970s was officially considered a disease by the official psychological Establishment (albeit one of the mind rather than the body) and was listed as such in the Diagnostical and Statistical Manual that is the bible or the head-shrinking industry. Modern (non-homeopathic) medicine in the West has always insisted on intervention after the fact (rather than focusing on prevention or less invasive treatments for a body that has become unbalanced and thus ill). If one were sick with cancer, the Western physician would insist that his patient go under the knife. Putting George under the knife to correct his "illness" (seen rooted in a malfunction of the endocrine system that made him an indeterminate sex) thus was a logical offshoot of Western medicine. If George desired men, it was "logical" to assign him the correct gender to house such desires (incorrect desires when contained in the male body. The idea that a person could desire a person of the same sex was not normal; a man loving another man was not masculine).

There's a saying: If it ain't broke, don't fix it. In the immediate postwar world, George Jorgensen was considered broken. His "problem" was that he was a man who desired other men, and he and his physicians were determined to fix it. Tolerance wasn't a well-established concept, apparently, in 1950. That the psychological troubles caused by his homosexuality - which he denied - were rooted in unenlightened attitudes towards gay love seemingly was not an issue. He was broken, physically, and his body could be fixed. It's a kind of hubris that, in retrospect, is kind of dazzling, the Western idea of transformation that reached its apotheosis in the United States.

When viewed in this light, it can be seen why George-Christine's transformation from a man desiring men to a woman desiring men wasn't treated as radical in the 1950s, but rather provided comfort to a conservative and conformist America. Unlike the feminists and black and gay power movement of the 1960s, George-Christine didn't threaten the status quo by demanding fundamental changes to the system. What he wanted, what was at the root of George's desire to be Christine, was to conform to the rigidly defined sex roles of Cold War America. Only women could desire men; George desired men - therefore, logically, he should be a woman. In the best tradition of can-do, entrepreneurial Protestant America, become a woman he did!

Christine Jorgensen became a major celebrity, arguably one of the most famous people in the world for a period in the mid-1950s. She cashed in by selling her story to the Hearst newspaper chain (William Randolph Hearst's media empire, though essentially conservative since the late 1920s, always enjoyed sensationalism for sensationalism's sake - it sold newspapers); she also launched a stage show in which she toured for years. In the 1960s through her death in 1989, she made the rounds of the college campus circuit, lecturing about trans-sexuality and providing counsel and comfort to trans-gendered people. The busy Miss Jorgensen also found time to write her autobiography (published in 1967) and was the subject of a biopic in 1970, The Christine Jorgensen Story.

A smoker, Christine Jorgensen died of bladder and lung cancer in 1989, still enjoying herself as a gal and as a celebrity to the very end. She will be remembered as one of those All-American types that her native land is so good at producing, rah-rah individuals who tackle a problem head on, by taking the bull by the horns, so to speak, which in her case is as good a metaphor as any for this remarkable and courageous woman.

Justin Long

Justin Long entered the Adult Industry in mid 97'. He was talent for the world famous Agent/Owner Jim South of World modeling. Justin purportedly became at that time "the" fastest growing male adult model in history (up to that time at least) Shooting an astounding 13 films in his first month in the adult industry (and having 15 booked, but 2 movies were canceled).

Justin was subsequently hurt in a motorcycle malfunction very shortly after beginning his career in adult films. He left adult to recover from injuries and did in fact stay in front of the camera somewhat in few and small non speaking rolls in mainstream film.

Between 98' and 2004 Justin did return on occasion to film an adult film here and there, but was not shooting adult for the most part. In mid 2004 Justin Long returned to L.A. to finish college and did start shooting again full time. he quickly rose in the ranks and was an immediate sought after male talent for adult movies ranging from gonzo to features and for such companies as; Playboy, Hustler, Red light District, Adam & Eve, and so on.

Justin semi retired in 09' Sighting fatigue, & industry woes. He did return in early 2010 to shoot many movies in the first quarter including "This Is Not Curb Your Enthusiasm XXX" for Hustler video as a starring roll in the Feature.

Very shortly after the first quarter of 2010 Justin (on a dare rumor has it) Took on the whole of the adult industry in what would be a unprecedented campaign against the status quo of racial discrimination in the adult industry. With an op-ed piece that went viral through the adult industry media (and many mainstream medias), Justin went public with the daily whats-what in the plight of an African American Adult Film Star.

Justin's fight was going to be a huge one and appears to have cost him a fair amount, but he did (and as far as can be told, has) Stuck to his guns. Since his original op-ed piece (which broke every record on a industry favorite blog Lukeisback.com) it would appear threats and PO'd studios, talents & agents can NOT keep Justin Long from working NOR his star from rising.

A porn star favorite overwhelmingly by fans on twitter, Justin Long has not only gained fans and branched out having exploded over 2010-2011 in radio and blog interview after interview. Notably, Justin was featured on xpeeps.com, appeared in twitter town halls, was on countless radio shows bi-coastal, and featured in two many blog's to count.

Continuing, in 2011 Justin Long was Inducted into the Porn Star Hall Of Fame by the Urban X Awards and also received the award for best three-way as well. He did however narrowly miss receiving best male performer in 2011. Over his career Justin Long has been nominated for countless AVN's, was a contender for Adultcon Awards, and has even spoke on several occasions for professors @ University of California @ Irvine.

Regardless of his battles regarding race in the industry, it appears Justin Long is not slowing down. He has still continued to shoot for product in 2010 & 2011 and has even moved into music with a supposed rap single to appear sometime in late 2011. Justin has reportedly been shooting mainstream film and appearing in mainstream modeling as well in 2011.

As one of the most down to earth stars known on twitter, commonly responding directly to fans Justin Long has won the hearts and minds of Porn fans as well as most that he has encountered. To this day he continues to work in adult with possible aspirations to possibly run for political office in 2012. He reportedly splits his time between California and Nevada, but has been heard saying many time he is an avid diver.

Susan Atkins

Susan Atkins, a.k.a. Sadie Mae Glutz, is one of the more notorious members of the group of people that congregated around convicted mass-murder mastermind Charles Manson, a group tagged "The Family" by the mass media. Born Susan Denise Atkins on May 7, 1948 in San Gabriel, California, her mother died of cancer when she was 15. Tired of life with her alcoholic father, with whom she constantly quarreled, she quit high school and moved to San Francisco, then on the verge of a counter-cultural revolution that would rock America.

She supported herself working the phones for a company peddling magazine subscriptions. Living in a rented room, Atkins was lonely and depressed. Quitting the telemarketing job, she became a waitress at a local coffee shop, a fateful change of occupations for it was there she met two escaped convicts. Smitten, she went on the road with the two hoods, and the trio eventually were arrested in Oregon after committing a series of armed robberies. For her role in the crime spree, Atkins was incarcerated for 90 days and put on probation.

She returned to San Francisco after her stint in jail, and became a topless dancer. Topless dancing as a phenomenon broke out in a big way at the 1964 Republican Convention, which was held at San Francisco's Cow Palace. Many conventioneers and media personnel congregated at North Beach's Condor Cub (now a state landmark) to watch the pneumatic Carol Doda, the Nathan Bedford Forrest of topless dancers (the firstest with the mostest) perform. Doda's come on was a variation of Barry "In Your Heart You Know He's Right" Goldwater's slogan absolving his followers of guilt for following an unrepentant extremist: "In Your Heart You Know She's Ripe." Powered by the twin propulsion of her silicone-enhanced mammaries, Miss Doda became a massive pop culture phenomenon over 40 years ago, and San Francisco's flesh pots vaulted "Baghdad by the Bay" ahead of New York and New Orleans as the most sinful city in the U.S. (It is unlikely that the G.O.P. will ever hold its convention there again.) The young Atkins, on the hustle, was one of those who tried to cash in on the trend.

Before Charles Manson put California on the map as the Kingdom of the Cuckoos, there was Anton LaVey. A hustling ex-carny with a disdain for what he called "White Light" religion, he ripped off the philosophy of the Magus Aleister Crowley (dubbed "The Wickedest Man in the World" by the British press, whose occult philosophy also proved inspirational to a former sci-fi writer named L. Ron Hubbard), stripped it of its religious meaning, and relaunched it as a proto-"Me" generation philosophy condoning licentious sex and guiltless self-fulfillment. To his credit, the founder of the Church of Satan never really misrepresented who he was, though many willingly misinterpreted him. Atkins came into contact with LaVey in San Francisco after being released from the hoosegow, and danced in a show he organized called the Witches' Sabbath as a blood-swilling vampire. It was a precursor of things to come for the rootless girl.

She also resorted to dope-peddling to make ends meet. Atkins wound up living in a commune, where she met Manson, who had recently been sent to the San Francisco Bay Area after getting out of prison in 1967. (A juvenile delinquent who graduated to a life of rime when he was all of 13 years old, Manson had been released on parole in in 1958 after being incarcerated in federal prison for stealing mail and forging a signature on a Treasury check. He began pimping in Los Angeles, and in June 1960, was arrested for violating the federal Mann Act. The procuring charges were dropped, but he was remanded back to the federal lock-up to serve out the remainder of his original 10-year sentence for violating parole. Prison records from the early '60s detail Manson's main interests as including Scientology, drama, and particularly music.

The 33-year old Manson had spent half of his life behind bars. He infatuated Atkins, as he had many young woman from broken homes searching for a father figure. Atkins became intrigued by Manson, who was playing guitar and singing his songs in the living room of the communal house. She was captivated by his music, and began traveling with him and his female followers in a school bus painted black. She soon became a central member of the group that coalesced around the ex-con. Renamed Sadie Mae Glutz by her new guru (for a fake I.D.), she eventually -- as part of the group that roved with Manson -- wound up living at the Spahn Movie Ranch in the San Fernando Valley, where Manson moved with his clan after splitting from Beach Boy Dennis Wilson's place.

Atkins was one of the more fanatical believers in Manson, who had written some 80 to 90 songs while in prison and hoped to make it as a singer-songwriter. Wilson was intrigued by Manson's music (one of Charlie's songs made it onto a Beach Boys single B-side and eventually onto an album), giving the diminutive (his driver's license listed him as 5'7" though his later nemesis, assistant D.A. Vincent Bugliosi, wrote that he was but 5'2") ex-con hope that he might make it in the music industry. Some claim that Wilson mostly was interested in Manson due to the free sex he got from Manson's girls, but given the nature of the band he belonged to -- one of the country's most successful -- it seems Wilson would have had his choice of groupies. It must have been the music of this Pied Piper of lost "children."

The link between Wilson and Manson had been made in the spring of 1968 when the Beach Boy picked up a hitch-hiking Ella Jo Bailey (known as "Yellerstone" by the Manson clan, which she hooked up with in 1967) and Patricia Krenwinkel, later to be convicted of first-degree murder. Wilson picked up the hitch-hiking duo another time later that spring ad took them to his house on Sunset Blvd., where they visited for a couple of hours, chatting mostly about their good friend (and guru) Charles Manson. Wilson met the man face-to-face when, coming home from a recording session at 3:00 AM, he found Manson and multiple members of his clan in his house. Wilson and Manson hit it off, and Charlie and his clan members stayed with he Beach Boy at his Sunset Blvd. pad for approximately six months. It was during this stay that Manson met Charles Watson, an All-American-looking native of the Lone Star state who went by the moniker "Tex." Wilson, before having a falling out with Manson (who supposedly had appalled the Beach Boy with a display of cruelty to one of his own gang), tried to interest music producer Terry Melcher in Manson, but Melcher passed on Manson. (Melcher later claimed that he wouldn't deal with Manson after hearing he had shot a man.) Manson, accompanying Wilson, had visited Melcher's estate at 10050 Cielo Drive in L.A.'s Benedict Canyon, and had visited it at least one other time on his own, where he had been rudely rebuffed. The estate would later be rented by director Roman Polanski and his wife, the beautiful, gentle, on-the-cusp of stardom movie actress Sharon Tate.

As a member of the Manson clan, Atkins (known as Sadie) would often come into conflict with Charlie, due to her constant demand for attention. More than once, she was blamed for spreading a dose of the clap among clan members, and reportedly, she was once banished from the fold. Atkins and some other clan members lived in the idyllic artists community of Mendocino in northern California for a while, but they were busted after distributing LSD to local kid. The Manson-affiliated group was dubbed "The Witches of Mendocino" when they went on trial.

In October of 1968, Susan Atkins gave birth to a boy either she or Manson (who was not the father) she tagged with the strange name "Zezozecee Zadfrack." She took refuge after the birth at the a religious retreat called Fountain Of The World. In less than It was believed that she more than once a year, Zezozecee's mother would play a part in one of the most infamous murder sprees in American criminal history.

The first murder in which Susan Atkins had a hand in was that of music teacher Gary Hinman, whom Spahn Ranch habitué Bobby Beausoleil, a talented young musician, had lived with before throwing in his lot with the Manson clan. Hinman moonlighted as a drug manufacturer, and as the story goes, in mid-1969, Hinman had whipped up a batch of LSD that Beausoleil -- who had appeared in 'Kenneth Anger' 's underground film "Lucifer Rising," for which he had composed the music -- sold to members of a motorcycle gang that frequented the Spahn Ranch for $1,000. The bikers claimed the LSD was of poor quality and wanted their jack back. In July 1969, Atkins, Mary Brunner, and Beausoleil, allegedly accompanied by Manson, went to Hinman's home. Explaining their plight with the bikers, Hinman refused to refund the cash, claiming the LSD he had sold them was potent. Manson then allegedly sliced off Hinman's ear with a sword before exiting the house. The remaining crew then reportedly held Hinman hostage for three days. Hinman refused to come up with the cash, and on the third day, either Atkins or Beausoleil stabbed him. In turn, he was suffocated by all three of his captors. Atkins provided a theatrical flourish before taking her leave, writing "Political Piggy" in Hinman's blood on the wall.

That three people would hold one man hostage at gun-point for three days over $1,000 that he claims he did not have before murdering him could be a true story. Another story recounted at the time of the Manson-Atkins trial was that the Hinman killing had been the result of a busted drug deal. Allegedly, Manson had given Tex Watson -- who was a flake, rather than being the "right-hand" man of the Manson "Family" that Bugliosi claimed -- $2,000 to buy some drugs from Bernard Crowe, an African American dealer tagged "Lotsa Poppa," so called as he was very big and fat. Watson had allegedly dealt with Lotsa Poppa before, so there was little suspicion when he went into the bathroom with the drugs and the cash, supposedly to relieve himself. What Tex actually did was defenestrate Lotsa Poppa's place with the drugs and Manson's cash, and then failed to inform Charlie his peccadillo.

Lotsa Poppa put the word out on the street that he was going to have both Watson and Manson killed, as he believed Manson was behind the rip-off. When Manson heard the news, as the alternative story goes, he panicked. What Manson didn't know was that Lotsa Poppa was just a low-level functionary and a blow-hard, and was just sounding off, having never resorted to violence before. Drugs fuel paranoia, and Manson believed Lotsa Poppa was connected with the Black Panthers, who allegedly controlled a good deal of the L.A. drug trade, and that his life was in jeopardy. What Charlie wanted to do was flee the Spahn Ranch and the Los Angeles area for Death Valley, but he needed cash.

Manson attempted a sit down to smooth things out with Lotsa Poppa in Hollywood, at an apartment one of Tex Watson's doxies lived in across from the Magic Castle. Apparently, Lotsa Poppa's bluff blew Charie's mind right out of the box and he drew a .22 caliber Buntline Special single-action revolver and shot the fat man in the chest, then took off. Manson believed he had killed Lotsa Poppa, whose lotsa fat and the small caliber of the bullet saved his life. Drug dealers are not ones to go to the police, and Lotsa Poppa really was't connected, so he just let things chill as he recovered. (Bugliosi used the incident during the trial to show that Charlie was capable of murder.)

Manson did not know this. He did know he needed to get out of the Spahn Ranch, where he was known, and fast. The clan had been supplementing their income stealing cars and stealing, and their position was increasingly precarious. Drugs were being dealt at the Spahn Ranch, outlaw bikers were around, and it seemed to Manson that he would soon be slammed back in stir. He needed money, and as the story goes, believed that Gary Hinman, the drug manufacturer cum music teacher, had upwards of $20,000 in cash lying around his house. Manson needed some fast money to finance the move to Death Valley, and Hinman was the likely candidate to become his banker.

In this story, Hinman was held for three days and mercilessly beaten -- even had his ear sliced off by Manson -- to get information on where he had hidden his stash of cash, which they all -- including his ex-roommate, who knew him well -- assumed was a great deal of money, not just the G-note from the disgruntled bikers. (In the mythology that was Bugliosi's "Helter Skelter," perhaps one should note that the other outlaw bike gang that were rivals to Marlon Brando's gang in "The Wild One" were named "The Beetles" and likely were an inspiration for the Liverpool band's name; Brando as "The Wild One" appears in biker drag on the cover of "Sgt. Pepper's Lonely Heart's Club Band," the cultural equivalent of Eiot's "The Waste Land" to the Baby Boom generation.) Hinman threatened to go to the police after his ordeal, and Beausoleil called Manson and was told, in cryptic terms, to kill Hinman. (Thus, Charlie was guilty of murder.)

Whether it was the result of a broken drug deal or the bikers' demand for a refund, the fact was that Gary Hinman was murdered. Beausoleil, the former roommate of the slain Hinman, would naturally have been a prime suspect in his slaying, He eventually was arrested in northern California driving Hinman's car and using his credit cards, both of which Bobby claimed that Hinman had freely given him. It seemed like an open and shut case, but for the revelation of who had been in on it with Beausoleil.

With his confederate arrested for the murder, it might have seemed to Manson that his time as a free man would be up shortly unless something could be done. Some observers claim that the subsequent murders that took seven lives on the nights of August 9th and 10th, 1969 were engineered copy-cat murders to make it appear that Beausoleil was innocent of the Hinman murder, that Hinman had been murdered by some psychopath still on the loose. While much remains unknown or unknowable about Charles Manson and the group around him, what is known is that on the night of August 9th, either acting under Manson's orders or not, Atkins and fellow Manson clanistas Tex Watson, Patricia Krenwinkel, and Linda Kasabian drove to 10050 Cielo Drive with the intent of committing mayhem, most likely murder. Some believe that Manson's motive was to scare Terry Melcher, to send him a message, although Manson's connection with his musical sponsor -- Dennis Wilson, who later claimed he had inadvertently helped create Manson's "Family" -- was over, so a message to Melcher would have gotten him nowhere fast. What is known from almost two decades worth of psychiatric evaluations of Manson BEFORE the Tate-LaBianaca killings was that Manson was a person constantly in need of attention. What soon transpired would make him one of the most famous -- and infamous -- people in the world.

Actress Sharon Tate, the wife of Roman Polanski who was at the early stages of a promising movie career, and three of her friends were staying at the house. It is unarguable that Manson knew the layout of the estate, but whether that effected the murder crew's ability to commit the crime can be put up to question. (The fact that Tex Watson had also frequently been at the estate as a guest of Dean Moorehouse, father of Manson clan member Ruth Ann Moorehouse, was not introduced into evidence at the trial. Dean Moorehouse, a familiar of Manson -- Charlie has almost been jailed in 1967 for his relationship with Moorehouse's daughter -- had lived at 10050 Cielo Drive after Terry Melcher moved out and before the Polanskis moved in. Moorehouse had been visited by Watson at least three and perhaps as many as six times. Bugliosi did not want the jury to know of Watson's intimate knowledge of the estate and the house where the slayings took place as he wanted to emphasize Manson's link to the house instead of Watson's. This was perhaps why Watson was tried separately, to help ensure Manson's conviction by portraying him as a Dr. Mabuse-style criminal mastermind.) What was most relevant about the estate is that it was remote, and there were no neighbors within distance who could be expected to hear what was about to take place. While Linda Kasabian stood guard, Atkins, Krenwinkel and Watson entered the estate after cutting the telephone wires.

The first victim that night was 18-year old Stephen Parent, whom Watson shot with the same .22 Buntline Special Manson had used on Lotsa Poppa while Parent sat in a car. (According to the purveyors of the Lotsa Poppa scenario, Watson was chosen to commit the bloody deed to serve penance for getting Manson into so much trouble in the first place.) Parent had been in the process of leaving the property after visiting the caregiver (who lived in a separate cottage in another part of the estate), who was a friend.

Kasabian, according to Atkins, was horrified by the Parent shooting. Atkins, Watson and Krenwinkle then entered the Polanski-Tate home and committed one of the most cold-blooded murders to disgrace the annals of crime, calling into effect the very nature of the human soul. What boggles the mind is the sheer evil of the event, the intensity of the killers as they lay waste to an innocent, heavily pregnant young woman and her three friends. When it was over, the word "Pig" was written in Tate's blood on the front door of the house (now demolished as it had the attractive power of Lourdes for the ghoulish and neo-Manson freaks), another theatrical flourish from Atkins.

The next evening, Watson, Krenwinkle. former high school home-coming queen Leslie Van Houten and allegedly Manson himself broke into the home of wholesale grocer Leno LaBianca and his wife Rosemary and committed another irrational, heinous murder. That night, Atkins was with Kasabian and clan member Steve Grogan (who had sung on a recording of Manson songs made at the Spahn Ranch with mobile recording equipment supplied by Dennis Wilson), who were trolling around L.A. in a car. The trio picked up Manson, having left the LaBianca home before the killing started, who had them drive him to the beach for a stroll. While at the beach, Manson asked Kasabian about Saladin Nader, a Lebanese actor who had portrayed the rival of the poet Kahlil Gibran (a turn of the 19th-20th century Aran poet whose collection "The Prophet" made him an icon of the 1960s), who lived nearby. A hitchhiking Kasabian had been picked up by Nader, and they had begun an affair. According to Kasabian, who was the state's star witness at the Tate-LaBianca trial, Manson's blood-lust had remained unsated, and he ordered the group to do in Nader.

According to Kasabian's subsequent trial testimony (having not committed any of the murders, she was granted immunity in exchange for her testifying against the others), she deliberately knocked on a wrong door in the apartment building in which Nader lived, thus sparing his life. Bugliosi used this event to exonerate her in the eyes of the jury, although some believe that she simply didn't remember where his apartment was located, which seems unlikely but was not impossible. While Kasabian was knocking on the wrong door as Atkins and Grogan waited around a corner, ready to spring on Nader and kill him (for what purpose has never been established other than an insane desire for murder), the other members of the Manson clan were finishing up their orgy of murder at the LaBianca home, using the couple's blood to write words on the walls of their home. Leon LaBianca had a knife stuck in his throat and a carving fork stuck in his stomach, allegedly a reference to The Beatles song "Piggies," George Harrison's bad-karma inducing indictment of materialism. The reference is given credence by the word "Piggies" written in blood at the LaBiance home.

Los Angeles assistant district attorney Vincent Bugliosi, in presenting his case to convict Charles Manson of multiple murder, faced the fact that Manson had actually killed no one, a precondition that might encourage one or more jury members to feel lenient towards him. This was also the period of the high tide of the liberal Warren Court, when right-wingers drove around in cars festooned with IMPEACH EARL WARREN bumper-stickers; that is, the age of the technicality, when trials had grown longer and convictions more precarious as increasingly liberal federal courts, including the Supreme Court, expanded the rights of those on trial and overturned many convictions on technicalities. The days of the expedient capital trial were over. Prosecutors had to be extra-careful.

As part of his strategy to convict Manson, whom he believed was evil, Bugliosi claimed that Manson was a cult-leader with a bizarre philosophy dubbed "Helter Skelter" after a Beatles song from the same "White Album" on which "Piggies" appeared. In Bugliosi's scenario, Manson allegedly prophesied a coming race war (a prophecy not out of tune with the times in a country that had seen multiple race riots starting with the Watts rebellion of 1965, a time that included such notorious conflagrations as the 1967 riots in Newark, New Jersey and Detroit, Michigan; a riot had even hit Washington, D.C. in 1968 after the Martin Luther King assassination; there was also the phenomenon of the de-colonization of Africa and Asia in the 1960s, which included rebellions in the Congo and the war in Vietnam that by 1970 had spread to Cambodia). Manson's "prophecy" was that blacks would eventually triumph against the white race and wipe them out, but unable to rule due to innate inferiority (Manson, according to Bugliosi, was a hardcore racist, likely because his own barely known father had been part black; the allegation about his father, a "Colonel Scott," being bi-racial was never proven and likely is false but was part of Bugliosi's buildup of Manson as a proto-HItler, creating a psychology -- and thus a motive for Manson's ordering the killings by his "acolytes" that they and Manson were on trial for -- that would explain him; some had alleged that Hitler's fanatic anti-semitism was the result of one of his grandparents being Jewish). Manson allegedly preached to his "Family" that they would hide in a hole in the desert in a City of Gold until the B+W Holocaust was over and the black man appealed to Manson and the Family for help. Manson and the Family would then have dominion over the world, with Charlie -- as the risen Jesus Christ -- ruling as one of five co-prophets, the other four prophets being The Beatles!

In the early '70s, after the time of psychedelia and the youth revolution and the breakup of The Beatles and John Lennon's unsettling flirtation with radical politics, this seemed more plausible to a jury than it might now. The idea of Ringo Starr as a prophet ruling the world is frankly absurd, but The Beatles were the avatars of the Youth Generation, and had been touted as prophets fit to rule a new world populated by the Children of the Age of Acquarius by LSD champion Dr. Timothy Leary. (John Lennon would boast in 1980 that LSD and The Beatles popularization of the psychedelic drug had undermined the Establishment and freed a generation, little appreciating the toll psychedelics had taken on many, including former straight-A student Tex Watson and an acid-addled Baby Boomer, David Chapman, who would soon kill him.) The problem with the "Helter Skelter" theory is was that Charles Manson was no Baby Boomer, but a hardened ex-con in his mid-30s who had lived a harsh, brutal life since he was an illegitimate child sold for a pitcher of beer by his teenage mother. He was not some flower-power hippie with stars in his eyes, and his music was not influenced by or evocative of The Beatles, but had a more countryish flavor.

One thing frequently overlooked is if Manson had believed this story, and with the amount of drugs consumed in those times and the weird life being lived in the desert, one can speculate that some of this fantasy might have had some resonance in his psyche, something thrown up from the unconscious that he may have used as a story-teller to bind people to him -- something from his psyche that he may have believed IN KIND (an imminent race war; the failure of Western civilization in the near future; sitting out Armageddon in the desert; returning once "society" was over and he -- an outcast - could be appreciated by a race of outcasts, the people of color who inherited a world destroyed by the white race -- these were apocalyptic times lived in the shadow of The Bomb and nuclear annihilation) but not IN DEGREE. If Manson was speaking in anything but metaphor, then he was beyond psychosis and was insane, and couldn't be responsible for his actions. This was the course that Bugliosi was navigating, the Scylla and Charybdis of trying to convict Charles Manson: that he was likely insane and could be perceived as such by a jury. So: How to convict him?

Sadie Mae Glutz gave Bugliosi the smoking gun.

In October 1969, the Barker Ranch in Death Valley that Manson and the clan had moved to was raided after Charlie -- a fervent environmentalist to this day -- burned a Forest Service tractor. Members of the Manson clan were arrested for arson (Charlie was not there at the time). Clan member Kathryn Lutesinger implicated Atkins in the Hinman murder while they were both incarcerated, and Atkins was transferred to another prison, ostensibly due to the new charges, though there is a possibility that she was being set up for a "jailhouse confession." For it was in her new surroundings that she began bragging to her cell-mates about her and the Manson clan's involvement in the Tate massacre, which was the talk of the country in late 1969.

Sadie, that is Susan Atkins, supposedly loved to talk, and talk she did, according to her cell-mates. She talked to them about the Sharon Tate killings, claiming that it was she who had done it along with the gang congregated around Manson. She told her cell-mates about Manson's "Helter Skelter" philosophy, that Manson had decided to get the race war underway by murdering prominent Caucasians and blaming it on Afro-Americans, such as the Black Panthers, who would then feel the retaliation of the white race. (That the Black Panthers were being systematically destroyed by the FBI's Cointelpro program, which likely included assassination, is besides the point.) Thus, would the rough beast of the racial Apocalypse be unleashed.

Atkins, a self-confessed, remorseless murderess, was obviously mad, and the Helter Skelter scenario might have been an elaboration of her feverish imagination, or a gloss put on Manson's own racial/sociological theories born in the internecine warfare of prison life, which broke along racial lines. Then again, it could have been something cooked up by prosecutors who coached her with the story as she was, at one point, interested in saving her own hide, put in jeopardy by the Hinman murder.

Ironically, one of Atkins two cell-mates who heard her jail-house confession had been an acquaintance of Jay Sebring -- one of the victims at the Polanski-Tate residence - and had actually been to 10050 Cielo Drive (properly pronounced "cello," the Italian word that means "Heaven" was given to the stringed instrument as it was the sound of heaven), the site of the Tate massacre, and quizzed her about the property to see if she was telling the truth -- whether she had actually been there -- or was just repeating what she had read in the newspapers. The cell-mate realized she was telling the truth, and attempted to inform the L.A.P.D., according to Bugliosi. However, such a wild coincidence -- that the cell-mate of Sharon Tate's killer would have known Tate's ex-fiancée, Jay Sebring, who had allegedly taken her to the house SEVEN YEARS before the Tate killings, whose victims dispatched to heaven had included Sebring himself, suggests that she might have been a plant.

It is quite probable that Charles Manson WAS concerned with a coming racial Armageddon that DID seem imminent in the late 1960s after years of inner-city riots (riots recently matched by those of middle-class university students protesting the Vietnam War and the strictures of the Estabishment) and that he DID want to move himself and his friends as far away from the failing civilization as possible as a survival mechanism. (In this, he is kin to the "Survivalists" of the 1980s and 1990s and our own times who have retreated to rural areas in the Pacific Northwest to avoid the consequences of an anticipated societal meltdown, many of whom are white supremacists fearful of a black planet.) That Charlie's fear and desire assumed the "Helter Skelter" paranoiac/psychotic dimensions as recounted by Bugliosi increasingly has been questioned in the over thirty years since the trial.

Jailhouse confessions are often suspect, but Susan Atkins repeated her "testimony" heard by her cell-mates before a Grand Jury. Hoping to be spared the death penalty, Atkins -- who was promised immunity from prosecution -- swore that the Gary Hinman murder and the Tate-Labianca murders has been committed under the express orders of Charles Manson. Atkins claimed that it was she who stabbed eight-months pregnant Sharon Tate to death, a particularly brutal act even within the context of the Cieo Drive massacre in that the group of murderers had kept Tate, who pleaded for the life of her unborn baby, alive to the last. Restraining Tate while her friends were brutally butchered before her eyes, Atkins said that she had coldly told the terrified actress that she would be murdered: "Look, bitch, I don't care a thing about you. You're going to die and there's nothing you can do about it."

She further testified that she stabbed Tate repeatedly as the dying actress cried out in anguish for her own mother before perishing. She then tasted the blood of Sharon Tate that was on her hand, figuratively sucking the life out of her. It was one of the most appalling stories of its kind, shocking people who had lived through more than half-a-century of mass-murder since the First World War.

During her testimony before the Grand Jury, Atkins testified that Manson was "the only complete man I have ever met" who she believed him to be Jesus Christ incarnate. There was no limit to the acts she would undertake for Manson, she claimed.

From Atkins' Grand Jury testimony -- which she later refuted, thus losing her immunity -- indictments were obtained. Manson, Krenwinkel and Watson were arrested and a warrant issued for Kasabian, whose whereabouts were unknown. After being arrested, Kasabian was offered the immunity deal that Atkins, out of loyalty to Manson, had surrendered.

The Manson "Family" trial is one of the handful of courtroom dramas that legitimately can lie claim to being "The Trial of the Century." Not only did it symbolize the death of the '60s and a waning of the challenge to authority by the youthful idealism of the counter-culture (coming on the heels of violent student rebellions in Paris, the U.S. and elsewhere), it was a media circus, a raging fire stoked by "Family" members and Charles Manson himself, who finally had all the attention a sociopath could crave.

By the time of the trial, Atkins had recanted her testimony and was back within the bosom of the clan. Along with Manson, Krenwinkel and Van Houten, Atkins was tried for first-degree murder for the Tate-LaBianca killings. (Tex Watson was tried separately at a later date.) The trial was full of theatrics: The women defendants carved an X on their foreheads and shaved their heads to show their solidarity with Manson, who had similarly carved an X on himself, and constantly disrupted the courtroom. On the stand, when Atkins was asked if she thought the killing of eight people was unimportant, her response was a question: Was the killing of thousands with napalm (in Vietnam) important? As Manson had said, look into my eyes and you will see yourself: The trial held up a mirror to a dysfunctional America. American society -- which had been rejected by Manson and his clan of drifters, dropouts and runaways -- was itself indicting the U.S. for mass murder via the mass media.

Herbert Marcuse, one of the New School for Social Research (Frankfurt am Main, Germany) veterans who had synthesized Freud and Marx, has claimed at the time that the U.S. was a society mortally diseased from its embrace of one-dimensional materialism. As a sick society, it had sought to expiate its psycho-sexual sins by burning the living flesh off of Vietnamese peasants with napalm bombs. Embracing the Youth Revolution, Marcuse had advocated a progressive politics beyond sterile, puritanical Leninism (then in vogue as Maoism, famously attacked by John Lennon in The Beatles' song "Revolution #1," another "White Album" ditty). Marcusean politics vulgarly could be seen as resistance through sex: release from the uptight, hypocritical, one-dimensional society of materialism, i.e. capitalism. The hippies, and their re-visioning through a glass darkly in "The Family" of Charles Manson, with the hippies free love philosophy could be seen as the crystallization of Marcuse's thought (and through "The Family," reconciled with the traditional Biblical bromide "The wages of sin is death," an attitude Marcuse and the hippies rebelled against but which was also applied, cruelly, to the murdered Sharon Tate but both conservatives AND Manson supporters, for being a supposed symbol of Hollywood decadence, and thus complicit in her fate); thus, Manson and the Tate-LaBianaca killings effectively undermined one of the more potent challenges (particularly among avant-garde artists, such as Lennon's wife Yoko Ono) to the Western status quo outside of mainstream Marx-Leninism.

The trial was the end of an era all right, and Bugliosi played on the fears of the jury and America at large by portraying Manson as a demonic messiah after the souls of their children (thus explaining the youth rebellion away from any challenges to the materialism that was the heart of the "The business of America is business"/"What's good for General Motors is good for the country" ethos of the U.S.A., best seen from one's Chevrolet, according to a popular advertising jingle sung by Dinah Shore in the 1950s, herself the victim of rumors like Charles Manson that she was bi-racial). Even President Richard Nixon chimed in, claiming that Manson was guilty (which threatened Bugliosi with a mistrial due to adverse publicity in light of the Supreme Court's recent Samuel Sheppard decision).

In March 1971, after the longest and most expensive trial in Los Angeles history in which Bugliosi insisted that Manson was a charismatic cult leader who believed he received secret messages from The Beatles' "White Album" -- a veritable demon who threatened the very basis of Western civilization itself -- all four were found guilty of first-degree murder. Bugliosi, with the aid of the Manson clan's bizarre, attention-seeking courtroom behavior, had got his convictions, with the unintended consequence of transmogrifying Charles Manson -- who most likely was nothing more than a sometime pimp and minor career criminal with a pimp's savvy on how to control young women, who out of a drug-induced paranoia engineered the Tate-LaBianaca killings in a misguided attempt to free Bobby Beausoleil and ironically divert what he assumed was the attention of the Black Panthers away from himself by embroiling them with the L.A.P.D. (if 10050 Cielo Drive had not then been inhabited by a beautiful young actress married to a famous director and her wealthy and sophisticated friends but someone more mundane, the likelihood is that Manson and the killings would have been forgotten long ago) -- into a huge cult figure, as well as a cultural bellwether, one of the great symbols of an America run amok.

Seemingy possessed of a histrionic personality that he failed to satisfy through music, Manson played the part, getting the attention prison psychiatrists sad he always had sought. Bugliosi and many others have made a great deal of money off of the mythological figure of Charles Manson as the Flower Power/Baby Boomer Anti-Christ.

Susan Atkins, her beloved "Charlie" and the others were all sentenced to death (Tex Watson was tried separately and convicted), and Atkins was remanded to the California Institute for Women. The death sentences were later vacated when the California Supeme Court overturned the death penalty as unconstitutional, and Atkin's sentence was reduced to life with the possibility of parole.

In 1974, Atkins had a falling out with Manson and the clan that still clung to him after she began corresponding with born-again Christian Bruce Davis, a clan member who had rejected Manson & Co. for mainstream salvation. Atkins subsequently claimed that the real Jesus Christ, not the simulacrum that was Charles Manson, appeared to her in her prison cell. She became a born-again Christian and a model prisoner, publishing a 1977 autobiography, "Child of Satan, Child of God." In the book, she described how in September 1974, her cell door opened and "a brilliant light poured over her." Atkins believed the light was Jesus, bearing forgiveness.

In 1981, via the mail, she met and married Donald Laisure, who claimed he was a millionaire. Upon discovering that her husband was not a millionaire and had previously been married 35 times, she had the marriage annulled. The model prisoner eventually earned an Associates degree via correspondence courses and organized her own ministry. She married Harvard law student James Whitehouse in 1987, who who has represented her at parole hearings since 2000.

Atkins is denied parole on the basis that she continues to show no remorse for the killings. Her case hasn't been helped by her 1991 recanting of her earlier testimony. Her position now is that she was present during the Hinman and Tate murders but did not actually participate in the killing. Her inability to show remorse and her failure to accept responsibility for her part in the brutal murders has meant that she has been turned down for parole 11 times, the last time in February 2005. In 2003, she made the contention that she was a political prisoner in a lawsuit filed against California Governor 'Gray Davis', as his policy opposing parole for most murderers meant she was kept behind bars. Her petition was denied.

Betsy von Furstenberg

This elegant, ladylike 50s Broadway star was born in Heiheim Heusen, German on August 16, 1931, the daughter of Count Franz-Egon von Furstenberg and his wife Elizabeth (Johnson). A lady of privilege, Betsy moved to America growing up and attended Miss Hewitt's Classes and New York Tutoring School. With designs on acting, she prepared for the theater at the Neighborhood Playhouse with Sanford Meisner and made her stage debut in New York at the Morosco Theatre in 1951 with "Second Threshold." She went on to create a gallery of breezy and stylish debutantes and society girls and enjoyed her first major hit playing Myra Hagerman in "Oh, Men! Oh, Women!" in 1953. Her role would be played by Barbara Rush in the 1957 movie version. Betsy continued with prime roles throughout the 1950s in such plays as "The Chalk Garden," "Child of Fortune," "Nature's Way," "Wonderful Town" and "Much Ado About Nothing," among others. At the same time she also graced a number of live and taped TV dramas, including 'Playhouse 90," "Alfred Hitchcock Presents" and "Kraft Television Theatre" and a variety of talk shows.

In the 1960s Betsy appeared in another sparkling comedy hit playing the role of Tiffany in "Mary, Mary" starring Barbara Bel Geddes and Barry Nelson. Again, however, when it came time to film the movie version, Betsy was replaced...this time by then-popular TV star Diane McBain. Making her first and only film appearance in the Italian-made _Donne senza nome (1949)_ [Women Without Names], one can only surmise the film career she might have had, had she been able to recreate some of her lovely stage roles. In the 1970s Betsy was seen opposite Maureen Stapleton in "The Gingerbread Lady" and played Sybil in a production of "Private Lives." Light comedies also came her way with "There's a Girl in My Soup" (with Don Ameche and Taina Elg), "Absurd Person Singular," "Status Quo Vadis" and "Avanti!"

Married to Guy Vincent de la Maisoneuve, she retired from the stage in later years but was glimpsed quite often in high society gatherings and theater benefit functions.

Geoff Briley

The fame, fortune and glamor are the typical motivations for most that dare to step into the lights of Hollywood. And while Geoff Briley is certainly not opposed to these motivations, his intentions have deeper roots. While his hometown of St. Paul, Minnesota may be known as the epitome of all-American, life was anything but the American dream for young Geoff Briley. Born into a troubled family crippled with generational patterns of domestic and substance abuse, Geoff learned at an early age that survival skills were essential. Amidst being shuttled back and forth between blended families, navigating the urban jungle of east St. Paul and doing his best to function in dysfunctional circumstances, Geoff turned to creativity for an outlet. Music, writing and acting were passions he was aware of for a long time but didn't get a chance to explore until his late teens. Geoff realized at an early age that he wanted to make an impact on his own community but also bridge the gaps between varying socioeconomic and ethnic groups through his creative skill set. While music played a major role in Geoff's life in his early twenties, he soon realized that acting was his true calling. His 20s were a tumultuous decade that included the loss of his mother, the birth of his three children and many other life altering events that sculpted his character and personal values. These defining years made him yearn to impact others even more. After years of being singled out for his unique and dynamic personality and stage presence, he ventured into the world of acting by landing a few commercials and indie roles in Minnesota. Pursuing acting while being a full time dad has come with unique challenges, but it is also the driving force behind Geoff's determination. Geoff never forgot the mission he had as a young bi-racial child living in St. Paul. Not only to unite people from all walks of life but also to help them understand that our similarities as human beings far outweigh the differences society has placed upon us. You may say that his methodology to achieve this goal is unconventional, but then again, the status quo was never his thing.

Lily Mercer

Lily Mercer is a multifaceted artist, having made her mark first as an actor, then as a director/producer, and finally embracing her secret love of writing. As an actor she has appeared in The Newsroom, Law & Order: Special Victims Unit, Kidnapped and Cashmere Mafia, to list a few. On the big screen she was in the film And Then Came Love alongside Vanessa Williams, and The Brave One alongside Jodie Foster. She also performed Off-Broadway and in regional theatre productions across the country, including "Crimes of the Heart" (AZ), "Whose Life Is It Anyway?" (CA), "Taming of the Shrew" (AZ), "The Desk Set" (PA), "The Heidi Chronicles" (FL), and the Lily Tomlin one woman show "Search for Signs of Intelligence in the Universe" (AZ).

Passionate about new and original plays, Lily founded a small professional theater in Northern Arizona, Actors Repertory Theatre of Sedona (A.R.T.S.), with the mission of producing contemporary plays that celebrated the hero in all of us. She was the Producing Artistic Director there for three years and directed most of their 16 main stage productions, with extremely positive results. Directing and producing taught her the value of good storytelling, and because of that she still considers her experience in Sedona to be the turning point in her artistic life.

It was in Sedona where Lily started taking her writing "hobby" more seriously. In May of 2012 Lily received an M.F.A. from NYU/Tisch in Dramatic Writing, where she received the Charles Purpura Award for excellence in writing, and was a finalist for the Goldberg Prize with her full-length play, "Before a Fall". Since then she has become an award-winning screenwriter, an award-winning TV writer, a produced playwright and a published short story author.

In May of 2016, she was awarded the ISA (International Screenwriters Association) Fast Track Fellowship for her TV pilot, "No More Heroes." Soon after the same script received fifth place in the London competition, "Table Read My Screenplay". She is developing a series of TV movies about women entitled, "Lost Women of American History" and dedicating her life as an artist to changing the status quo for women.

Lily is a professional member of SAG-AFTRA and the Dramatist Guild.

Clark Jackson

Clark Jackson, a graduate of Stanford University and Yale School of Drama, has used his education, training and entrepreneurial spirit to make waves in the world of showbiz and beyond. As an award-winning actor, he most recently appeared in the Broadway show Bronx Bombers, the CBS series Madam Secretary, the upcoming HBO miniseries Show Me A Hero, and the film I Smile Back with Sarah Silverman and Josh Charles that premiered at Sundance 2015. Previously, he was on Broadway in All My Sons with John Lithgow, Katie Holmes, Patrick Wilson and Dianne Wiest. Clark has appeared on numerous TV shows including The Blacklist, The Good Wife, Gossip Girl, Fringe, Blue Bloods, Law & Order, Do No Harm, Rescue Me, Mother's Day, The Return of Jezebel James, Wonderland, Guiding Light, Law & Order: SVU and White Collar. His film credits include Reverse Cowgirl, An Affirmative Act, The Arrangement, 6 Things I Never Told You, Humdinger and Rapmatics.

On stage, Clark has also appeared on Broadway in Cat On A Hot Tin Roof alongside Terrence Howard, Anika Noni Rose, James Earl Jones and Phylicia Rashad; portrayed Oscar Charleston in Lee Blessing's Cobb, performed at the Lucille Lortel Theatre where it was produced by Kevin Spacey and won a Drama Desk Award for Best Ensemble; and has many other NYC stage credits including Le Ménage (La MaMa E.T.C.) and Cuba and the Night (Theatre for the New City). His numerous regional theatre credits include Lobby Hero (Studio Theatre) and Yellowman (Berkeley Rep/Pittsburgh Public Theatre).

As a writer and producer, Clark expands the scope of his brand by challenging the status quo via a variety of projects. Most recently, he wrote, directed, produced and performed in The Educated Pimp (TEP), a parody of the renowned TED Talks that addresses real issues while poking fun at intellectualism. In 2013, Clark co-wrote, co-produced and appeared in Parallels, a TV pilot set in the world of international finance and corporate intrigue. Parallels was a competitor in the 2013 NBC Voice and Vision Drama Challenge.

Outside of the entertainment industry, Clark brings his performance skills to bear as a corporate facilitator for ImprovEdge, and as an adjunct professor at Hunter College and St. Francis College in NYC teaching courses on acting and public speaking. Never one to wait for the phone to ring, he continues to develop his own projects for stage, screen and the internet. He was born and raised an ATLien and lives in Brooklyn. To learn more about Clark, please visit his website at www.clarkjacksononline.com.

Kyle Strauts

Kyle Strauts is considered a giant among his peers, physically and in character, but this was not always so. In his teenage years he was playing high level lacrosse and challenging the status quo on what people expect of tall men. When his lacrosse career ended, by his own choosing, he then enrolled in University to get an education and to search for purpose. During this time Kyle picked up dance as a hobby, which grew over time into his passion. By the time Kyle had graduated he had taken his dance to the world stage entering competitions and performing on stage and on set. While Kyle had always been physically coordinated, it wasn't until his mid 20's that he started putting it to use in the Film industry. With all these attributes that play Kyle as just a man in motion, one must meet the man to truly experience his character, humor and humility. With opportunity on the horizon, Kyle plans to continue making art and honing his craft in acting, dance and life skills.

Gordon Lewis

In 1970, Gordon worked at London Weekend Television part of ITV television network after leaving school and working in London Palladium, until 20 years of age.

In 1975, he left LWT and joined one of the first independent production companies, Mike Mansfield Productions in London at the age of 21, which later he became a partner. The company specialized in music programs for television. The company sold The Supersonic Music series which ran for four seasons worldwide. The music acts featured were Rod Stewart, Elton John, ELO, Bonnie Tyler, Status Quo and many more. The company was also a pioneer for making music videos and television music shows, such as Jukebox with Twiggy as presenter.

In 1980, he set Gordon lewis Organisation (GLO), which first deal was a co-production deal with ITV, 'Where Were You' TV series. GLO sold the format of 'Where were you?' to ABC network in USA who made two series.

GLO moved into music videos with offices in London and Los Angles for the new MTV network. The music acts who worked with GLO were Soft Cell, Cure, Talk Talk, ABC, Pretenders , Paul Weller, Roger Taylor, George Michael, Depeche Mode , Daryl Hall & John Oates, Neil Young , Cars, Queen, Bowie.

Produced 'The Cure In Orange' film for cinema, directed by Tim Pope.

Also moved into making commercials off the back of the success of the music films. The first commercial made by GLO was for Tuborg Lager with the music from The Art of Noise . The commercial won nine International awards.

GLO went into co-production deal for commercials with Virgin Media USA.

Directors who has worked for GLO were Tim Pope , Peter Care, Duncan Gibbons, Mark Romanek , Vaughan Arnell and Jake Scott.

In 1987, he moved into other businesses.

2014, Lewis and Ho Associates was formed to make 'Secret Child' film or TV series, based on his early life in a hostel for single mothers in the 50s in Dublin, Ireland. His mother kept him a secret until the age of 8. Unlike the Magdelene Laundry accounts, his was a happy one, though it came with tough struggles and complications for his mother and the man she loves. Forbidden love between a catholic woman and a Protestant man. How love conquers all in the end.

In 2015, Gordon Lewis's book, 'Secret Child' was taken up and published by Harper Collins.

A.C. Sanford

Born on October 3, 1986, A.C. holds a B.F.A. in Acting from the University of Central Florida Conservatory Theatre in Orlando, Florida. His journey started in 2005, when he was cast in two Orlando Repertory Theatre productions consecutively: "The Miracle Worker" as Percy and "You Can't Take it With You" as Tony. This compelled him to seek entrance into BFA degree programs at the Juilliard School, Depaul University, Fordham, and USC. However UCF ultimately won him over due to the personal recruiting and encouragement of the professors there.

During his second year (2007), he was cast in August Wilson's "The Piano Lesson" as the patriarchal "Doaker". This proved to be a vital and pivotal experience for him. He, along with the show itself, was nominated to compete for national honors at the Kennedy Center American College Theatre Festival.

Shortly after that (2008), A.C. was blessed to be signed by Brevard Talent Group, one of Florida's most coveted talent agencies. Twenty-four hours after his signing session, he booked his first feature film: "Blood Done Sign My Name," as Henry Dickie Morrow. In this film, he played the victim of a racial hate crime which inspired a whole town to revolt against the status quo.

In 2009, A.C. became a more well-rounded performer, as he was cast in UCF's production of "Smokey Joe's Cafe." The challenging role proved beneficial for A.C., as he combined his passion for dance and choreography with singing. 2009 also brought roles in Peter Spirer's "Just Another Day" and Student Life Productions' 2009 Summer Tour.

In 2010, A.C. began work on Zora Neale Hurston's "From Sun To Sun" as Tatum. The play revolves around railroad camps in the 1920s. It was presented in partnership with The Zora Festival at The UCF Conservatory Theatre.

From February until March, he appeared in the Mad Cow Theatre's production of "Topdog/Underdog" as Lincoln.

Zak George

Zak George has built his reputation on teaching people how to connect with their dogs in unprecedented ways. From teaching dogs to bowl, to taking out the garbage or even training extreme Frisbee dogs, Zak has challenged the status quo of dog training and shattered the perceptions of what is really possible when people connect with their dogs. Zak has always been clear about training dogs. It is never about the task, but rather the increased bonding that occurs while teaching various behaviors to our dogs; the trick is just a metaphor for the exceptional relationship that emerges through its teaching. The illusion is that we are teaching our dogs. The reality is that they are teaching us. When Zak George was a teenager, he was particularly touched by his older brother's relationship with his white German Shepherd dog, Levi. Levi was the first dog that Zak ever threw a Frisbee to, and at that time would never have guessed the roaring fire that this spark would lead to. Many years would pass before Zak would bring, the now legendary, Venus into his life. The next several years would reveal an astounding revelation that Zak could have never predicted. What he discovered was that there was virtually no limit to what a dog could be taught if the relationship between dog and person was valued and nurtured. Furthermore, Zak realized that mainstream dog training was advocating the exact opposite philosophy of emotional detachment and harsh physical corrections. This inspired him to share his findings with the public and become a full time dog trainer. He began teaching classes and quickly grew a waiting list of months to attend these classes.

Pleased, yet still slightly frustrated, Zak realized that he would have to reach a much larger audience if he was to transform dog training forever. That's when he accepted a job opportunity with the Extreme Canines Show to travel the nation while performing with his dogs and other highly accomplished trainers. He would do this for the next several years and reach hundreds of thousands in the process. It was important to him that the general population could see in a grand way how gifted dogs really were. What would follow would be the beginning of an all out revolution in dog training. In 2006 YouTube was beginning to emerge as a new innovative way to distribute video content easily on the web. Zak instantly recognized the possibilities that this new concept suggested. He learned how to film, produce, and edit his own training videos which he would give to the world for free with the intention of improving the quality of life for dogs around the world. However, it wasn't just for the dogs. Zak knew that the real benefit to people was that if they made their dogs happier, then their dogs would repay the favor tenfold and that this relationship would result in a fusion that would transform the historic relationship between dogs and people forever. Zak George still holds the title of the most subscribed dog trainer on youtube to this day with no other dog trainer in the world, TV or otherwise, even coming close.

As one could guess, this kind of revolution could not go unnoticed by the television network Animal Planet. Zak and Animal Planet worked together to construct a dog training series years ahead of its time. SuperFetch aimed to challenge people to work and connect with their dogs in ways they never have before. The prime time series reached and inspired more people than ever to live life in a new fulfilling way with their dogs. The networks agreed that this was something special. Zak was asked to appear on countless national television shows to talk about this new and different philosophy. The Rachael Ray Show, The Late Show with David Letterman, Late Night with Jimmy Fallon, The Early Show, Fox and Friends, Dogs 101, Discovery's Time Warp countless news outlets and many more were requesting Zak to come on and talk about this revolution in dog training. Every major newspaper in America along with national and international magazines were talking about what dogs can do with just a little bit of insight and guidance.

Graham Williams

Graham Williams joined the BBC in 1966 and worked as a script editor for several years on series such as The View from Daniel Pike, Sutherland's Law, Barlow at Large and Z Cars.

In 1977 he was made producer of Doctor Who. On taking over the series, Williams was ordered by BBC bosses to lighten the tone and reduce the violence and horror content following Philip Hinchcliffe's highly successful but controversial period producing the series. Williams duly did this, introducing more humour to take the place of the more violent and horrific material.

During his three seasons producing the series, Williams had to face budget cuts and regular industrial action. It was the late 1970s, a time of economic turmoil, and this had unfortunate consequences on the production of many Doctor Who serials. He also found the series' star, Tom Baker, increasingly difficult to work with. Tom Baker had been working on the series since 1974 and was well established as one of the biggest stars on BBC television. When Williams arrived, Baker's relationship with his co-star, Louise Jameson, was not good and this occasionally led to tensions. She left at the end of Williams' first season.

During Williams' second season, tensions arose between Baker and Williams regarding the direction of the series. Baker made it known that he wanted more input into the series, which would include the right to approve scripts, casting of actors and directors. Williams resisted this, leading to a dispute that eventually involved the BBC One Controller, Bill Cotton, the Head of Drama, Shaun Sutton, and the Head of BBC Serials, Graeme MacDonald. Fortunately, this dispute was settled amicably, with both men agreeing to continue the status quo. The second season also saw the introduction of a replacement for Louise Jameson, Mary Tamm, although she only lasted for this season.

Williams' third and final season was notable for the involvement of Douglas Adams, a young Cambridge University graduate whom Williams appointed as script editor on the series following his script for the previous season, The Pirate Planet: Part One. Adams had already gained acclaim for his radio series, The Hitchhiker's Guide to the Galaxy, which had been broadcast the previous year, and this season of Doctor Who was notable for containing much of Adams' trademark humour. The series also saw the introduction of Lalla Ward as Mary Tamm's replacement.

Williams left Doctor Who after producing three seasons in 1979. Despite the troubles, he had made his mark. His era saw the introduction of K-9, the robot dog, which became a popular hit, as well as the Black and White Guardians (characters that re-appeared several years later) and his second season in charge was based around an ambitious story arc called The Key to Time, something quite unprecedented in the history of the series.

His involvement with the series was not over, however. In 1984 he was commissioned to write a story for Doctor Who called "The Nightmare Fair". This was never made, but Williams was able to write a novel based on his story for the Target Doctor Who book range.

After producing Doctor Who, Williams left the BBC but stayed in television to produce Tales of the Unexpected and Super Gran.

By the end of the 1980s, Graham Williams had left television and ran a hotel in Devon. He died in 1990 from a shooting accident.

David Solomini

David has the greatest job ever. He leads a company making cutting edge, inspiring film, tv, commercials and branded content. His passion is harnessing the power of great story telling, leading and inspiring individuals to their fullest and creating positive global change.

With over $100 million of on-air film, tv and commercial production, several different accolades and awards under his belt, David formed a new production company+creative agency hybrid called crush+lab productions; a close-knit team of story tellers, writers, editors, directors and producers where status quo is challenged and bold ideas championed. David and his team combine backgrounds of; film, tv, technology, fashion, design, art, branding, marketing, illustration+graphics+animation, with holistic, forward thinking practices, all focused on creating projects that inspire both the viewers as well as the teams making them.

David first tv show at age 19, to Disney. He subsequently became one of the youngest Executive Producer/Writers in Hollywood. Unfortunately after pilot it didn't air, but he was hooked and continued to create, learn, grow as much as possible in this industry ever since. Working mostly as a tv show runner + producer + director, but also writing, researching, studying story, business leadership, branding + marketing principles, David is taking his care for story telling and strategic leadership to another level, heading up his own enterprise. David is a sponge for information and firm believer in innovation. However amidst this tech savvy and innovative thinking his old fashioned belief of doing great work, standing for a cause, having integrity and being of service takes presence. He doesn't believe in short cuts. He does believe in dreams, going the extra mile in pursuit of them and that nothing is impossible.

Alan Lancaster

Spent years as the bassist for the pop group Status Quo. In 1984 he left the group only to reform with them at the opening of the Live Aid festival. Since then he has kept quiet.

Phil Aslaksen

Phil Aslaksen was born in 1964 in Bay Village, Ohio. In 1974 his family moved to Arizona were he grew up on a farm near the outskirts of Phoenix. In 1984 Phil joined the Air Force and was stationed at Kadena AFB in Okinawa, Japan.After completing his tour of duty Phil got out of the service and pursued his life long goal of training under martial arts legend Dan Inosanto. He became an instructor in Filipino Kali under Dan and also earned an instructorship level in Thai Boxing under Ajarn Surachai Sirisute. This was in addition to the Black Belt he received in Shorin Ryu Karate while overseas.His entry into the movie industry was through the stunt community as a fight, and later stunt coordinator while at the same time landing roles as an actor. Several years later Phil's areas of interest shifted from stunts to producing his own films. He is now an accomplished writer and respected independent filmmaker with focus on producing films that go beyond the creative restraints of the status quo.

Jared Callahan

Jared Callahan is a producer, director, actor best known for his work on Janey Makes a Play (2015), Short Term 12 (2013), and I Am Not A Hipster (2012). He is passionate about telling quality stories that challenge the status quo. Jared is in post-production on his second feature documentary project, an untitled film about the life & death of Dan Nelson.

Jamie Denenberg

Prior to joining Alpine Labs Jamie Denenberg launched SA Entertainment (SAE) with Wendy Merry McCarthy, a full service entertainment marketing company, in conjunction with Mister Cartoon's SA Studios Global, in April of 2010. Capitalizing on authentic relationships across music, sports, culture and art, coupled with innovative concepts that pushed the boundaries of the status quo, SAE proved they could consistently deliver targeted and effective marketing strategies for this ever elusive demographic. SAE worked with everyone from Warner Bros. Pictures, Summit Entertainment, HBO, IMAX, Relativity Media and The Weinstein Company to effectively navigate the crowded marketplace and break through the noise.

Prior to launching SA Entertainment, Denenberg led the creative content division at Beverly Hills-based Relativity Media, working closely with the media and marketing teams to design and implement effective and innovative marketing plans for the release of a wide array of feature films. Previous to this position, she oversaw the creation of viral online campaigns, multimedia promotions, awards campaigns and overall marketing materials for critically and commercially successful Overture Films' releases.

Before joining Overture and Relativity Media, Denenberg demonstrated her command of marketing strategies during a successful tenure at Sony Pictures Home Entertainment, where she was responsible for helping to plan the studio's worldwide DVD releases. Her initiatives drove profitable releases in 37 major territories and was also a key decision-maker in the acquisition of product for international distribution, oversaw the development of bonus features for DVD releases, and analyzed theatrical results to formulate appropriate release strategies. Before embarking on her entertainment industry career, Denenberg served as finance director for Senator John Kerry (D-MA) during his presidential campaign. Working in that capacity, she led efforts to raise $3 million in three months and approximately $38 million overall, a political fundraising record at the time.

Denenberg earned a Master's degree in international affairs and business from the London School of Economics as well as a Master's in broadcast journalism from the University of Southern California and a B.A. in International Relations from the University of Michigan in Ann Arbor. Her focus on European and Asian culture, including varying degrees of fluency in five languages, has proved to be an invaluable asset in her global marketing roles.

Maurice Rapf

Maurice Rapf, the Hollywood screenwriter who became one of the pioneers of cinema studies, was born on May 19, 1914, in New York City to producer Harry Rapf and his wife, Tina Uhfelder Rapf. Harry Rapf was one of the founders of Metro-Goldwyn Mayer and an Oscar-winner for producing MGM's first musical, The Broadway Melody, an early talkie smash and the winner of the studio's first of many Academy Awards for Best Picture. Unlike his father, Maurice never won an Oscar; his most significant achievement as a screenwriter arguably was Song of the South for Disney, which he disowned, while his most significant "achievement" as an activist, arguably, was to be blacklisted that same year for his Communist sympathies. But he left a lasting legacy through his union activities and as a film professor.

Harry Rapf was Hollywood royalty, having worked his way up from minstrel shows and vaudeville to become an independent movie producer in 1916, when son "Maury" was but two years old. At the tender age of three, Maury was enlisted as a child actor to play "war orphans, street urchins and assorted brats," according to a 1990 memoir published in Dartmouth's Alumni Magazine. Maury Rapf's career as an actor soon ended, cut short by the exigencies of schooling.

Rapf pere was hired by indie producer Lewis J. Selznick in 1919, and then moved on to Warner Bros. in 1921, where as a producer he and young screenwriter Darryl F. Zanuck turned World War I veteran Rin Tin Tin, a German Shepherd saved from the trenches of the Western Front, into an international superstar. When MGM was created from the 1924 merger of Metro Pictures, Goldwyn Pictures and Louis B. Mayer Productions, Harry was brought onboard to share central producing duties with Louis B. Mayer and his protégé Irving Thalberg. The career change necessitated a permanent shift of the Rapf family from New York to southern California. Rapf was given the job of overseeing the production of the "programmers" that were the bread-and-butter of the studio, pictures starring such box office heavyweights as Marie Dressler and Wallace Beery. With a keen eye for talent, Harry Rapf earned the credit for discovering Joan Crawford (I)' in the chorus line of Broadway's "The Passing Show of 1924." Rapf was invited by Mayer to be one of the 36 founders of his brainchild, a company union called the Academy of Motion Picture Arts & Sciences that was intended to fight off unionization by the crafts.

Maury, as the son of Harry, grew up in Los Angeles, trolling the studios, sets, offices and streets of the Culver City production facilities, one of the privileged "Hollywood Princes," like his good friend Budd Schulberg, son of Paramount boss B.P. Schulberg. Maury used to bully Loews theater owners to get into the movies for free, citing his father's status at Loew's MGM subsidiary. His first screen credit was for writing the story of the Jackie Cooper vehicle Divorce in the Family, which was produced by his father. He was 18 years old.

Like Budd, Maury went to Dartmouth College, and like Budd, he went to the USSR and flirted with communism. Again, like his good friend, he eventually joined the Communist Party. Rapf and Schulberg reportedly were the inspirations for F. Scott Fitzgerald's Hollywood Princess Cecilia Brady, the daughter of the villainous studio boss Pat Brady, in his unfinished last novel "The Last Tycoon."

While matriculating at Dartmouth in bucolic small-town Hanover, New Hampshire, Rapf was an exchange student at the Anglo-American Institute in the USSR. Muckraking journalist Lincoln Steffens, a Communist, had proclaimed, "I have been over into the future and it works" after a trip to the Soviet Union. Steffens' enthusiasm inspired thousands of other progressives to visit the future themselves, and those visitors included Schulberg and Maurice Rapf. The Soviets gave foreign visitors tours of fake "Potemkin" villages. Schulberg had been impressed by what he saw, as had Rapf, whose own tour had been sponsored by the National Student League and had included future double-Oscar winning screenwriter and Hollywood Ten alumnus Ring Lardner Jr., who would serve nine months in jail for daring to have unpopular beliefs a decade-and-a-half after that visit.

After attending the Institute, Rapf made a trip to Germany in 1934, at a time when Adolf Hitler and the Nazi Party were consolidating their power over all aspects of German life after terminating democracy with extreme prejudice the year before. It was a bold move for someone of the Jewish faith, especially one only 20 years old. His personal experience of Nazi Germany convinced him that Communism was the best bulwark against Naziism. He joined the U.S. Communist Party (CPUSA) and was an active member throughout the 1930s and into the 1940s. He remained a committed member, where others such as Elia Kazan dropped out due to disillusionment with the Party after the 1939 Non-Aggression Pact between the USSR and Nazi Germany, that set up the two totalitarian tyrannies' invasion and partition of Poland.

"The thing that most impressed me and probably made me a communist was that anti-Semitism was illegal in the Soviet Union," Rapf would later claim, "and that the Soviets were very anti-fascist, which the US was not."

"Making movies was the family business, and with parental help, it became mine as well," Rapf said in his 1990 memoir. As a college boy returned to his family's studio, he co-wrote We Went to College, They Gave Him a Gun and The Bad Man of Brimstone for his father's production unit, which had been one of several set up by Mayer as a "college of cardinals" to replace the ailing central producer Thalberg, and also to dilute his power. Harry Rapf's power at MGM had been on the wane since he suffered a bad heart attack in 1933, which is likely why his son eventually sought employment at other studios.

Along with Budd Schulberg, Maurice was one of the founding members of the Screen Writers Guild (since renamed the Writers Guild of America), the screenwriters trade union, which is ironic in his light of the ongoing attempts of his father's generation to put a stop to unionization of the movie industry. With the Guild duly accredited as the screenwriters' bargaining representative with the studios, a formal system of pay and credit was instituted to protect the rights of writers. Rapf became a secretary of the SWG, while his friend Schulberg served on the Guild council.

Rapf became a busy and serious screenwriter, working on many movies, typically in the action genre. He helped develop the story for the political thriller Sharpshooters for 20th Century-Fox--where production was headed by the progressive Zanuck, his father's old Rin Tin Tin collaborator--and then bounced over to Columbia for North of Shanghai. Rapf (Dartmouth, '35) received credit for indie producer Walter Wanger's Dartmouth-based college love story Winter Carnival, on which he replaced F. Scott Fitzgerald (Princeton, '16) as the collaborator with fellow Dartmouth alumnus Budd Schulberg, after the great writer of "The Great Gatsby" went off on one of his Brobdingnagian boozing binges. By the time that film was released, he was working as a staff screenwriter for Warner Bros.

According to a memoir published by screenwriter Malvin Wald, when he was first employed by Warner Bros. Rapf was made his collaborator after another collaborator changed an original story of his beyond all recognition. When Warners screenwriter-in-chief John Huston invited Rapf to join the Writers Table, Rapf's collaborator was invited as well. Wald found Rapf to be a "considerate and patient teacher," who was concerned with his young protégé's professional well-being. Eventually, the writing team lost one producer, and then their replacement producer was fired, and their contracts were terminated by studio chief Jack L. Warner. Wald couldn't complain, as under Rapf's tutelage he had learned the business and even had qualified for membership in Rapf's Screen Writers Guild.

In the early 1940s Rapf bounced between Paramount, Budd Schulberg's father's old studio, and 20th Century-Fox, which was headed by 'Joseph Schenck', the brother of Loew's Inc. President Nicholas Schenck, the "capo di tutti capi" of MGM. Rapf even made a house call as a script doctor at Poverty Row for Republic Pictures' Call of the Canyon. He eventually wound up at Walt Disney & Co., which would prove to be his final home studio. It seems ironic that his longest stint in a studio, even longer than the professional association he had with his father's, was at Walt Disney, as the eponymous owner had the reputation as being perhaps the most vociferous anti-Communist in Hollywood.

In 1944 Walt Disney offered Maurice a chance to rewrite a script based on Joel Chandler Harris' Uncle Remus stories. Rapf was worried that writing for an animated film would hurt his career, as it was considered a kind of ghetto in Hollywood, and he also expressed his anxiety over the racism in the stories. Disney assured him that the film would be a live-action feature, and that he was being hired to expressly cut the racism out of the script, although what he likely was looking for in hiring Rapf was political cover from the left. Rapf accepted the job and did the rewrite while waiting for a commission from the U.S. Navy.

After working on the "Uncle Remus" screenplay, he and fellow communist (and fellow companion on the 1934 trip to Russia) Ring Lardner Jr., helped co-write the animated short Brotherhood of Man, which was co-produced by the United Auto Workers labor union and United Productions of America (best known for its postwar "Mr. Magoo" cartoons) and released by the U.S. Navy. When the "Uncle Remus" movie eventually was released after the war, Rapf expressed his dismay that the film, now entitled "Song of the South," failed to rid itself of its residual racism. The National Association for the Advancement of Colored People denounced "Song of the South" for perpetrating racial stereotypes.

At Disney Rapf wrote an early draft for an animated feature film based on the fairy tale "Cinderella," for which he would receive no credit. The last film he worked on at Disney was the slice-of-Americana So Dear to My Heart. He left Disney under a cloud of suspicion, as the movie moguls had agreed at the Waldorf Conference--a film industry summit meeting called after the 1947 House Un-American Activities Committee (HUAC) had the Hollywood Ten indicted for contempt of Congress--to fire any suspected Communists they had in their employ. Rapf was subpoenaed to testify before the HUAC, but was excused because he was ill with the mumps.

Ironically, the communist Rapf got along well with the right-wing Republican Walt Disney, whom he categorized as a personally modest perfectionist, and both enjoyed arguing politics. Disney told Rapf that he became a Republican when, as a boy, a gang of young Democrats pulled down his pants and coated his testicles with hot tar. Contrary to the now-accepted caricature of Disney as a racist reactionary, Rapf wrote in his 1999 autobiography "Back Lot" that Disney was neither a Red-baiter nor an anti-Semite.

"I never knew anyone in the Party - in all the years I was associated with it, which was a long, long time - who was seeking anything but humanistic goals. Certainly there was never any attempt on the part of the people I knew to overthrow the government of the United States . . . We did believe in class struggle. I still believe in class struggle," Maurice Rapf was quoted in the book "Tender Comrades."

Marx described class struggle as the conflict between capital (the bourgeoisie) and labor (the proletariat). While capital and labor do have common interests, as the proletariat must sell its labor for wages and the bourgeoisie must expend capital to obtain labor, one class' individual interests inevitably lead to conflict with the other class, as capital seeks to enhance its surplus by commiserating labor. Marx theorized that class struggle and its attendant conflict would last for as long as capitalism survived, and would only be overcome when the extreme polarization of the classes into the very rich and the very poor eventually triggered an revolution that would destroy the capitalist system. In an organic historical process Marx considered `scientific,' capitalism would be replaced by a socialist system in which the proletariat controlled the state via the "the dictatorship of the proletariat," which meant a workers' democracy, not Soviet-style totalitarianism. The struggle between the bourgeoisie and the proletariat would respond to the laws of entropy, and the classes themselves would atrophy, as well as the state, as the raison d'etre of the state was to serve as a bulwark for the ruling class' power. Thus, a classless, stateless society known as communism would be ushered in.

The metaphor of two entities that paradoxically share a common interest, but whose individual interests put them into conflict with each other, fits the conflict between studio bosses and the Hollywood "creative" community quite well. The history of Hollywood from the mid-1920s and up through the mid-1930s, and again after World War II, was a "class struggle" between the studios and the various crafts over wages, working conditions, and ultimately unionization when the company union that was the Academy of Motion Picture Arts & Sciences could not or would not protect the interests of the crafts. This paradox also was a metaphor for Sigmund Freud's Oedipal conflict (itself a metaphor), that set privileged "Princes of Hollywood" like Budd Schulberg and Maurice Rapf against the interests of their fathers, all self-made men who rose to the top through a combination of cunning and ruthlessness, who once established, tried to buy respectability through the ostentatious consumption of goods and people, be they respected writers like Fitzgerald, James Hilton or William Faulkner, or stars and starlets alike, like Clara Kimball Young, Norma Talmadge and Marilyn Monroe.

B.P. Schulberg and Harry Rapf were doers, while their more artistically inclined sons Budd and Maury were observers, but observers who had carried the gene for action. After observing that something was rotten in the state of Hollywood, they were determined, like Hamlet, to do something about it. Indeed, Schulberg's Oedipus-like blow against the Hollywood system that nurtured him, "What Makes Sammy Run?", his excoriating exegesis of studio executive Sammy Glick, was credited by Schulberg himself with terminating his father's career in Hollywood. Schulberg makes no bones about it in "Sammy": the old type of Hollywood-hustler/immigrant-Jew who made the motion picture industry and believed in assimilation with society at large while indulging their gross individual appetites embarrassed him. The Party went so far to censure him publicly for anti-Semitism after the novel was published in 1941. Schulberg dated his own disillusionment with the Party to the time he refused the order of the CPUSA dramaturge, future Hollywood Ten member John Howard Lawson, to submit to Party discipline with his novel.

As history developed in fact, not theory, the dictatorship of the proletariat proved to be a legal justification by which tyrants imposed a totalitarianism over their subject peoples. Democracy for the post-War communist activist often meant ensuring a unanimity of interests in which one interest, that of the Party, could veto and thus gain control over all other competing interests. In the 1930s and 1940s Joseph Stalin and his NKVD spent almost as much time eliminating fellow socialists, leftists and fellow travelers as it did in fighting fascism, and indeed, had been fascist Germany's ally in the opening days of World War II.

Cold War documentation now indicates that the Hollywood Ten's legal defense of aggressive non-cooperation (rather than just taking the Fifth Amendment) was dictated from the Soviet Union via CPUSA, which Moscow partly financed, and that screenwriter and Hollywood Ten blacklistee Lawson was the CPUSA point man in Hollywood, reading members' work and demanding emendations (that none of the Hollywood Ten sang in 1947 was considered a brave act, but now seems to be an expression of party discipline). Of course, how effective this party discipline was for getting out communist propaganda can be called into question, as so many movie industry writers of every political stripe were used by the studios to write, rewrite and then rewrite a rewritten script. Indeed, one scoffs at the exaggeration of many charges of certain Hollywood professionals being "red" or "pink" or a "fellow-traveler," such as those leveled against outspoken progressive Burt Lancaster, whose swashbuckling movies of the early 1950s contained the thematic element of the oppressed rising up against their oppressor. Yet Lancaster's business partner, former CPUSA member Harold Hecht, in friendly testimony before HUAC told of how, when he was employed by the Works Progress Administration's National Theater Project, he was commanded by CPUSA to fire Party critics and retain Party members when the organization's budget was cut and layoffs were immanent. To his credit, Hecht did admit that CPUSA did not have inordinate influence in the National Theater Project, as had been claimed by anti-Communist zealots in Congress before the war, so there was no real interference with Party members, as Elia Kazan noted in his justification of his own friendly testimony before HUAC; it just seems like it never was very effective in actually creating communist propaganda (the sole exception is often cited as Warners' 1943 release Mission to Moscow, which was in fact made at the request of the U.S. government, a pro-Russian potboiler written by future blacklisted screenwriter Howard Koch that put forth the Soviet dictator's show trials of the late 1930s as having been undertaken to rid the USSR of real and potential spies for Nazi Germany. The "leader" of this Nazi Fifth Column, the chief culprit behind all this skulduggery was, of course, Stalin's nemesis Leon Trotsky, who had been murdered in Mexico in 1940 by an NKVD assassin on Stalin's orders. Many progressives, including educator John Dewey, who ran an inquiry, were fully aware at the time of the purges that the show trials were staged productions whose victims confessed to improbable if not downright impossible crimes. Stalin was imposing a cruel and implacable dictatorship on the Soviet Union, in effect consolidating his grip on the USSR through the judicial murder of his old Bolshevik and Menshevik allies to eliminate potential rivals and any possible challenge to his monopoly on power, real or imagined.

The Red-baiting and McCarthyite witch-hunt must be understood in the context of the intense backlash against the New Deal from the political right wing that gained strength when Harry S. Truman assumed the presidency, and which gained more momentum when Truman unexpectedly won the 1948 presidential election, thus keeping the Republicans out of power for four more years. The GOP was taken over by reactionary isolationists and anti-interventionists, who wanted to isolate America from the rest of the world and its "harmful" influences. It was an ancient theme, as old as the Republic itself, when George Washington in his farewell address cautioned his new country against becoming entangled in foreign alliances. Like Metternich at the Congress of Vienna, who wanted to turn post-Napoleonic Europe back to the status quo antebellum of monarchies that could suppress the spreading liberalism that threatened to upset the old social equilibrium that Napoleon had knocked off kilter, many Republicans and conservative Democrats wanted to return the United States to its inward-looking self, and Washington, DC, back to the swampy, sleepy Southern town it had been before the war. It's always impossible to turn back the clock, though, and Truman was determined to contain Soviet communism while at the same time avoiding World War III.

Many pre-war proto-fascists of the old Nazi-financed German-American Bund and the Roosevelt-hating America First isolationists were quick to launch a crusade against the USSR and especially its American supporters after World War II's end made the necessity for an anti-Axis alliance a moot point. They were joined by many others, including some converts whom had once been enthusiastic New Dealers, such as newspaper columnist and radio personality Walter Winchell, who had grown older, wealthier and more conservative, and turned into a Red-baiter. In addition to providing "legitimacy" to anti-Semitic outbursts by the old prewar proto-fascists who were how hopping onto the anti-Red bandwagon of the radical right, the anti-Communist witch-hunt of the late 1940s and early 1950s can be seen as a "payback" by conservatives, both the dyed-in-the-wool variety like studio boss Walt Disney and the Johnny-come-latelies like Winchell, against liberals who were enjoying a 20-year run in power through the Roosevelt-Truman administrations. The country that most Americans had known and grown up with had changed dramatically, and there was a great deal of anxiety in the country that could be, and was, exploited by ruthless power-seekers. Attacked by the hard left via the Progressive Party, dedicated New & Fair Dealer Truman was forced to shift right himself, as did many liberals desiring to survive the onset of the political winter for progressive politics in Hollywood and the country at large. The studio bosses, themselves ruthless power-seekers, made common cause with the inquisitors for the sake of their bottom lines, already being ravaged by a postwar recession and soon to fall victim to an even more insidious "foreign menace"--television.

Anthropology holds that social phenomenon such as witch-trials are a type of homeostatic device to regulate the stress building up in a community by discharging excess pressure to eliminate the strain that could wreck the community. By directing the community's anxieties against a scapegoat that is then destroyed, the community purges itself of the dangerous buildup of psychic stress. Many people were sincerely concerned about the future welfare of the United States and the direction the country was headed in, while certain others were not but used the social distress as a vehicle for self-aggrandizement. There was an element of the show-trial in the HUAC hearings of 1947 and the early 1950s, in which conservatives sought to destroy the left and its leaders grasped for recognition and power.

Through a wide network of informers put together by the Federal Bureau of Investigation, the American Legion and the California Assembly's own Un-American Activities Committee, HUAC believed it had a good idea who was or had been a member of CPUSA. It had been said that by the early 1950s, when almost all of the Communist networks that had been active in the US during World War II had been broken up by the FBI or terminated by Moscow soon after the war (afraid its operatives might get caught), there were more FBI agents in the CPUSA than there were authentic, card-carrying Communists. The Alien Registration Act of 1940, a.k.a. the Smith Act, had been used to destroy CPUSA by banning the knowing or willful advocating, abetting, advising, or teaching the necessity, desirability or propriety of overthrowing the government of the U.S. or any of its subdivisions by force or violence, or by assassination of its officials. It also outlawed the printing, publishing, editing and distribution of materials advocating violent revolution, and made it a crime to organize, help or make attempts to organize any group advocating the same.

By outlawing "advocacy," a class of speech seemingly protected by the First Amendment, Congress had deliberately cast a wide net in which it caught many writers and performers with progressive tendencies, including lifelong Republican Henry Fonda and old liberal warhorse Edward G. Robinson, both of whom effectively were "graylisted" out of films for almost a decade and were forced to make their living in the theater, in which no blacklist existed. Interestingly, despite the theater being a form of communication and the new medium of television rapidly evolving as the most potent form of mass communication ever, many members of the gray- and blacklist (those who refused to testify before HUAC) could find employment. Those two media did not have the labor troubles that Hollywood did, nor the likely level of organized-crime affiliation that had been exposed during the extortion trial of International Alliance of Theatrical Stage Employees President George Browne (also a vice president of the American Federation of Labor) and his right-hand man, Chicago mobster Willie Morris Bioff, shortly before the war that had led to the imprisonment of industry bagman Joseph Schenck of 20th Century-Fox (interestingly, the studios' initial payoff to the mob was done in the Waldorf-Astoria hotel where, a decade later, the movie moguls would agree to impose the blacklist). The movie magnates and Hollywood craft unions, whose members were dunned 2% of their wages for a "strike fund" that was channeled back to Bioff's "Outfit" (the old Al Capone mob) in Chicago, paid the mob as much as $15 million to ensure labor peace, in a symbiotic relationship the skirted the fine line between bribery and extortion. The federal government eventually broke up the Hollywood racket, in no small part because Screen Actor's Guild president Robert Montgomery had initiated an investigation of the situation. A Chicago tax court tackling the case ruled that the studio bosses "knowingly and willingly paid over the funds and in a sense lent encouragement and participated with full knowledge of the facts in the activities of Browne and Bioff." The moral rot of Hollywood was all pervasive. Sammy Glick was every bit as rotten as Budd Schulberg had warned.

Event though he was excused from testifying and did not defy the Committee, Maurice Rapf, after being called by HUAC (thus indicating industry knowledge of his connection to CPUSA) was subsequently blacklisted in accordance with the movie magnates Waldorf Statement. Rapf was done in partly due to his association with fellow unapologetic Stalinists like Lillian Hellman, a HUAC unfriendly witness, but more likely due to his militant support of labor unions during a time when Hollywood was besieged with labor troubles and the studios liked to tar union activists as "Red" in order to deliver Hollywood into the hands of more amenable (and bribe-able) mob-controlled unions. Disney was known to be an implacable foe of unionization, and although the American Federation of Labor and the Congress of Industrial Organization (separate entities until 1955) fought Communists and had been purging them from their member unions for years, the charge of being a secret Red remained a potent weapon in the studios' anti-labor arsenal for years to come.

Now blacklisted and thus technically unemployable as a screenwriter, Maurice Rapf left Hollywood and began a new life across the border from Hanover, New Hampshire, in Norwich, Vermont. He was one of the founders of The Dartmouth Film Society in 1949, the first college film society in the US. Like many blacklisted screenwriters who chose to remain in the country and pursue their craft, Rapf had to use various fronts to market his work. He also worked in the production of industrial films and television commercials in New York City, functioning as a writer, director and producer. In addition to these labors, Rapf was a movie critic for the mass-circulation periodicals `Life' and `Family Circle.'

It was in these years that his old friend and fellow Hollywood Prince Budd Schulberg forever tarnished his crown when he appeared as a friendly witness before HUAC on May 23, 1951, and named names. One of the 15 names he named was Maurice Rapf. Schulberg told HUAC that CPUSA tried to dictate changes to "What Makes Sammy Run?" so that it conformed to the Party line. He was ordered to talk to John Howard Lawson, their generalissimo of the arts in Hollywood, who asked him to submit an outline so that Lawson could vet his novel, a request Schulberg ignored. At a meeting with V.J. Jerome, the CPUSA theoretician whom former "Daily Worker" managing editor and blacklistee Howard Fast termed the Party "cultural czar", Schulberg was told "my entire attitude was wrong; that I was wrong about writing; wrong about this book; wrong about the Party . . . I remember it more as a kind of harangue. When I came away I felt maybe, almost for the first time, that this was to me the real face of the Party." Schulberg, once again playing Oedipus, proved determined to slay another patriarch.

In 1966 Maurice Rapf was hired by Dartmouth College as an adjunct professor to teach about the cinema. In 1976 he was promoted to full professor with the portfolio of establishing Dartmouth's new film studies program. As a professor, he was prized for his honesty; many of his students, after having established themselves in the business, would return to him for critiques and advice on their film projects. In 2000, he published "All About the Movies: A Textbook for the Movie-Loving Layman," based on his 30 years of teaching at Dartmouth. That book was published a year after his 1999 memoir, "Back Lot: Growing up with the Movies," an insider's look at the movie business.

An autobiography, the special strength of "Back Lot" is that Rapf's experiences are gained from first hand experience. He experienced the evolution of the American film industry from silence to sound, from the amalgamation of studio control to the overthrow of the studios by the independent contractor with his or her own production company. Rapf gives special attention to the film community's awakening from an apolitical apathy, focused on assimilation rather than confrontation, towards a community increasingly aware of its social responsibility due to the Great Depression and the war against the fascist Axis powers.

Variety, the bible of show business, reported in its July 31, 1998 issue that the Writers Guild of America, the union that Rapf had helped found, had voted to give screen credits to 13 blacklisted screenwriters, including Rapf, for their unaccredited contributions to 21 movies produced during the period of 1950-69. The WGA's Blacklist Credits Committee had conducted an investigation into the production history of each movie with questionable credits, a process hampered by the blacklisted screenwriters' use of fronts and the pseudonyms. Although Dalton Trumbo of Hollywood Ten fame broke the blacklist in 1960 with credits for Spartacus (at the insistence of producer/star Kirk Douglas) and Exodus (because of the efforts of director/producer Otto Preminger), some screenwriters had continued to write under pseudonyms until the 1970s.

In addition to Rapf, who was given credit on The Detective, the blacklisted writers included the late Paul Jarrico, one of the more famous of blacklisted screenwriters, who posthumously picked up four credits. Jarrico had refused to be given credit by the committee until after it had investigated all other blacklisted screen writers. CPUSA stalwart and Hollywood Ten member John Howard Lawson picked up one credit, while Carl Foreman, one of the first benefactors of credit restoration when he and Michael Wilson were given credit (and posthumous Academy Award statuettes) for the Oscar-winning screenplay for The Bridge on the River Kwai, picked up another credit, for the Oscar-nominated screenplay of A Hatful of Rain, which lost to their "Kwai" screenplay (originally credited to Pierre Boulle, a Frenchman who did not write in English).

Screenwriters who were awarded multiple new credits were Henry Blankfort, with three, and Daniel James and Robert L. Richards, with two each. Screenwriters receiving a single new credit were Leonardo Bercovici, Jerome Chodorov, Howard Dimsdale, Howard Koch, Jean Rouverol and Donald Ogden Stewart. WGA West president 'Daniel Petrie Jr., at the announcement of the new credits, said, "It is with pride and sadness that we announce these changes."

In a speech at the University of Oklahoma, Rapf said that Walt Disney & Co. had contacted him about a re-release of "Song of the South" on DVD. The studio wanted to create disclaimers about the film's "racial insensitivity" and asked Rapf to write them. Ever the committed progressive, he declined, thus able to expiate a sin from the past, as he had come to believe that the film was inherently racist and should never have been made. No one ever claimed that Maurice Rapf was not a man of his word, or a man of courage who stood up for what he believed in. In his belief in himself and his ideals, this idealistic man who was accused of being "anti-American" elucidated the best of the American character.

Maurice Rapf died on April 15, 2003, at the age of 88. He had been married to his wife, the former movie actress Louise Siedel, for 56 years before her death. His daughter, Joanna E. Rapf, is a Professor of English and Film & Video Studies at the University of Oklahoma, but regularly teaches as a Visiting Professor of Film & Television Studies at her father's alma mater.

Upon his death, Dartmouth President James Wright eulogized the man responsible for the success for the college's film department. "Because of Maurice Rapf's commitment, love and encouragement, the Dartmouth Film Society is a highly-regarded Dartmouth institution and Film Studies is a strong and thriving department on campus. Dartmouth is forever enriched by his commitment. We will greatly miss our friend and colleague."

The college bestows the Maurice Rapf Award for Outstanding Achievement in Film at Dartmouth in his honor.

Andrew Menzies

Andrew Menzies is a comedy writer based in Vancouver, BC.

Growing up in the northern working class town of Prince George, BC, Andrew developed a keen eye for comedy at a young age. With an unwarranted habit of questioning authority, the status quo and anything that took itself too seriously, Andrew began turning his musings into words and stuff in his early teens. He was awarded a "Future Author Award" in the seventh grade, not because his short story about the kidnapping of a hockey coach's son was the best, but rather he was the only student in his age category who submitted anything. A quiet victory, but a victory nonetheless.

While attending the Writing for Film and Television program at industry-lauded Vancouver Film School in 2005, Andrew met Bob Woolsey, and the two embarked and a long-term collaborative friendship. Bob and Andrew have written and produced over fifty sketches for their website, bobandandrew.com. They host a podcast that's available on iTunes, have developed a web comic, and are in production on their first webseries, oddly enough titled "Bob & Andrew". They have put on several live sketch shows in Vancouver's burgeoning comedy scene, working with and opening for many talented young comedians. With a penchant for the absurd, Andrew also enjoys dabbling in parody, satire and tales of the human condition.

Andrew's short film "Forked"- shot by Morris Chapdelaine in conjunction with his attendance at VFS- was been screened in the student work category at Cannes in 2006, as well as several Canadian film festivals. His TV pilots "The Furniture Man" and "One Handed, One Hearted" have been read at the Anza Club's monthly Cold Reading series in Vancouver. Andrew (along with Bob) won Best Writing for their short "Best. Christmas. Ever." at the 2009 RainCity Laughing Stock 72 Hour Film Festival.

Nan Gill

Nan is co-owner and President of Willy-Gilly Productions, Inc.and the executive Producer of the feature film "Collar" starring Tom Sizemore, Rebecca DeMornay, Richard Roundtree, David Patrick Wilson, Jaime Santana, Kether Donohue, Emily Tremaine, Novella Nelson, Iris Delgado, Anjelica Lopez and Dominic Ignieri. She is working on various TV shows including "Empowering Women Everywhere" and an educational show for young adults entitled "Captain Science".

Born in Queens, NY, Nan spent her early years in NYC, Pennsylvania and Northport, LI. She attended college at the State University at Albany. Prior to entering the title insurance and real estate industry, she ran a school for the performing arts in Orange County, NY. As a teen, Nan created the promo tape for then President John F. Kennedy's Physical Fitness Program that premiered at the New York State Pavilion of the World's Fair in 1964. She subsequently became a model at the prestigious Ford Agency.

She is a Meisner trained actor and has enjoyed appearing as Mrs. Elgin in "Status Quo Vadis" and is to play Linda in "Death of a Salesman".

A major supporter of continuing education throughout her life, Nan teaches title insurance CLE classes for the Marino Institute in Manhattan, as well as the NYC Lawyers Association, the Rockland County Lawyers Association, the Suffolk County Bar Association, the Women's Bar Association of Orange and Sullivan Counties, the Rockland County Bar Association and the Orange County Association of Realtors.

Nan is President of the Board of Directors of The Academy of Film, Television and Stage Performing Arts, Inc. an educational entity established with David Patrick Wilson, committed to providing a well-trained, highly-skilled professional workforce for the American entertainment industry. She had previously been the founder and co-owner of Educational Video Productions, Inc. (EVPI) and The EVPI School of the Performing Arts in Warwick, NY.

Dominic Weston

Dominic Weston is a versatile and creative British director, producer and writer who is extremely adept at weaving and reweaving stories - visually and verbally - to explore and develop a stories underlying themes. He has extensive experience across genres, but concentrates on factual productions, some featuring elaborate dramatic reconstructions.

Dominic has filmed from the Arabian Gulf to Zambia with a wide range of presenters. All his work is underpinned with very strong writing skills and extensive experience in post-production.

Before he began directing and producing full time Dominic worked for five years in a tightly knit team as the Production Manager for documentary filmmaker Jane Treays. Her observational documentaries for BBC 2, ITV, Channel 4 & The Learning Channel ranged from aging rockers 'Status Quo', to the Moulin Rouge, and from fashion models to primordial dwarfs.

Dominic's career began in television post production at facility companies and then as Post Production Manager for wildlife television company Partridge Films. As well as overseeing the transition to digital post, it was there that he began script editing/writing & edit producing output for BBC, C4, Discovery, ITEL and Thirteen/WNET.

Dado Jehan

Born in Sarajevo, Bosnia and Herzegovina. A member of the New Primitivism, an art movement of Sarajevo of the early eighties, launched on the famous radio show "Primus". This movement had a dramatic influence on the art, music and fashion scene, while actively challenging the political status quo of the day. The program's popular blend of satire and music brought continued opposition from the Authorities, but its popularity was such that it was able to progress into a TV broadcast, the highly acclaimed humorous sketch and music show "Top-lista Nadrealista" ("The Surrealist Top List"). Many of the items they wrote proved to have an acute critical perception of the state the country was in and the developments which would eventually give rise to the war in former Yugoslavia and Bosnia. During this period Dado also performed as a key-board player with the rock band Zabranjeno Pusenje (No Smoking Orchestra), which despite run-ins with the authorities and censors, was able to release five albums, two of which went gold. He closely collaborated with the distinguished film director, Emir Kusturica (two times Winner of the Cannes Golden Palm). Since moving to London in 1991, Dado has combined composing / producing music with frequent live performances. He has been involved in numerous music projects, working across the spectrum, from free improvisation to fully scored music for films and commercials. His eclectic compositional style seamlessly blends ethnic elements with jazz, classics and contemporary works. As an energetic and accomplished musician and musical director, he is continually in demand and has worked with such diverse musicians as David Gilmour, Dave Stewart and Leo Sayer, recording at many of the top London studios. Throughout this period he has demonstrated his acting talent and managed to squeeze several films into his work portfolio, as well as numerous TV appearances in TV dramas and shows.

Selena Brown

Selena Brown was born in Washington, District of Columbia, USA, to father Russell Brown, a janitor for a Washington newspaper company, and mother Audrey Brown, a retired sales associate. Selena is the oldest of three children, with a sister, Shamieka Brown and brother Russell Brown. Before pursuing an acting career, Selena entered the United States Army right out of high school where she was promoted within three years to Sergeant. Although, pondering on making the military a career, Selena decided to leave the Army with a honorable discharge in September 2002. Soon after, she was hired by an Information Technology company where she learned about computers and their operating systems. Simultaneously, she was working on obtaining her Bachelor's degree in Business Administration from the University of Management and Technology in Fairfax, Virginia, which she completed in February 2006.

Selena Brown realized her passion for film, television and theater, while watching theater as a pastime and performing in local theater companies in the greater Baltimore-Washington area. It became real to her then, that she had to pursue this passion and leave the status quo. Selena found herself auditioning for the American Musical and Dramatic Academy in New York City in 2005. She was accepted soon after into the Studio Program of the academy where she studied Film, Television, Theater, Acting Techniques, Improvisation, and many other forms of acting to prepare her for the opportunities to come. Selena was so passionate about film that she decided to take her studies in the American Musical and Dramatic Academy to their Los Angeles, California, location where she resides.

Since graduating, Selena Brown has been working on her craft by completing theatrical performances to include The Vagina Monologues, the Laramie Project and commercial projects as well. In 2011, she completed her first short film, A Radio Drama Goodbye, as writer, director, and producer. In 2012, with a continued focus on a fulfilling acting career, Selena Brown completed her second short film, A Good Teacher.

Arthur Ellis

Started in industry 1972, working at Columbia Pictures, Wardour Street as a runner. 1974 won Yorkshire Arts script award which helped finance first directed short film, Terminus, starring Scott Anthony, gaining him access to National Film School at the old Beaconsfield studios. Worked as writer/director since 1979, directing mostly commercials (Amro, Hertz, Barclay's, B.A.T etc)and rock videos (Status Quo, Grace Slick, Twisted Sister etc)

Commissioned to write numerous features in UK and USA for a lot of solid people, including Oliver Stone, Moustapha Akaard (Halloween) and Hammer Films, most of which, for the usual variety of reasons, never made it into production.

Cracked up while trying to direct first (and thus far only) feature, Psychotherapy, a risible exercise in directorial and production futility, which saw him end up in a nut ward and out of action for nearly six years. Never seen finished film, which was retitled Don't Get Me Started.

Better known for short comedy films, A Turnip Head's Guide To Alan Parker, Chuck Norris - The Man His Music, Stanley Kubrick Goes Shopping, all featuring Peter Wight.

As of 2013, rewrites,occasionally writing for radio, but mainly writing prose fiction under another name; also awaiting publication of Not Quite Psycho, a factual account of his trying to deal with psychosis in the film industry.

Ron Saunders Jr.

Raised in New York, Ron Saunders Jr entered the U.S. Air Force at 18 and was stationed at McGuire AFB in New Jersey. After six years and four tours, he exited the military and entered the the world of retail as a Blockbuster Video Store Manager. Never satisfied with the status quo Ron started a DJ business and an independent record company.

While pursuing a communications degree in Radio at Mercer County Community College and acting as General Manager of Viking 89 their student radio station, Saunders began a second major in Television / Film production. Ron cut his teeth at MCTV where he began to direct, produce, film and edit. Fascinated by the world of film, Saunders created his own production company Cinema-Styles and began contracting his services for private events, commercials, films and documentaries.

Ron Saunders Jr. now lives in Los Angeles, California where continues to operate Cinema-Styles.

Margarete Steffin

The progressive proletarian writer, singer and actress Margarete Steffin was born into a working class family on March 21, 1908 in Rummelsburg, Pomerania in Imperial Germany. Rummelsburg, a part of the Berlin metropolitan area, was the home of the chemical and photographic film maker Agfa AG. (The Versailles Treaty ending World War One officially established the border of Germany with the newly created Poland 15 kilometers to the east of Rummelsbug.) Margarete Emilie Charlotte Steffin's father was a construction worker and her mother took in sewing to produce income. Her parents had two more children, her sister Herta Frieda, who was born in 1909, and a boy, born Hermann Wilhelm Albert born, who died shortly after birth in 1913. Her father was among the first round of draftees conscripted into the German Imperial Army in August 1914.

The young Margarete was a gifted student. When she was 13, an hour-long play in verse she wrote for Christmas was produced by three schools. However, her father did not want her to go on to university (and likely lose contact with her social class), so she got a job with the telephone company Deutschen Telefonwerken after graduating. Politically conscious since a young age, Grete as she was called initially was attracted to the Social-Democratic faction on Germany's left, a humane socialism; later, she drifted further to the left and became a communist and supporter of Joseph Stalin, who had an iron grip on the German Communist Party from the 1930s onward. Stalin would not allow the German Communist Party to form a Popular Front with the more liberal Social-Democrats to resist Adolf Hitler and his Nazi Party, as Stalin believed Hitler would bring on the conditions that would trigger a revolution that would swept the Commnuists to power. It was a fateful miscalculation for tens of millions of Germans, Russians, and countless others.

Steffin's involvement in progressive politics enabled her to join left-wing arts organizations who were at the vanguard of creating art challenging the bourgeois status quo. Art was intricately intertwined with politics in this era. It was there she could indulge her passion for singing and acting. She also worked on putting out a guerrilla newspaper and took Russian language lessons. For the rest of her life, she would be a gifted translator, adept at many tongues.

In the fall of 1927, the 19-year-old Steffin began an ultimately unfulfilling long-term relationship with a young man Herbert Dymkethat led to her first pregnancy and abortion the following year. Fired from the phone company for being a left-winger, she got employment as a bookkeeper at a print shop; on Sundays, she performed solo-recitations. By the time she was the secretary of the Social-Democratic Lehreverband in 1930, she had become pregnant again, which was terminated via abortion.

While working for the "Red Revue" ("Rote Revue") in 1931, she took a speech technique course taught by Helene Weigel, Brecht's common-law wife, at Masch, near Hannover, Germany. Introduced into the Brecht circle at this time, she broke up with Dymke that spring and soon became the lover and then mistress of Brecht after appearing in the role of the maid in a production Brecht's "Mother", under the tolerant eye of Weigel, who was the star of the play.

It is generally known now, though still contested and denied by believers in the solitary nature of genius, that Steffin played the central role in Ruth Berlau Brecht's "work shop" of collaborators between his first major collaborator, Elisabeth Hauptmann (who translated John Gay's 18th century masterpiece The Beggar's Opera that serves as the basis of The 3 Penny Opera ("The Threepenny Opera", Brecht's most popular work) for Brecht and may have, in fact, written as much as three-quarters of the book without getting proper credit or remuneration, and Ruth Berlau, who took over the role after Steffin's death in 1941. Liek a great 17th century painter, such as Rembrandt, Brecht used a circle of collaborators (students and assistance in Rembrandt's case) to produce the works that he presented to the world under his own name. For while the collaborators did research, translation and drafting of texts, it was Brecht, with his poetic genius, who provided the final strokes or brushwork to create a final draft (as well as provided any songs or poetry on his own, though the great poet was not above purloining other's lyrics and presenting them as his own; Hauptmann most surely wrote the lyrics of the famous "Alabama Song" as Brecht did not speak English at the time, the language the song is written in).

For more than 10 years, Steffin served Brecht and his family, including his wife Wiegel, as secretary (the role usually ascribed to her by Brecht's acolytes), factotum, political sounding-board, mistress, and translator, often to the detriment of her own health. Steffin suffered from tuberculosis, and she often traveled and lived in countries such as Denmark with insalubrious climates to remain at Brecht's side, as the leftist author had to flee Nazi Germany in the mid-1930s. She also maintained relationships with other great thinkers and leftists, such as Walter Benjamin.

Grete Steffin died of tuberculosis in a sanitarium in Moscow in June 6 1941, in the last days of the German-Soviet Non-Agression Pact (Operation Barbarossa, the Nazi invasion of the Soviet Union, was launched on June 22). Steffin had already raised the money (mostly through her own translations of other writers' works) and made the arrangements by which the Brecht family was able to cross the USSR and go into exile in the United States. Alas, she was never able to join them, and Brecht's productivity -- that is, the quality of the output of his workshop -- declined.

She is now regularly credited as a co-author of Brecht's great classics Mutter Courage und ihre Kinder, Galileo, and Caucasian Chalk Circle, having provided a great deal of preliminary text for Brecht, who polished the final output and presented it as a solo work of his own genius. Steffin collaborated out of love and out of fealty to the collective principle. However, as John Fuegi -- the founder of the International Brecht Society -- pointed out in his iconoclastic 1994 biography "Brecht and Company: Sex, Politics, and the Making of the Modern Drama ", for the great poet, it was a one-way street. No only did he not share credit, he didn't share royalties, which could have made a major difference to Steffin's impoverished family, who lived in poverty in the Democratic Republic of Germany (East Germany) after the war.

Nicholas Sayers

Nick grew up watching movies every weekend in dingy small-town theaters. A less than exciting farm life kept Nick and his dad captivated by every genre in cinema. He has always been a movie lover, not a critic. Nick draws on his love of filmmaking to challenge the status quo of how films should be made. He believes great movies can be made on the cheap with passion, crowd-sourcing, a great story, and hard work. This drives Nick to keep budgets low and collaborative learning high on all of his films. His favorite movies range from Aliens to Silver Linings Playbook.

Nyla McCarthy

Nyla McCarthy, award winning stage actress, director, film actress and social justice activist, represents the best of "the Pacific Northwest alternative spirit". Nyla suffered a traumatic head injury in 1968 which landed her in a coma, followed by two neurosurgeries and extensive physical therapy while she relearned to walk and talk. In interviews, she has shared that her time being warehoused in a special education class made her deeply aware of the low expectations for the poor and disabled, and she determined to get out and "make a difference". Nyla came of age in Eugene, Oregon during the height of hippy culture, and though she was long out of special education and by then a straight A student, she was known locally as a rebellious, "hippy chick", continually challenging the status quo and local authorities. Her love for escaping into the alternative realities of theatre and film prevented her from dropping out of school and she instead immersed herself in co-founding the Oregon Repertory Theatre, appearing in several award winning shows there. Author Ken Kesey and his cohort of Pranksters admired the theatre and its company, so much so that they once held a giant tarp over an outdoor audience of a Commedia Nyla was appearing in (1976) at the then named Oregon Renaissance Festival (later to become the Oregon Country Fair), so that "the show could go on." Though known for her break out role as Betty in director Gus Van Sant's first motion picture, Mala Noche (1986), Nyla had already turned down Director John Landis when he was in Eugene filming Animal House (1978) because she felt the lines her character were meant to deliver to a fellow actor were "demeaning and humiliating to him, merely because he was overweight". Her strong social justice convictions were already shaping her evolution. During the late 1970's and the 1980's, Nyla concentrated on giving birth and mothering her two children, David McCarthy Weed (1982) and Erinna Cronin McCarthy (1986) while helping launch two more theaters, the critically acclaimed Actor's Production Company and successful Equity company, Artists Repertory Theatre. She appeared in several commercials, lent her voice to a classical Greek Theatre recording series for the blind, and played the lead in many memorable Portland, Oregon stage productions, including The Petrified Forest (1977) In the Boom Boom Room (1977), School for Clowns (1978), Female Transport (1978) The Real Inspector Hound (1983), Terra Nova (1986), Top Girls (1988) and Plenty (1986), which was where Director Gus Van Sant discovered her. Director and artist Rose Bond, having admired her unique voice and versatility, approached Nyla and asked her to play the lead, Macha, in Mallacht Macha, or Macha's Curse, (1990) alongside narrator Fiona Ritchie. The hand painted animation went on to win numerous awards, including the Cine Golden Eagle. Nyla took a sabbatical from film and stage in 1995, after co-founding yet one more theatre company of merit, Cygnet Theatre, in Portland Oregon (1993), where she starred in the much lauded Bertolt Brecht scripted allegory of the McCarthy congressional witch hunts which destroyed many Hollywood careers, "In Dark Times" (1994). Nyla focused the next 22 years on working tirelessly for social justice, serving as Chair of both the Salem and Portland, Oregon Human Rights Commissions; Founding Chair, now Emeritus, of the Portland Commission on Disabilities; President Elect of the National Adult Protective Services Association; Commissioner on the Governor's Commission on Disabilities; Delegate to the International Women's Conference in Cuba; Facilitator and Mentor for Love Makes a Family, and as expert consultant to the National Gay and Lesbian Task Force, the Oregon Hispanic Chamber of Commerce, and the National Youth Leadership Network. Nyla was coaxed into returning to her life as a performer when she was offered the delightful role of the eccentric medium, Madame Arcati, in Noel Coward's Blithe Spirit at Pentacle Theatre (2014).

Anthony Yniguez

Born in Los Angeles, raised in Brea, California, Anthony knew he was destined for the world of showbiz when he began entertaining live audiences when he was just 8 years old. Surrounded by his mother, father, his younger brother, neighbors, and anyone else willing to watch him, Anthony would spend hours performing scenes from his favorite childhood films like Back to the Future and Hook as a child, but performing just for them was not enough. He wanted to be on a real production set and be in front of the camera like his favorite actors. His interest in acting only deepened whenever he'd pass by the Sony Studios in Culver City on visits to his grandparents house in Culver City. But never satisfied with the status quo, the innovative young Anthony discovered that merely walking by the studio wouldn't quite be as much fun as actually being in the studio.After one year of college and with the support of his family, Anthony dropped out of school to pursue acting full time and soon landed his first television guest role as Jack on "Life on a Stick" (2005).

Jacquie O'Sullivan

Lovely brunette singer/songwriter Jacquie O'Sullivan was born on August 7, 1960 in London, England. Jacquie began her professional musical career in 1978 as one of three backing vocalists on the album "If You Can't Stand the Heat" by Status Quo. She appeared in the video clip for "Night Train" by Visage in 1982 and the video clip for "Who's That Girl?" by the Eurythmics in 1983. O'Sullivan was a member of the punk/country/rockabilly group Shillelagh Sisters in the mid 80s. Jacquie popped up as an extra in the 1986 film "Absolute Beginners" and worked for a short time in 1987 as a backing vocalist in lip-synced TV performances for the British pop band Living in a Box. In March, 1988 O'Sullivan replaced Siobhan Fahey as a member of the hugely popular and successful all-girl pop outfit Bananarama (founding members Sarah Dallin and Keren Woodward have known Jacquie since they were 18 years old). She appeared in the music video for Bananarama's fund-raising cover of "Help!" by The Beatles and was featured on the full-length album "Pop Life." However, Jacquie was dissatisfied with her status as basically a paid employee with no say or influence on the band's music or vision and eventually left the group in 1991. After leaving Bananarama O'Sullivan went on to form the disco act Slippery Feet. In 2001 she signed a three record contract deal with the label Alma Fame Records, but only two albums were released in total. Jacquie briefly appeared in the video clip for the song "Pulsation" by Siobhan Fahey in 2005.

Frank Dato

Francesco (Frank) Dato was born in Salerno, Italy in 1952. He has been a professional musician in the Vancouver, British Columbia Canadian music scene since he was 16 years old. Getting his start playing drums in weddings and restaurants.

In 1972 he was the drummer of an original Vancouver rock band called "Zingo" where Frank Dato worked alongside musicians such as Keith Scott (Bryan Adams Guitarist), James Grant, and his childhood friends Vince Nardulli and Dave Skinner.

In 1989 Frank Dato played the drums in one of the scenes of the movie "Cousins" featuring Ted Danson and Isabella Rossellini.

In 1998 Frank was in "Small Mercies", a Blues Rock Recording Act that was the CFOX 99.3 Radio Station 1998 Vancouver Seeds Winner. While working the local club circuit he formed the YVR Band in the year 2000 with his friend Dave Skinner. YVR Band currently (as of March 2014) plays in several Casino's and club's in the Vancouver Lower Mainland area. YVR Band's current lineup consists of Frank Dato , Dave Skinner, Paul Minshall (toured with Darby Mills from "Headpins") and lead vocalist Jillian Mandy Hart (2012 Canadian National Karaoke Champion who has won several vocalist competitions).

All "YVR Band" members have vast experience playing the Canadian nightclub circuit and concert halls. Frank Dato and Dave Skinner worked alongside "Keith Scott" (Bryan Adams Guitarist) in Vancouver Based Band "Zingo" for six years performing across Canada and the US. They eventually signed a Record Deal with "Harbor Records" of England and Producer "John Schroeder" a former A&R Exec for EMI, Tamla, and Pye Records in the UK. John produced many British Bands including "Status Quo" "Pictures of Matchstick Men". In that time they opened for and toured extensively with multiple International Recording Artists including the Canned Heat Blues Band, The Beach Boys, Brownsville Station, and John Lee Hooker. Over the years they have also worked and toured with many other great Producers, Musicians and Bands.

Frank Dato has worked with Canadian Classic Rock Band "Red Rider" with Lead Vocalist "Tom Cochrane" and also worked with "Holly Woods & Toronto", "Gaye Delorme" "Amanda Hughes" , and many other top Vancouver Jazz Musicians backing Famous Rock & Motown Legends such as "Bo Diddley" , "The Supremes", and "The Mamas & the Papas".

Frank Dato is also a percussion instructor and teaches people who desire to be professional musicians.

Ole Evenrud

Ole Jacob Evenrud was born in Norway, November 17th, 1962. His breakthrough as an artist came in 1983, and he soon became one of Norway's most popular artists under the name "Ole-i-Dole". Releasing five albums in as many years, he also saw some success abroad. His last stint as an artist was warming up for Status Quo on Wembley Stadium in December 1989.

Moving to Stockholm, he switched to songwriting and progressively started producing albums for other artists. In 1993 he was hired by Polygram Norway as Head of A&R, and eventually he would form his own record studio, Hitsville. He ultimately left his safe Polygram spot in '98, now being a full-time record producer. Lured by new possibilities; In the turmoil following the Polygram and Universal unification, he lead the A&R department at the new Universal until the new millennium broke. Broken was also his ventures in the corporate world and he felt it was time to set up shop for real.

With Hitsville now being the prime instrument for his involvement in producing music, more time was spent on songwriting, negotiating deals and in other ways consolidating his by now firm grip on the Norwegian/Swedish music industry. He bought a former customs station by a fjord on the border between Norway and Sweden, from which he molded what is now Hitsville Production. Evenrud (or Evenrude as he calls himself in English) had become a household name in the music business.

Through the years he played a leading role in the development of the Swedish group A*Teens, and has also worked with bands like Ace of Base, a-ha and Norwegian Idol contestants. In 2003 he was one of the judges on the first ever Norwegian "Idol," a role he repeated in the show's third season in 2005. The same year he finally gave into the demands of his old fans, and released a CD with his greatest hits, entitled "Høy og mørk" ("Tall and Dark," in real life he is blonde and short).


Early on, while growing up in Boston, Ernest "E-Knock" Phillips was mesmerized by Michael Jackson and M.C. Hammer, and was inspired to dance and rap. After a few years of solo work, the movie You Got Served inspired him to create a crew called Status Quo. Status Quo became unbeatable in the Boston area and moved on to compete in L.A. More recently, E-Knock has begun choreographing in a variety of contexts, and he continues to broaden both his teaching and training.

Performance credits include So You Think You Can Dance (seasons 3 and 10); America's Best Dance Crew (season 1, 2nd place); BET's 106 and Park; MTV's My Super Sweet Sixteen; Showtime at the Apollo; MTV's Boyband with Robert Hoffman, and a recent tour in Germany with Pilobolus' Magnifico Circus.

E-Knock says he continues to look up to Shane Sparks and Dave Scott and, more recently, Mia Michaels. When not performing, choreographing or teaching, E-Knock spends time making short videos, playing paint ball, and expanding his skill-base with kick-boxing, street tumbling and stage combat.

I.F. Stone

Isidor Feinstein Stone, the progressive investigative journalist who was a successor to such socialist muckrakers as Jack London and George Seldes (and a precursor to such modern newspaper crusaders as Bob Woodward and Carl Bernstein), was born Isidor Feinstein on December 24, 1907 in Philadelphia, Pennsylvania to ethnic Russian Jewish parents, who were shop-owners. His interest in journalism started in high school, and he began publishing his own newspaper as a sophomore. Later, he got experience as a cub reporter for The "Philadelphia Inquirer" while a philosophy student at the University of Pennsylvania, and he went to work for the paper full-time after dropping out of Penn.

A radical leftist in terms of politics, he moved to the "New York Post" in 1933, where he was a supporter of President Franklin D. Roosevelt and the New Deal. Around the time of the publication of his first book in 1937, he took the by-line "I.F. Stone". He had adopted the surname "Stone" as a pen-name in order to avoid the then-rampant anti-semitism which blocked Jews' entry into schools and jobs. Subsequently, he joined the liberal-leftist weekly newspaper "The Nation" as associate editor in 1939, later becoming its Washington editor, and also wrote for the left-wing New York afternoon newspaper "PM" from 1940 to 1948, when it ceased publication. As an unapologetic leftist who was many considered a "fellow traveler" of American and Soviet communists by the federal government, he was investigated thoroughly; nothing was ever proved against him during that "Scoundrel Time", as Lillian Hellman called it, when an association with the Communist Party, one of its alleged "Fronts" or a liberal organization in which communists were involved could mean blacklisting, expulsion from employment, and the denial of civil rights such as that of travel.

In the early 1950s, Stone became an unspoken critic of the Cold War and of McCarthyism, publishing his seminal book "The Hidden History of the Korean War" in 1952. It was unique for the times in that it alleged that the government and the big media had lied about the origins of the war. Stone is best remembered for his political newsletter "I.F. Stone's Weekly," which he started in 1953, during the high-water mark of McCarthuism. The newsletter had enormous influence well out of proportion to its small circulation: Not only did it challenge the status quo, but it gave courage to other journalists who otherwise were intimidated by the vast array of forces aligned against progressives in the 1950s.

Stone also was an early critic of the Vietnam War: he was the only American journalist to challenge President Lyndon Johnson's account of the Gulf of Tonkin incident that precipitated wide-scale US involvement in Southeast Asia. The incident is now known to be largely fabricated, with such witnesses as Senator John McCain -- who was flying over the Gulf of Tonkin in support of the American destroyers allegedly attacked by North Vietnamese warships -- maintaining that an attack by the North Vietnamese never happened.

As America grew more liberal during the 1960s, the circulation of his newsletter increased, reaching a height of 70,000. However, Stone ceased publication in 1971 Dru to failing health and poor eyesight. The ever-remarkable Stone then learned Ancient Greek to research the "The Trial of Socrates", the book her published in 1988.

The following year, I.F. Stone died on June 18, 1989 at the age of 81. He is remembered as avatar of that particularly American prototype of the crusader for free speech.

Travis Griffith

Travis Griffith is determined to leave his mark on the world. Travis has never been comfortable following the pack and keeping to the status quo, but that's exactly what he did for the first 8 years of his professional life. After graduating from the University of Washington with a bachelor's degree in journalism, Travis worked in radio as a producer and on-air host. From there he bounced and skidded between jobs at a Chamber of Commerce, two ad agencies, a university and two corporate marketing departments. Travis' popular children's book, Your Father Forever, was published in 2005. In 2008, life in the corporate world had reached its breaking point and Travis decided to take a leap of faith by leaving the 8-to-5 grind to pursue his passions of writing and film production. In that time he has created a successful freelance writing career, written two novels, a screenplay, produced an independent feature film and dedicated countless hours to the production of local film projects.

Tony Petkovich

Tony Petkovich was born in Queens, New York. As a teen he moved to Houston, Tx in the early 90's. After a small stint in college, Petkovich decided to start a business and never looked back. He created a business in 1999 which transformed him into a millionaire when he sold the business portfolio to a Private Equity Group in 2007.

In 2008, Tony began working on a hedge fund with 5 traders (that later became known as PetkovCapitalManagement). This innovative team went on to buy and sell several companies that were distressed. Tony's innate ability to lead made him a prime candidate to become spokesperson for BoardRoom Organics, which he is helping establish it into an evolving superior force.

He's the former host of a financial radio show in Spanish, were he talked to live callers answering questions, been seen on-camera in She Wants Me_(2012) as well as several TV commercials.

Tony is known for being tenacious, strong willed, relentless, and having a never quit attitude, which is part of the driving force to his success. He continues to challenge the status quo in the world of business and media with his latest venture BoardRoom Miami (production to begin spring 2015)

Ashley Marinaccio

Ashley Marinaccio is a director, writer, performer and photographer who creates work that challenges the status quo. She is dedicated to documenting the socio-political issues that define our times. Her theatrical work has been seen off-Broadway, at TED conferences, The White House, The Apollo, United Nations and on tour throughout the United States and Europe. She is a co-founder/director of Girl Be Heard and Co-Op Theatre East. Ashley holds her M.A. in Performance Studies from NYU's Tisch School of the Arts and BA in theatre directing and sociology/anthropology with minors in women/gender and Middle Eastern from Pace University.

45 names.