American on Purpose
American on Purpose: The Improbable Adventures of an Unlikely Patriot is a memoir written by entertainer Craig Ferguson. The book details various experiences over several decades in Ferguson's life from his days in Scotland through his migration to the United States, he tells about his assorted jobs as a musician in a punk rock band, a bouncer, a construction worker and actor along the way, as well as his struggle with alcoholism, past recreational drug use, contemplation of suicide at a low point in his life. In December 2010 the audiobook version, read by Ferguson, was nominated for a Best Spoken Word Album Grammy. A few weeks before and after the book went on sale, Ferguson's The Late Late Show featured a recurring segment called "Celebrities Read Excerpts from Craig's Book", with various celebrity guests reading anecdotes from the book in a green-screened library set
Craig Ferguson is a Scottish-American television host, comedian and actor. He was the host of both the syndicated game show Celebrity Name Game, for which he has won two Daytime Emmy Awards, of Join or Die with Craig Ferguson on History, he was the host of the CBS late-night talk show The Late Late Show with Craig Ferguson. In 2017 he released a web show with titled Couple Thinkers, it ran for six episodes from October 9, 2017. It is available on YouTube. After starting his career in Britain with music and theatre, Ferguson moved to the United States where he appeared in the role of Nigel Wick on the ABC sitcom The Drew Carey Show, he has written and starred in three films, directing one of them, has appeared in several others, including several voice-over roles for animations. Ferguson has written two books: Between the Bridge and the River, a novel, he holds both American citizenship. Ferguson was born in Stobhill Hospital, in the Springburn district of Glasgow, to Robert and Janet Ferguson, on 17 May 1962, raised in nearby Cumbernauld, growing up "chubby and bullied".
When he was six months old, he and his family moved from their Springburn flat to a council house in Cumbernauld. They lived there as Glasgow was re-housing many people following damage to the city from World War II. Ferguson attended Cumbernauld High School. At age sixteen, Ferguson left Cumbernauld High School and began an apprenticeship to be an electronics technician at a local factory of American company Burroughs Corporation, his first visit to the United States was in 1975 when he was 13 to visit an uncle who lived on Long Island, near New York City. When he moved to New York City in 1983, he worked in construction in Harlem. Ferguson became a bouncer at the nightclub Save the Robots. Ferguson's experience in entertainment began, he joined a punk band called The Bastards from Hell. The band renamed "Dreamboys", fronted by vocalist Peter Capaldi, performed in Glasgow from 1980 to 1982. Ferguson credits Capaldi for inspiring him to try comedy. After a nerve-wracking first appearance, he decided to create a character, a "parody of all the über-patriotic native folk singers who seemed to infect every public performance in Scotland".
The character, "Bing Hitler", premiered in Glasgow, subsequently became a hit at the 1986 Edinburgh Festival Fringe. A recording of his stage act as Bing Hitler was made at Glasgow's Tron Theatre and released in the 1980s. After enjoying success at the Edinburgh Festival, Ferguson appeared on television as'Confidence' in Red Dwarf, STV's Hogmanay Show, the 1993 One Foot in the Grave Christmas special One Foot in the Algarve. In 1990 a pilot was broadcast The Craig Ferguson Show, a one-off comedy pilot for Granada Television, which co-starred Paul Whitehouse and Helen Atkinson-Wood; this was followed by Ferguson's own 1992 show 2000 Not Out. In 1993, Ferguson presented a series on Scottish archaeology for Scottish Television entitled Dirt Detective, he travelled throughout the country examining archaeological history, including Skara Brae and Paisley Abbey. He will return to UK television for the first time in 25 years in a guest role in BBC Scotland's comedy Still Game in 2017, to be shown in 2018.
Ferguson found success in musical theatre. Beginning in 1991, he appeared on stage as Brad Majors in the London production of The Rocky Horror Show. In 1994, Ferguson played Father MacLean in production of Bad Boy Johnny and the Prophets of Doom at the Union Chapel in London; the same year, he appeared again as Oscar Madison in The Odd Couple. Ferguson moved to Los Angeles in November 1994 after his soon-to-be agent Rick Siegel saw Ferguson during the Edinburgh Festival and suggested he come to America, his first US role was as baker Logan McDonough on the short-lived 1995 ABC comedy Maybe This Time, which starred Betty White and Marie Osmond. His breakthrough in the US came when he was cast on The Drew Carey Show as the title character's boss, Mr. Wick, a role that he played from 1996 to 2003, he played the role with an over-the-top posh English accent "to make up for generations of English actors doing crap Scottish accents". In his comedy special "A Wee Bit O' Revolution", he identified James Doohan's portrayal of Montgomery Scott on Star Trek as the foundation of his "revenge".
His character was memorable for his unique methods of laying employees off always "firing Johnson", the most common last name of the to-be-fired workers. After leaving the show in 2003, he remained a recurring character on the series for the last two seasons, was part of the two part series finale in 2004. During production of The Drew Carey Show, Ferguson devoted his off-time as a cast member to writing, working in his trailer on set in between shooting his scenes, he wrote and starred in three films: The Big Tease, Saving Grace, I'll Be There, which he directed and for which he won the Audience Award for Best Film at the Aspen and Valencia film festivals. He was named Best New Director at the Napa Valley Film Festival; these were among other scripts that, "... in the great tradition of the movie business, about half a dozen that I got paid a fortune for but never got mad
Edinburgh Festival Fringe
The Edinburgh Festival Fringe is the world's largest arts festival, which in 2018 spanned 25 days and featured more than 55,000 performances of 3,548 different shows in 317 venues. Established in 1947 as an alternative to the Edinburgh International Festival, it takes place annually in Edinburgh, Scotland, in the month of August, it is an open access performing arts festival, meaning there is no selection committee, anyone may participate, with any type of performance. The official Fringe Programme categorises shows into sections for theatre, dance, physical theatre, cabaret, children's shows, opera, spoken word and events. Comedy is the largest section, making up over one-third of the programme and the one that in modern times has the highest public profile, due in part to the Edinburgh Comedy Awards; the Festival is supported by the Festival Fringe Society, which publishes the programme, sells tickets to all events from a central physical box office and website, offers year-round advice and support to performers.
The Society's permanent location is at the Fringe Shop on the Royal Mile, in August they manage Fringe Central, a separate collection of spaces in Appleton Tower and other University of Edinburgh buildings, dedicated to providing support for Fringe participants during their time at the festival. The Fringe board of directors is drawn from members of the Festival Fringe Society, who are Fringe participants themselves – performers or administrators. Elections are held once a year, in August, Board members serve a term of four years; the Board appoints the Fringe Chief Executive Shona McCarthy who assumed the role in March 2016. The Chief Executive operates under the chair Professor Sir Timothy O'Shea; the Fringe started life when eight theatre companies turned up uninvited to the inaugural Edinburgh International Festival in 1947. With the International Festival using the city's major venues, these companies took over smaller, alternative venues for their productions. Seven performed in Edinburgh, one undertook a version of the medieval morality play "Everyman" in Dunfermline Abbey, about 20 miles north, across the River Forth in Fife.
These groups aimed to take advantage of the large assembled theatre crowds to showcase their own alternative theatre. Although at the time it was not recognised as such, this was the first Edinburgh Festival Fringe; this meant that two defining features of the future Fringe were established at the beginning – the lack of official invitations to perform and the use of unconventional venues. These groups referred to themselves as the "Festival Adjuncts" and were referred to as the "semi-official" festival, it was not until the following year, 1948, that Robert Kemp, a Scottish playwright and journalist, is credited with coining the title "Fringe" when he wrote during the second Edinburgh International Festival: Round the fringe of official Festival drama, there seems to be more private enterprise than before... I am afraid some of us are not going to be at home during the evenings! The word "fringe" had in fact been used in a review of Everyman in 1947, when a critic remarked it was a shame the show was so far out "on the fringe of the Festival".
In 1950, it was still being referred to in similar terms, with a small'f': On the fringe of the official Festival there are many praiseworthy "extras," including presentations by the Scottish Community Drama Association and Edinburgh University Dramatic Society – Dundee Courier, 24 August 1950 The Fringe did not benefit from any official organisation until 1951, when students of the University of Edinburgh set up a drop-in centre in the YMCA, where cheap food and a bed for the night were made available to participating groups. Late night revues, which would become a feature of Fringes, began to appear in the early 50s; the first one was the New Drama Group's After The Show, a series of sketches taking place after Donald Pleasence's Ebb Tide, in 1952. Among the talent to appear in early Fringe revues were Ned Sherrin in 1955, Ken Loach and Dudley Moore with the Oxford Theatre Group in 1958. Due to many reviewers only being able to attend Fringe events late night after the official festival was finished, the Fringe came to be seen as being about revues.
It was a few years. John Menzies compiled a list of shows under the title "Other Events" in their omnibus festival brochure, but it was printer C. J. Cousland, the first to publish a listings guide, in 1954; this was funded by participating companies and was entitled "Additional Entertainments", since the name "Fringe" was still not yet in regular usage. By that year, the Fringe was attracting around a dozen companies, a meeting was held to discuss creating "a small organisation to act as a brain for the Fringe", or what The Scotsman called an "official unofficial festival". A first attempt was made to provide a central booking service in 1955 by students from the university, although it lost money, blamed on those who had not taken part. Formal organisation progressed with the formation of the Festival Fringe Society; the push for such an organisation was led by director of Oxford Theatre Group. A constitution was drawn up, in which the policy of not vetting or censoring shows was set out, the Society produced the first guide to Fringe shows.
Nineteen companies participated in the Fringe in that year. By that time it provided a "complete... counter-festival programme". Not long after came the first complaints that the Fringe had become too big. Director Gerard Slevin claimed in 1961 that "it would be much better if only ten
Tim McInnerny is an English actor. He is known for his many roles on stage. Early in his career he featured as Lord Percy Captain Darling in the Blackadder series. McInnerny was born in Cheadle Hulme, the son of Mary Joan and William Ronald McInnerny, he was brought up in Cheadle Hulme, Stroud and educated at Marling School, a grammar school in Stroud, studied English at Wadham College, matriculating in 1976 after taking a gap year backpacking around the world. One of McInnerny's first roles was the bumbling aristocrat Lord Percy Percy in The Black Adder during the early 1980s, he reprised his role in the second series Blackadder II but declined to do so for the third series for fear of being typecast, though he did make a guest appearance in one episode. The following year, he returned to the cast for the fourth series Blackadder Goes Forth as Captain Kevin Darling. McInnerny has starred in various films including Wetherby, 101 Dalmatians, where he was reunited with Blackadder co-star Hugh Laurie, Notting Hill, written by Blackadder creator Richard Curtis.
He had a minor but significant role in the acclaimed 1985 BBC TV serial Edge of Darkness as Emma Craven's boyfriend Terry Shields. Recent TV appearances include Law & Order: UK as a man wrongly convicted of murdering his daughter, New Tricks. In 2016, McInnerny joined the cast of the HBO series Game of Thrones in Season 6 as Lord Robett Glover, he played Dr. Frank-N-Furter in the 1990 West End production of The Rocky Horror Show, his performance can be heard on the soundtrack album of this production. He was cast in Pravda alongside Anthony Hopkins. In summer 2007, he played Iago in Othello at Shakespeare's Globe on Bankside in London. In 2001, he played Geoffrey Pyke in the radio play Habbakuk of Ice by Steve Walker, he portrayed Odysseus in the 2004 BBC audio adaptation of The Odyssey by Simon Armitage. In 2010, he played Tiberius in a radio adaptation of Claudius. In 2017, he played Allan Quartermain in a two-part BBC Radio 4 adaptation of King Solomon's Mines. In 1989, he co-starred with Kate Bush in the music video for her song "This Woman's Work".
He appeared in the Westlife video for "Uptown Girl", along with Claudia Schiffer, Robert Bathurst, Crispin Bonham-Carter, Ioan Gruffudd and James Wilby. In 2007 McInnerny spoke candidly about his love of ITV sitcoms, after receiving criticism for his views expressed on the BBC cult show: I love the'70s. I think shows like Mind Your Language and Love Thy Neighbour need to be remembered for what they were; the content is unfortunate in the cold light of modern society, but that's no reason to stop praising the sheer brilliance of the writers that ITV had in its ranks during that decade." Since 2012, McInnerny has been a patron of the Norwich Film Festival. Clitandre in The Misanthrope by Moliere. Directed by Casper Wrede at the Royal Exchange, Manchester. Charlie in Detective Story by Sidney Kingsley. Directed by John Dillon at the Royal Exchange, Manchester. Billy Bibbitt in One Flew Over The Cuckoo's Nest by Dale Wasserman. Directed by Greg Hersov at the Royal Exchange, Manchester. Mick in The Caretaker by Harold Pinter.
Directed by Richard Negri at the Royal Exchange, Manchester. Orsino in Twelfth Night. Directed by Braham Murray at the Royal Exchange, Manchester. Tim McInnerny on IMDb
In European academic traditions, fine art is art developed for aesthetics or beauty, distinguishing it from applied art, which has to serve some practical function, such as pottery or most metalwork. The five main fine arts were painting, architecture and poetry, with performing arts including theatre and dance; the old master print and drawing were included as related forms to painting, just as prose forms of literature were to poetry. Today, the range of what would be considered fine arts includes additional modern forms, such as film, video production/editing and conceptual art. One definition of fine art is "a visual art considered to have been created for aesthetic and intellectual purposes and judged for its beauty and meaningfulness painting, drawing, watercolor and architecture." In that sense, there are conceptual differences between the applied arts. As conceived, as understood for much of the modern era, the perception of aesthetic qualities required a refined judgment referred to as having good taste, which differentiated fine art from popular art and entertainment.
The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline according to traditional Western European canons. Except in the case of architecture, where a practical utility was accepted, this definition excluded the "useful" applied or decorative arts, the products of what were regarded as crafts. In contemporary practice these distinctions and restrictions have become meaningless, as the concept or intention of the artist is given primacy, regardless of the means through which this is expressed. According to some writers the concept of a distinct category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art: A Cultural History locates the invention in the 18th century: "There was a traditional “system of the arts” in the West before the eighteenth century. In that system, an artist or artisan was a skilled maker or practitioner, a work of art was the useful product of skilled work, the appreciation of the arts was integrally connected with their role in the rest of life.
“Art”, in other words, meant the same thing as the Greek word techne, or in English “skill”, a sense that has survived in phrases like “the art of war”, “the art of love”, “the art of medicine.” Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, Terry Eagleton, though the point of invention is placed earlier, in the Italian Renaissance. The decline of the concept of "fine art" is dated by George Kubler and others to around 1880, when it "fell out of fashion" as, by about 1900, folk art came to be regarded as of equal significance. ""fine art" was driven out of use by about 1920 by the exponents of industrial design... who opposed a double standard of judgment for works of art and for useful objects". This was among theoreticians; the separation of arts and crafts that exists in Europe and the US is not shared by all other cultures. In Japanese aesthetics, the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the landscape literati painting of scholar gentlemen and the artisans of the schools of court painting and sculpture.
A high status was given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving and embroidery. Latin American art was dominated by European colonialism until the 20th-century, when indigenous art began to reassert itself inspired by the Constructivist Movement, which reunited arts with crafts based upon socialist principles. In Africa, Yoruba art has a political and spiritual function; as with the art of the Chinese, the art of the Yoruba is often composed of what would ordinarily be considered in the West to be craft production. Some of its most admired manifestations, such as sculpture and textiles, fall in this category. Drawing is one of the major forms of the visual arts. Common instruments include: graphite pencils and ink, inked brushes, wax color pencils, charcoals, pastels, stylus, or various metals like silverpoint. There are a number including cartooning and creating comics. There remains debate whether the following is considered a part of “drawing” as “fine art”: "doodling", drawing in the fog a shower and leaving an imprint on the bathroom mirror, or the surrealist method of "entopic graphomania", in which dots are made at the sites of impurities in a blank sheet of paper, the lines are made between the dots.
Mosaics are images formed with small pieces of glass, called tesserae. They can be functional. An artist who designs and makes mosaics is called a mosaicist. Printmaking is the process of making artworks by printing on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, called a print; each print is considered an original, as opposed to a copy. The reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance, a painting — but rather an image designed from inception as a print. An individual print is referred to as an impression. Prints ar
Harley Granville-Barker was an English actor, playwright, manager and theorist. After early success as an actor in the plays of George Bernard Shaw he turned to directing and was a major figure in British theatre in the Edwardian and inter-war periods; as a writer his plays, which tackled difficult and controversial subject matter, met with a mixed reception during his lifetime but have continued to receive attention. Harley Granville-Barker was born in London, England on 25 November 1877, he began a career in acting. As his career blossomed, he seemed to excel in roles that were a culmination of intelligence and romantic dreaminess; this landed him many roles such as. To be more specific the Dubedat and Cusins characters were written by George Bernard Shaw with Granville-Barker in mind. However, performing no longer appealed to Granville-Barker so he gave it up in 1911. With an interest for theatre still at heart, he decided to focus on directing. During this time directing was not a focus point in English theatre, but he used the building blocks of Antoine and Reinhardt to his advantage and contributed to changing the dynamics of production in English theatre.
Some of his first assignments were with the Stage Society, but it wasn't until 1904 when he worked with the Royal Court Theatre that his directing career took off. From 1904 to 1907 he was considered to be one of the major reformers of the Edwardian Stage. While working with the Royal Court, he collaborated with J. E. Vedrenne to mount 1,000 performances. Many of these performances were classics. Among the new pieces of work, were eleven plays written by George Bernard Shaw. Granville-Barker worked with Shaw to assist in staging his plays and directing them as well; as the Vedrenne-Barker seasons closed with the Royal Court, new opportunities opened with the Duke of York's Theatre in 1910. This new opportunity reminded Granville-Barker of the need for more repertory companies. In 1904 he collaborated with William Archer to write a book that argued for a national theatre it was a lost cause that became one of the biggest disappointments in his life. However, his efforts did not go to waste but added to the growth of the regional repertory movement in Britain.
Granville-Barker's directing career boomed with three famous productions of Shakespeare at the Savoy Theatre The Winter's Tale and Twelfth Night during 1912 and A Midsummer Night's Dream in 1914. Granville-Barker took these productions and removed all classic scenery and replaced it with symbolic scenery, as well as enforcing ensemble acting; the year before he met his first wife, Granville-Barker wrote The Voysey Inheritance, considered to be a masterpiece of the Edwardian stage. However, his other plays did not sit well with the Edwardian audience, they found his plays to be incomprehensible. According to The Oxford Companion to Theatre and Performance, his style was more similar to the styles of Chekhov by putting the "action under the surface". Although his audience may not have understood him, this did not stop Granville-Barker from discussing important issues in society. In 1907 Granville-Barker's play Waste was banned due to the topic of its politics. In 1909, three volumes of his plays, The Voysey Inheritance and The Marrying of Ann Leete, were published in a limited edition of 50 copies printed on handmade paper in a slipcase.
Granville-Barker's most notable prose work is the Prefaces to Shakespeare written from 1927 to the end of his life in 1946. Prefaces to Shakespeare was considered the first major Shakespeare study to attend to the practical matters of staging; the prefaces were published in two hardback volumes in 1946 and 1947. In 1906, Granville-Barker met his first wife Lillah McCarthy while playing her opposite in Man and Superman. After World War I, he divorced his first wife and married an American writer named Helen Huntington who disliked the stage and Shaw, he hyphenated his name, causing his colleagues to believe that he was abandoning the battle for a life of luxury. He settled in Paris where he collaborated with Huntington on translating the comedies of Martínez Sierra and the Álvarez Quintero brothers. On the outbreak of the Second World War, Granville-Barker fled France for Spain before moving to the United States. In America he lectured at Harvard and was employed by British Information Services.
At the end of the war he returned to France and died in Paris on 31 August 1946. Sympathetic to left-wing causes, he had declined a knighthood. Plays by Harley Granville Barker, ed. Dennis Kennedy, Cambridge University Press ISBN 0-521-31407-0 Prefaces to Shakespeare by Harley Granville Barker, in 12 paperback volumes by Nick Hern Books published by Batsford; the Concise Oxford Companion to English Literature Granville Barker, Harley.. The Oxford Companion to Theatre and Performance Granville-Barker bio Theatre Database bio Works by Harley Granville-Barker at Project Gutenberg Works by Harley Granville-Barker at Faded Page Works by or about Harley Granville-Barker at Internet Archive "Archival material relating to Harley Granville-Barker". UK Nationa
QI is a British comedy panel game television quiz show created and co-produced by John Lloyd, features permanent panellist Alan Davies. Stephen Fry was host of the show from its initial pilot, before departing after the final episode of the M series in 2016, with frequent QI panellist Sandi Toksvig replacing him prior to the beginning of the N series in 2016; the format of the show focuses on Davies and three other guest panellists answering questions that are obscure, making it unlikely that the correct answer will be given. To compensate, the panellists are awarded points not only for the right answer, but for interesting ones, regardless of whether they are right or relate to the original question, while points are deducted for "answers which are not only wrong, but pathetically obvious" – answers that are believed to be true but in fact are misconceptions; these answers, referred to as "forfeits", are indicated by a loud klaxon and alarm bell, flashing lights, the incorrect answer being flashed on the video screens behind the panellists.
Bonus points are sometimes awarded or deducted for challenges or incorrect references, varying from show to show. QI has a philosophy that "everything is interesting if looked at in the right way". For its first five series shown between 2003 and 2007, which corresponded to the first five letters of the alphabet, episodes premiered on BBC Four before receiving their first analogue airing on BBC Two a week later. From 2008 and 2011, the show was moved to BBC One, with an extended-length edition of each episode broadcast on BBC Two a day or two after the regular show's broadcast under the title of QI XL. Series G and H saw the regular show broadcast in a pre-watershed slot with the extended edition remaining within a post-watershed slot. Beginning with the I series, the regular show returned to a post-watershed slot on BBC Two. Syndicated episodes of previous series are shown on UKTV G2/Dave; the show has received positive ratings from critics and has been nominated for multiple awards. Several books, DVDs and other tie-ins to the show have been released, international versions of QI have been made in other countries.
The panel consists of four participants: three rotating guests and one regular, Alan Davies, who has the seat to the immediate right of the host. Davies has appeared in every episode, although in "Divination" he was not able to appear at the studio but was still able to play "from beyond". Despite frequent wins, Davies finishes last due to incurring forfeits. Questions posed to the panellists are misleading, obscure, or difficult. Providing an "obvious but wrong" answer results in a sequence of klaxons, alarm bells, flashing lights and a score penalty. Davies is the panellist who gives these answers. In the first two series, Fry produced the given answer on a card to show the panellists, while it flashed on the large screens behind them In the third series and onward, Fry's answer cards were dispensed with altogether, leaving only the screens as proof that such answers had been predicted; because the show's creators expected that hardly anyone would be able to give a correct answer without significant prompting, they instead encourage sheer "interestingness", how points are scored.
As such, tangential discussions are encouraged, panellists are apt to branch off into frivolous conversations, give voice to trains of thought, share humorous anecdotes from their own lives. The number of points given and taken away are decided by Fry or beforehand by QI researchers known as "The QI Elves". For example, in one episode Davies was docked 10 points for suggesting "oxygen" to the question "What is the main ingredient of air?"Negative scores are common, even the victor's score may be negative. Score totals are announced at the conclusion of the show. Fry has said, "I think we all agree that nobody in this universe understands QI's scoring system." John Lloyd, QI's creator, has, on one occasion, admitted that not he has any idea how the scoring system works, but there is someone, paid to check on the scores. According to the Series A DVD, guests are allowed the right of appeal if they believe their score is wrong, but none has so far exercised that right. Panellists are given buzzers to use in signaling a response, each of which produces a different sound when pressed.
For the first three series, the sounds were random things or followed an arbitrary theme in each episode, such as heard everyday sounds in the Series C episode "Common Knowledge." From Series D onwards, all four sounds are based on the particular episode's theme, such as in the Series F episode "Films and Fame". The buzzers are always demonstrated at the beginning of the programme, but are given a shortened version for repeated use during the episode in General Ignorance. Davies "always gets the most demeaning sound" for his buzzer. Sometimes, the buzzers have unique points such as having questions based on them.