Famous Theatre Quotes

Movies will make you famous; Television will make you rich; But theatre will make you good.

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

I was told by “Chesty” Puller* years ago, there is only a hairline’s difference between a Navy Cross and a general court-martial.

He stared to sea. "I gave up all ideas of practicing medicine. In spite of what I have just said about the wave and the water, in those years in France I am afraid I lived a selfish life. That is, I offered myself every pleasure. I traveled a great deal. I lost some money dabbling in the theatre, but I made much more dabbling on the Bourse. I gained a great many amusing friends, some of whom are now quite famous. But I was never very happy. I suppose I was fortunate. It took me only five years to discover what some rich people never discover — that we all have a certain capacity for happiness and unhappiness. And that the economic hazards of life do not seriously affect it.

If this story were to have a moral, then I would say: “Just name a hero and I’ll prove he’s a bum.

... and you know what the public is, unless they see you all the time they forget that you ever existed.

A word of advice to you men. Many times in your Marine Corps career you are going to feel like resigning. But don’t forget: one son of a bitch or four or five cannot ruin the Corps.

I have never been brave, but most of the things for which I had been given credit for bravery were nothing but daredevil stunts. I was trying to build up my own ego, trying to imitate the bravery of people I had read about or had been told about in the years gone by.

I didn’t know what he was yelling about, but he said he would handle it, and I was to have you report IMMEDIATELY. He also said I could smell when you were coming because you would be like a bourbon factory. He said you were a bull-necked, flat-nosed son of a bitch who would have no cap or raincoat because you didn’t have brains enough to wear them.

nothing, absolutely nothing, scares an alcoholic—not even death.

The definition of flying is: hours and hours of dull monotony sprinkled with a few moments of stark horror.

I have long since discovered that there is no such thing as bad people. There are just two kinds of people, because people are people. There are those who know and those who don’t know.

Oh, M. de Villefort," cried a beautiful creature, daughter to the Comte de Salvieux, and the cherished friend of Mademoiselle de Saint-Meran, "do try and get up some famous trial while we are at Marseille. I never was in a law-court; I am told it is so very amusing!" "Amusing, certainly," replied the young man, "inasmuch as, instead of shedding tears as at the fictitious tale of woe produced at a theatre, you behold in a law-court a case of real and genuine distress - a drama of life. The prisoner whom you there see pale, agitated, and alarmed, instead of - as is the case when a curtain falls on a tragedy - going home to sup peacefully with his family, and then retiring to rest, that he may recommence his mimic woes on the morrow, - is removed from your sight merely to be reconducted to his prison and delivered up to the executioner. I leave you to judge how far your nerves are calculated to bear you through such a scene. Of this, however, be assured, that should any favorable opportunity present itself, I will not fail to offer you the choice of being present.

Consequently, [Terayama Shuuji] often played the buffoon to his more serious colleagues, as he did in a July, 1970, dialogue with Mishima Yukio . . . At one point, [Terayama] laughingly suggested to the very earnest Mishima that Tenjou Sajiki might sponsor a one-man show in which Mishima would demonstrate his famous ability to flex his carefully sculpted upper-body muscles. Mishima refused to be angered by this obvious lack of respect.

One night, out of a clear blue sky, one of the wrestlers started another one of our conversations that had nothing to do with wrestling. As a matter of fact, very few of them did. He said: “Pappy, did you realize that wrestling fans had such stupid faces before you started refereeing?” “No, I didn’t. It’s a pity my psychiatrist couldn’t work in my place some night.” “How’s that, Pappy?” “My God, he’d find enough customers in one arena to last him a lifetime.” “I have a more horrible thought than yours.” I asked: “Yeah, what is it?” “Look at them again. Then stop and think that each one has a vote, and that it counts as much as yours or mine.” “I see what you mean. Nauseating, isn’t it?

One of the most famous parts of Bacon's philosophy is his enumeration of what he calls 'idols', by which he means bad habits of mind that cause people to fall into error. Of these he enumerates four kinds. 'Idols of the tribe' are those that are inherent in human nature; he mentions in particular the habit of expecting more order in natural phenomena than is actually to be found. 'Idols of the cave' are personal prejudices, characteristic of the particular investigator. 'Idols of the market-place' are those that have to do with the tyranny of words. 'Idols of the theatre' are those that have to do with received systems of thought; of these, naturally, Aristotle and the scholastics afforded him the most noteworthy instances. Although

Lest some might gather an impression that this story is an exposé, I wish to say I have no intention of such. If I had chosen to write an exposé, I could have taken fiendish delight in doing a dilly fifteen years ago, when even our government was not too certain about things that went on. But to make one man’s story interesting to others he must run into good and bad situations. I have long since discovered that there is no such thing as bad people. There are just two kinds of people, because people are people. There are those who know and those who don’t know. And I don’t wish you to think I have any intention of shoving onto a few the entire blame for China becoming communistic instead of something else. In a way, even though I didn’t make a fortune like some of the others, and my main motives were not greed and power, I honestly feel that I am guilty along with them. And even though my main crime was ignorance, which is a by-product of emotional immaturity, I deserve to be included with the China gang.

Lest some might gather an impression that this story is an exposé, I wish to say I have no intention of such. If I had chosen to write an exposé, I could have taken fiendish delight in doing a dilly fifteen years ago, when even our government was not too certain about things that went on. But to make one man’s story interesting to others he must run into good and bad situations. I have long since discovered that there is no such thing as bad people. There are just two kinds of people, because people are people. There are those who know and those who don’t know. And I don’t wish you to think I have any intention of shoving onto a few the entire blame for China becoming communistic instead of something else. In a way, even though I didn’t make a fortune like some of the others, and my main motives were not greed and power, I honestly feel that I am guilty along with them. And even though my main crime was ignorance, which is a by-product of emotional immaturity, I deserve to be included with the China gang. My only hope is that we didn’t louse up the future generations too greatly, so that they may have a chance in the years to come.

The Biggest Property Rental In Amsterdam Amsterdam has been ranked as the 13th best town to live in the globe according to Mercer contacting annual Good quality of Living Review, a place it's occupied given that 2006. Which means that the city involving Amsterdam is among the most livable spots you can be centered. Amsterdam apartments are equally quite highly sought after and it can regularly be advisable to enable a housing agency use their internet connections with the amsterdam parkinghousing network to help you look for a suitable apartment for rent Amsterdam. Amsterdam features rated larger in the past, yet continuing plan of disruptive and wide spread construction projects - like the problematic North-South town you live line- has intended a small scores decline. Amsterdam after rated inside the top 10 Carolien Gehrels (Tradition) told Dutch news company ANP that the metropolis is happy together with the thirteenth place. "Of course you want is actually the first place position, however shows that Amsterdam is a fairly place to live. Well-known places to rent in Amsterdam Your Jordaan. An old employees quarter popularised amang other things with the sentimental tunes of a quantity of local vocalists. These music painted an attractive image of the location. Local cafes continue to attribute live vocalists like Arthur Jordaan and Tante Leeni. The Jordaan is a network of alleyways and narrow canals. The section was proven in the Seventeenth century, while Amsterdam desperately needed to expand. The region was created along the design of the routes and ditches which already existed. The Jordaan is known for the weekly biological Nordermaarkt on Saturdays. Amsterdam is famous for that open air market segments. In Oud-zuid there is a ranging Jordan Cuypmarkt open year long. This part of town is a very popular spot for expats to find Expat Amsterdam flats due in part to vicinity of the Vondelpark. Among the largest community areas A hundred and twenty acres) inside Amsterdam, Netherlands. It can be located in the stadsdeel Amsterdam Oud-Zuid, western side from the Leidseplein as well as the Museumplein. The playground was exposed in 1865 as well as originally named the "Nieuwe Park", but later re-named to "Vondelpark", after the 17th one hundred year author Joost lorrie den Vondel. Every year, the recreation area has around 10 million guests. In the park can be a film art gallery, an open air flow theatre, any playground, and different cafe's and restaurants.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Chicago, Illinois 1896 Opening Night Wearing her Brünnhilda costume, complete with padding, breastplate, helm, and false blond braids, and holding a spear as if it were a staff, Sophia Maxwell waited in the wings of the Canfield-Pendegast theatre. The bright stage lighting made it difficult to see the audience filling the seats for opening night of Die Walküre, but she could feel their anticipation build as the time drew near for the appearance of the Songbird of Chicago. She took slow deep breaths, inhaling the smell of the greasepaint she wore on her face. Part of her listened to the music for her cue, and the other part immersed herself in the role of the god Wotan’s favorite daughter. From long practice, Sophia tried to ignore quivers of nervousness. Never before had stage fright made her feel ill. Usually she couldn’t wait to make her appearance. Now, however, nausea churned in her stomach, timpani banged pain-throbs through her head, her muscles ached, and heat made beads of persperation break out on her brow. I feel more like a plucked chicken than a songbird, but I will not let my audience down. Annoyed with herself, Sophia reached for a towel held by her dresser, Nan, standing at her side. She lifted the helm and blotted her forehead, careful not to streak the greasepaint. Nan tisked and pulled out a small brush and a tin of powder from one of the caprious pockets of her apron. She dipped the brush into the powder and wisked it across Sophia’s forehead. “You’re too pale. You need more rouge.” “No time.” A rhythmic sword motif sounded the prelude to Act ll. Sophia pivoted away from Nan and moved to the edge of the wing, looking out to the scene of a rocky mountain pass. Soon the warrior-maiden Brünnhilda would make an appearance with her famous battle cry. She allowed the anticpaptory energy of the audience to fill her body. The trills of the high strings and upward rushing passes in the woodwinds introduced Brünnhilda. Right on cue, Sophia made her entrance and struck a pose. She took a deep breath, preparing to hit the opening notes of her battle call. But as she opened her mouth to sing, nothing came out. Caught off guard, Sophia cleared her throat and tried again. Nothing. Horrified, she glanced around, as if seeking help, her body hot and shaky with shame. Across the stage in the wings, Sophia could see Judith Deal, her understudy and rival, watching. The other singer was clad in a similar costume to Sophia’s for her role as the valkerie Gerhilde. A triumphant expression crossed her face. Warwick Canfield-Pendegast, owner of the theatre, stood next to Judith, his face contorted in fury. He clenched his chubby hands. A wave of dizziness swept through Sophia. The stage lights dimmed. Her knees buckled. As she crumpled to the ground, one final thought followed her into the darkness. I’ve just lost my position as prima dona of the Canfield-Pendegast Opera Company.

Most of the theaters in Jersey City and the surrounding area have been closed, demolished, renovated or restored, but nothing remained the same. The Stanley Theatre still stands in Journal Square, completely restored as a Jehovah’s Witnesses Assembly Hall. Originally built as a vaudeville and movie theater, having 4,300 seats, it opened on March 22, 1928 as the second largest theater in the United States. With only Radio City Music Hall in Manhattan across the Hudson River being larger, many celebrities attended the gala occasion. The well liked but notorious Mayor Hague was present to cut the ribbon. Famous and not-so-famous headline acts performed here, including the Three Stooges, Jimmy Durante, Tony Bennett and Janis Joplin. It was here at the Stanley Theatre that Frank Sinatra was inspired to become a professional performer. Being part of the audience, he watched Bing Crosby doing a Christmas performance. By the time the show was over, Sinatra had decided on the path he would follow. In 1933 Frank’s mother got him together with a group called the “Three Flashes.” They changed their name to the “Hoboken Four” and won first prize performing on the Major Bowes Amateur Hour show. Frank worked locally until June of 1939, when Harry James hired him for a one-year contract, paying only $75 a week. That December, Sinatra joined Tommy Dorsey’s band as a replacement vocalist for Jack Leonard, and the rest is history!

I was fifty-eight years old when I finally felt like a “master choreographer.” The occasion was my 128th ballet, The Brahms-Haydn Variations, created for American Ballet Theatre. For the first time in my career I felt in control of all the components that go into making a dance—the music, the steps, the patterns, the deployment of people onstage, the clarity of purpose. Finally I had the skills to close the gap between what I could see in my mind and what I could actually get onto the stage. Why did it take 128 pieces before I felt this way? A better question would be, Why not? What’s wrong with getting better as you get more work under your belt? The libraries and archives and museums are packed with early bloomers and one-trick ponies who said everything they had to say in their first novel, who could only compose one good tune, whose canvases kept repeating the same dogged theme. My respect has always gone to those who are in it for the long haul. When people who have demonstrated talent fizzle out or disappear after early creative success, it’s not because their gifts, that famous “one percent inspiration,” abandoned them; more likely they abandoned their gift through a failure of perspiration.

Irma Grese & Other Infamous SS Female Guards World War 2: A Brief History of the European Theatre World War 2 Pacific Theatre: A Brief History of the Pacific Theatre World War 2 Nazi Germany: The Secrets of Nazi Germany in World War II The Third Reich: The Rise & Fall of Hitler’s Germany in World War 2 World War 2 Soldier Stories: The Untold Stories of the Soldiers on the Battlefields of WWII World War 2 Soldier Stories Part II: More Untold Tales of the Soldiers on the Battlefields of WWII Surviving the Holocaust: The Tales of Survivors and Victims World War 2 Heroes: Medal of Honor Recipients in WWII & Their Heroic Stories of Bravery World War 2 Heroes: WWII UK’s SAS hero Robert Blair “Paddy” Mayne World War 2 Heroes: Jean Moulin & the French Resistance Forces World War 2 Snipers: WWII Famous Snipers & Sniper Battles Revealed World War 2 Spies & Espionage: The Secret Missions of Spies & Espionage in WWII   World War 2 Air Battles: The Famous Air Combat that Defined WWII World War 2 Tank Battles: The Famous Tank Battles that Defined WWII World War 2 Famous Battles: D-Day and the Invasion of Normandy World War 2 Submarine Stores: True Stories from the Underwater Battlegrounds The Holocaust Saviors: True Stories of Rescuers who risked all to Save Holocaust Refugees Irma Grese & The Holocaust: The Secrets of the Blonde Beast of Auschwitz Exposed Auschwitz & the Holocaust: Eyewitness Accounts from Auschwitz Prisoners & Survivors World War 2 Sailor Stories: Tales from Our Warriors at Sea World War 2 Soldier Stories Part III: The Untold Stories of German Soldiers World War 2 Navy SEALs: True Stories from the First Navy SEALs: The Amphibious Scout & Raiders   If these links do not work for whatever reason, you can simply search for these titles on the Amazon website to find them. Instant Access to Free Book Package!   As a thank you for the purchase of this book, I want to offer you some

Martoglio also discovered those actors who were to become stars not only in the Sicilian but in the Italian context. The legendary Angelo Musco, Giovanni Grasso and Rosina Anselmi, to name but three of the most widely known, owe much of their fame to Martoglio. They in turn found in Martoglio’s characters the vehicles to best express themselves. It was Nino Martoglio who convinced Luigi Pirandello to begin writing for the theatre. Martoglio and Pirandello developed a very close friendship which eventually led to actual collaboration in the writing of some Sicilian language plays such as A vilanza (Cowardice) (performed on Sept. 8, 1917) and Cappiddazzu paga tuttu, (Capiddazzu Pays for Everything). But at the beginning of their relationship, while Pirandello experienced much critical resistance to his innovative and revolutionary work, Martoglio was a well-established and famous playwright and literary entrepreneur.

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.

Hodge admired Wilder’s performance but didn't want to reproduce it - for practical as well as artistic reasons. ‘I'm working in a different medium,’ he says. ‘I really admire Gene Wilder's version, but his energy - that druggy, transcendental, gently enigmatic thing - is different from what I require to sing huge songs and fill a theatre full of children. There's a different engine powering a big West End musical.

The plinths of famous statues stand empty, they have taken down Eros and boarded up the fountains, and the facades of bombed-out buildings are just that—facades with nothing behind them, no floors or ceilings or inhabitants. Houses hang open, sliced in two; bedrooms, bathrooms, all the intimate spaces exposed to public view. Nothing is sacred.

Helena Ekdahl, the famous actress – who was brought to Uppsala by her rich, young husband – who bought a theatre for her – and allowed her to play in it until he decided it was time to start a family.

Perhaps the most significant of these are two related aspects characteristic of Japanese urbanisation: the intense intermixture of differing land uses, and the extensive areas of unplanned, haphazard urban development. Mixed land use is so prevalent in Japanese cities that it may be hard to believe the government Figure 0.1 The “busy place” (sakariba) of Ueno is one Japan’s most enduring central city entertainment and shopping districts, and was already famous in the Tokugawa period for its theatres and nightlife.

Another famous figure who engaged in this practice was Diogenes the Cynic who lived in the 4th century BC. On an almost daily basis Diogenes took actions that evoked ridicule, rejection and disdain. As but one example, he would walk backward into theatres, against the flow of everyone who was exiting for the purpose of acclimating himself to acts of non-conformity.

Hollywood Boulevard at night was a dream in neon. Mickey cruised along the strip, colorful lights blurring by like hallucinations. On his right, the El Capitan Theatre lured customers in like a Vegas casino, while the Walk of Fame preserved stardom on his left. Tourists bustled beneath the blinking signs like extras in the giant story of this land of stories, hoping for a real-life glimpse of that other world just behind the veneer of this place. In the ’50s, Hollywood Boulevard had looked different—less buildings, less vehicles, less pedestrians—but the aura of the strip, the energy, hadn’t changed at all.

This included the famous tale Cavalleria rusticana, later adapted by Verga for the theatre, this adaptation then being used as the basis for the libretto of Mascagni’s opera.

like that. Many of the mighty cities of North Africa like El Djem in what is now Tunisia were left to decay in peace. Even today they have massive ruins. El Djem has its vast Roman amphitheatre. Orange, in southern France, has a Roman theatre and an aqueduct. Athens has a vast Roman temple of Zeus and a library built by the emperor Hadrian (AD 117–138), who passed this way on his travels (see Chapter 17). Baalbek in the Lebanon has two colossal temples, and one of them – the temple of Bacchus – is still practically intact. Rome itself remained home to some of the most enormous ruins: The Colosseum, the city’s biggest amphitheatre, is still largely in one piece (see Chapter 8); the ruins of the imperial palaces still cluster across the Palatine Hill, and the baths of Caracalla look like a giant’s cave complex. The Aurelian walls of Rome, built in the 270s (see Chapter 19 for information on the emperor Aurelian), still surround most of Rome. The survival of Roman books Roman writers were all hugely influential in different ways, but it’s thanks to the survival of their texts that we know what we do about the Roman world. Consider these examples: Cicero (Marcus Tullius Cicero) (106–43 BC): Cicero was a great orator, lawyer, and statesman. Well aware of his importance, he published his speeches, treatises on government (De Re Publica), duty (De Officiis), the nature of gods (De Deorum Natura), and also a vast collection of his private correspondence. A great deal survives and he had a huge influence on thought and literature in early modern times. Caesar (Gaius Julius Caesar) (100–44 BC): Caesar wrote his own account of his war in Gaul (Bellum Gallicum), and also part of his civil war with Pompey (Bellum Civile). The texts are famous for sounding objective (though they aren’t at all), and for their spare, terse style, but are exceptional historical resources for the time. To find out more about Julius Caesar, go to Chapter 14. Catullus

First published in 2020 this book contains over 560 easily readable compact entries in systematic order augmented by an extensive bibliography, an alphabetical list of countries and locations of individuals final resting places (where known) and a day and month list in consecutive order of when an individual died. It details the deaths of individuals, who died too early and often in tragic circumstances, from film, literature, music, theatre, and television, and the achievements they left behind. In addition, some ordinary people who died in bizarre, freak, or strange circumstances are also included. It does not matter if they were famous or just celebrated by a few individuals, all the people in this book left behind family, friends and in some instances devotees who idolised them. Our heartfelt thoughts and sympathies go out to all those affected by each persons death. Whether you are concerned about yourself, a loved one, a friend, or a work colleague there are many helplines and support groups that offer confidential non-judgemental help, guidance and advice on mental health problems (such as anxiety, bereavement, depression, despair, distress, stress, substance abuse, suicidal feelings, and trauma). Support can be by phone, email, face-to-face counselling, courses, and self-help groups. Details can be found online or at your local health care organisation. There are many conspiracy theories, rumours, cover-ups, allegations, sensationalism, and myths about the cause of some individual’s deaths. Only the facts known at the time of writing are included in this book. Some important information is deliberately kept secret or undisclosed. Sometimes not until 20 or even 30 years later are full details of an accident or incident released or in some cases found during extensive research. Similarly, unsolved murders can be reinvestigated years later if new information becomes known. In some cases, 50 years on there are those who continue to investigate what they consider are alleged cover-ups. The first name in an entry is that by which a person was generally known. Where relevant their real name is included in brackets. Date of Death | In the entry detailing the date an individual died their age at the time of their death is recorded in brackets. Final Resting Place | Where known details of a persons final resting place are included. “Unknown” | Used when there is insufficient evidence available to the authorities to establish whether an individuals’ death was due to suicide, accident or caused by another. Statistics The following statistics are derived from the 579 individual “cause of death” entries included in this publication. The top five causes of death are, Heart attack/failure 88 (15.2%) Cancer 55 (9.5%) Fatal injuries (plane crash) 43 (7.4%) Fatal injuries (vehicle crash/collision) 39 (6.7%) Asphyxiation (Suicide) 23 (4%). extract from 'Untimely and Tragic Deaths of the Renowned, The Celebrated, The Iconic

Cape Town lived up to its name as the tavern of the seas. It was a wonderful fun place and I loved it. The weather was Mediterranean and after two weeks at sea, all the girls were beautiful. The crew was convinced that the constant sunshine, in this part of the world, had something to do with it but whatever the reason, it seemed to be true. Luckily I could get off the ship on a Saturday afternoon, when all of South Africa comes to a halt. For whatever reason South African tradition called for all the shops to close and only restaurants, bars, beer halls and other vital services remained open. For an otherwise stargy place, they got this one right. I headed for Delmonico’s on Riebeeck Street across from the famous Alhambra Theatre where everyone went to have fun. When I got there I found the place packed, but luckily I found a seat at a table, in a corner that was not quite as loud as the rest of the hall. It all started off all right while as we listened to the vivacious brunette playing a huge Hammond Organ. From the marque I knew that her name was Cherry Wainer, a celebrated musical star in South Africa. It didn’t take long for me to introduce myself to her and before I knew it she had the manager find me a seat right up in front. The amplified sound of swing music filling the hall would have been enjoyable if it wasn’t for the crew of another ship that were causing a problem. I never looked for a fight but I also never back away from one and this time was no exception. It all happened very quickly and obviously they didn't take kindly to my intervention. One of them charged and took a wild swing that just missed me. I was lucky that he missed me but I didn't as I rammed him backward, pushing his total weight onto their table. The table collapsed and the libations on it toppled, totally soaking him.

Although B.V. Karanth made a brilliant film based on Tata's famous novel Chomana Dudiu Tata had not liked the film. B.V. Karanth, a warm, good-hearted man and a true genius of Kannada theatre, in contrast to Tata, was somewhat undisciplined and often unpunctual. I suspect Tata's dislike of that outstanding movie had more to do with B.V. Karanth's disorganised persona. B.V. Karanth had once confessed to me that he was 'scared of' Tata. Because Tata was a jack of all trades who dabbled in anything that took his fancy, some of his prolific intellectual output tended to be mediocre. Since Tata did not like B.V. Karanth's film, he set out to make a better movie based on another acclaimed novel of his, Kudiyara Koosu. Prathibha and I spent a couple of days on the sets when this movie, titled Maleya Makkalu, was filmed in a very scenic forested landscape in the Western Ghats. Although the scenery was grand and the movie starred the popular Kannada actress Kalpana, the movie was a rather amateurish effort compared to Chomana Dudi. Tata's flm failed the test of critical appreciation, and at the box office.

Southwark, the traditional home of bearbaiting, whorehouses, Elizabethan theatre, and now the Tate Modern. Built as an oil-fired power station by the same geezer who designed the famous red telephone box, it was one of the last monumental redbrick buildings before the modernists switched their worship to the concrete altar of brutalism. The power station closed in the 1980s, and it was left empty in the hope that it would fall down on its own. When it became clear that the bastard thing was built to last, they decided to use it to house the Tate’s modern art collection.