Gerald Patrick Mathers is an American actor. Mathers is best known for his role in the television sitcom Leave It to Beaver broadcast from 1957 to 1963, in which he played Theodore "Beaver" Cleaver, the younger son of the suburban couple June and Ward Cleaver and the brother of Wally Cleaver. Mathers was born in Sioux City, Iowa, in 1948, the son of a high school principal, grew up in Rock Rapids, about 75 miles north, in the San Fernando Valley, Los Angeles, California. Jerry has three siblings, one sister and two brothers, including Susie Mathers McSweeney and Jimmy Mathers. Mathers began his career at the age of 2 when he appeared as a child model for a department store ad. Soon after, he starred in a commercial for PET Milk opposite vaudeville comedian Ed Wynn, his early movies included This is My Love, Men of the Fighting Lady, The Seven Little Foys and The Trouble with Harry. Mathers states that he got the role of Beaver Cleaver after telling the show's producers he would rather be at his Cub Scout meeting than auditioning for the part.
The producers found his candidness perfect for the role. Mathers played the Beaver for six years, he was the first child actor to make a deal to get a percentage of the merchandising revenue from a television show. The Leave It to Beaver show still generates merchandise revenue today, many years after its original production run ended; the original sitcom has been shown in over 80 countries in 40 languages. Mathers has noted. "I can go anywhere in the world, people know me," Mathers has said. "In Japan the show's called'The Happy Boy and His Family.' So I'll be walking through the airport in Japan, people will come up and say,'Hi, Happy Boy!'"When asked in a 2014 television interview whether he had known at the time of the filming of the Leave it to Beaver series that the show was special, would be in perpetual syndication, Mathers responded: "No, not at all. I had worked. I did movies. I didn't do any other series, but I had done a lot of movies and things like that so, in fact, every year it was a question whether we would come back for the next year'cause you had to be picked up.
So you would do 39 shows and we would go to New York and meet all the press, we'd go to Chicago to meet the ad people we'd come back and take about five to six weeks off, if we got picked up we'd start again. So we did that for six years because, the length of the contracts at those times. So that's why there are 39 for six years, it was off the air. Not off the air, but we didn't film any new ones "Mathers remained friends with Barbara Billingsley, who played his TV mother, June Cleaver, remembered her after her death as "a good friend and an better mentor. For me she was like the favorite teacher that we all had in school." In 1962, near the end of the run of Leave It to Beaver, Mathers recorded two songs for a single 45rpm: "Don't'Cha Cry," and for the flip side, the twist ditty, "Wind-Up Toy." During his high school years, Mathers had a band called the Trappers. As he moved into his teenage years, Mathers retired from acting to concentrate on high school, he attended Notre Dame High School, in California.
During this time he led a musical band called the Trappers. While he was still in high school, Mathers joined the United States Air Force Reserve, in 1966. Wearing his dress uniform and child actress Angela Cartwright presented an Emmy award to Gene Kelly in 1967. After graduating from high school in 1967, Mathers continued to serve in the Reserve and made the rank of Sergeant. In December 1969, a rumor began. Although the origin of the rumor is unclear, Mathers never saw action and was never stationed outside of the United States. Years in 1980, Mathers and Dow appeared with Bill Murray on Saturday Night Live's Weekend Update segment, making fun of the Vietnam War death rumor. In 1973, Mathers attended the University of California and graduated with a Bachelor of Arts degree in philosophy, he worked as a commercial loan officer at a bank before using well-invested savings from his acting career, which began at $500 a week, to begin a career in real estate development. In 1978, he reentered the entertainment industry.
That year, he and Tony Dow starred in a production of the comedy play Boeing, Boeing which ran for ten weeks in Kansas City. Mathers and Dow toured the dinner theater circuit in a production of So Long, Stanley for 18 months. In 1981, he worked as a disc jockey at KEZY-AM radio in California. In 1983, Mathers reprised his role in the television reunion film Still the Beaver, which featured the majority of the original Leave It to Beaver cast; the success of the television film led to the development of a sequel series of the same title. The series began airing on the Disney Channel in 1984 went on to be picked up by TBS and broadcast syndication, where it was retitled The New Leave It to Beaver and ran until 1989. Mathers has since continued his career in films and television roles. In the 1990s, he guest starred on episodes of Parker Lewis Can't Lose, Vengeance Unlimited, Diagnosis Murder, as himself on Married... with Children. In 1998, Mathers released his memoirs. On June 5, 2007, he made his Broadway debut with a starring role as Wilbur Turnblad in the Tony winning best musical Hairspray at the Neil Simon Theater.
In November 2018, Mathers was seen promoting the Leave It To Beaver television series a
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became differentiated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
Mildred Natwick was an American stage and television actress. In 1967, she earned an Academy Award nomination for her supporting role in Barefoot in the Park, she was nominated for two Tony Awards in 1957 and 1972 and won a Primetime Emmy Award for her work in the miniseries The Snoop Sisters, opposite Helen Hayes. Natwick was born in Baltimore, the daughter of Joseph and Mildred Marion Natwick, her grandfather, Ole Natwick, was one of the earliest Norwegian immigrants to the United States, arriving in Wisconsin in 1847. Her first cousin was cartoonist Myron "Grim" Natwick, she attended the Bryn Mawr School in Baltimore and graduated from Bennett College. Natwick began performing on the stage at age 21 with "The Vagabonds", a non-professional theatre group in Baltimore, she soon joined the University Players on Cape Cod. Natwick made her Broadway debut in 1932 playing Mrs. Noble in Frank McGrath’s play Carry Nation, about the famous temperance crusader Carrie Nation. Throughout the 1930s she starred in a number of plays collaborating with friend and actor-director-playwright Joshua Logan.
On Broadway, she played "Prossy" in Katharine Cornell's production of Candida. She made her film debut in John Ford's The Long Voyage Home as a Cockney slattern, portrayed the landlady in The Enchanted Cottage. Natwick is remembered for small but memorable roles in several John Ford film classics, including 3 Godfathers, She Wore a Yellow Ribbon, The Quiet Man, she played Miss Ivy Gravely, in Alfred Hitchcock's The Trouble with Harry, a sorceress in The Court Jester. She continued to appear onstage, made regular guest appearances in television series, she was twice nominated for Tony Awards: in 1957 for The Waltz of the Toreadors, the same year she starred in Tammy and the Bachelor with Debbie Reynolds and Leslie Nielsen and in 1972 for the musical 70 Girls 70. She returned to film in Barefoot in the Park as the mother of the character played by Jane Fonda; the role earned Natwick her only Academy Award nomination for Best Supporting actress. One of Natwick's memorable roles was in The House Without a Christmas Tree, which starred Jason Robards and Lisa Lucas.
The program's success spawned three sequels: The Thanksgiving Treasure, The Easter Promise, Addie and The King of Hearts. In 1971, Natwick co-starred with Helen Hayes in the ABC Movie of the Week, Do Not Fold, Spindle, or Mutilate, in which their characters worked together as amateur sleuths; the success of that telefilm resulted in a 1973-74 series called The Snoop Sisters, part of The NBC Wednesday Mystery Movie. For her performance, Natwick won the Primetime Emmy Award for Outstanding Lead Actress in a Miniseries or a Movie. In 1981, Natwick joined Hayes as the first members of the Board of Advisors to the Riverside Shakespeare Company. Both supported several fund raisers for that off-Broadway theatre company, she guest-starred on such television series as McMillan & Wife, Alice, The Love Boat, Hawaii Five-O, The Bob Newhart Show, Murder, She Wrote. She made her final film appearance at the age of 83 in the 1988 historical drama Dangerous Liaisons. Natwick, who never married or had children, lived in a duplex on Park Avenue in Manhattan for the majority of her life.
She was a devout Christian Scientist. A Republican, she supported the run of Dwight Eisenhower during the 1952 presidential election. On October 25, 1994, Natwick died of cancer at her home in Manhattan at the age of 89, she is interred at Lorraine Park Cemetery in Baltimore. Mildred Natwick at the Internet Broadway Database Mildred Natwick at the Internet Off-Broadway Database Mildred Natwick on IMDb Mildred Natwick papers, 1932-1985, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
Autumn leaf color
Autumn leaf color is a phenomenon that affects the normal green leaves of many deciduous trees and shrubs by which they take on, during a few weeks in the autumn season, various shades of red, purple, orange, magenta and brown. The phenomenon is called autumn colours or autumn foliage in British English and fall colors, fall foliage or foliage in American English. In some areas of Canada and the United States, "leaf peeping" tourism is a major contribution to economic activity; this tourist activity occurs between the beginning of color changes and the onset of leaf fall around September and October in the Northern Hemisphere and April to May in the Southern Hemisphere. A green leaf is green because of the presence of a pigment known as chlorophyll, inside an organelle called a chloroplast; when they are abundant in the leaf's cells, as they are during the growing season, the chlorophyll's green color dominates and masks out the colors of any other pigments that may be present in the leaf. Thus, the leaves of summer are characteristically green.
Chlorophyll has a vital function: it captures solar rays and uses the resulting energy in the manufacture of the plant's food — simple sugars which are produced from water and carbon dioxide. These sugars are the basis of the plant's nourishment — the sole source of the carbohydrates needed for growth and development. In their food-manufacturing process, the chlorophylls break down, thus are being continually "used up". During the growing season, the plant replenishes the chlorophyll so that the supply remains high and the leaves stay green. In late summer, as daylight hours shorten and temperatures cool, the veins that carry fluids into and out of the leaf are closed off as a layer of special cork cells forms at the base of each leaf; as this cork layer develops and mineral intake into the leaf is reduced at first, more rapidly. During this time, the chlorophyll begins to decrease; the veins are still green after the tissues between them have completely changed color. Much chlorophyll is in the most abundant membrane protein on earth.
LHC II captures light in photosynthesis. It is located in the thylakoid membrane of the chloroplast and it is composed of an apoprotein along with several ligands, the most important of which are chlorophylls a and b. In the fall, this complex is broken down. Chlorophyll degradation is thought to occur first. Recent research suggests that the beginning of chlorophyll degradation is catalyzed by chlorophyll b reductase, which reduces chlorophyll b to 7‑hydroxymethyl chlorophyll a, reduced to chlorophyll a; this is believed to destabilize the complex. An important enzyme in the breakdown of the apoprotein is FtsH6, which belongs to the FtsH family of proteases. Chlorophylls degrade into colorless tetrapyrroles known as nonfluorescent chlorophyll catabolites; as the chlorophylls degrade, the hidden pigments of yellow xanthophylls and orange beta-carotene are revealed. These pigments are present throughout the year, but the red pigments, the anthocyanins, are synthesized de novo once half of chlorophyll has been degraded.
The amino acids released from degradation of light harvesting complexes are stored all winter in the tree's roots, branches and trunk until next spring, when they are recycled to releaf the tree. Carotenoids are present in leaves the whole year round, but their orange-yellow colors are masked by green chlorophyll; as autumn approaches, certain influences both inside and outside the plant cause the chlorophylls to be replaced at a slower rate than they are being used up. During this period, with the total supply of chlorophylls dwindling, the "masking" effect fades away. Other pigments that have been present in the cells all during the leaf's life begin to show through; these are carotenoids and they provide colorations of yellow, brown and the many hues in between. The carotenoids occur, along with the chlorophyll pigments, in tiny structures called plastids, within the cells of leaves. Sometimes, they are in such abundance in the leaf that they give a plant a yellow-green color during the summer.
However, they become prominent for the first time in autumn, when the leaves begin to lose their chlorophyll. Carotenoids are common in many living things, giving characteristic color to carrots, corn and daffodils, as well as egg yolks, rutabagas and bananas, their brilliant yellows and oranges tint the leaves of such hardwood species as hickories, maple, yellow poplar, birch, black cherry, cottonwood and alder. Carotenoids are the dominant pigment in coloration of about 15-30% of tree species; the reds, the purples, their blended combinations that decorate autumn foliage come from another group of pigments in the cells called anthocyanins. Unlike the carotenoids, these pigments are not present in the leaf throughout the growing season, but are produced towards the end of summer, they develop in late summer in the sap of the cells of the leaf, this development is the result of complex interactions of many influences—both inside and outside the plant. Their formation depends on the breakdown of sugars in the presence of bright light as the level of phosphate in the leaf is reduced.
During the summer growing season, phosphate is at a high level. It has a vital role in the breakdown of the sugars manufactured by chlorophyll, but in the fall, along with the other chemicals and nutrients, moves out of the leaf into the stem of the plant; when this happens, the sugar-breakdown process changes, lea
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Morrisville is a village in Morristown, Lamoille County, United States. As of the 2000 census, the village population was 2,009. Morrisville has a hospital, a school featuring Greek architecture and an airport; the hospital and one of the country clubs are named after Alexander Copley, a philanthropist who donated much of the money for their construction. Copley donated a large sum of money for the construction of the town's high school, called Peoples Academy. According to the United States Census Bureau, the village has a total area of 1.9 square miles, of which, 1.9 square miles is land and 0.04 square mile is water. Population of 1,977 persons in 2011; as of the census of 2000, 860 households, 459 families residing in the village. The population density was 1,069.7 people per square mile. There were 909 housing units at an average density of 484.0/sq mi. The racial makeup of the village was 96.96% White, 0.75% African American, 0.35% Native American, 0.90% Asian, 0.15% from other races, 0.90% from two or more races.
Hispanic or Latino of any race were 0.70% of the population. There were 860 households out of which 26.6% had children under the age of 18 living with them, 35.8% were married couples living together, 14.4% had a female householder with no husband present, 46.6% were non-families. Of all households 36.9% were made up of individuals and 16.0% had someone living alone, 65 years of age or older. The average household size was 2.19 and the average family size was 2.90. In the village, the population was spread out with 21.8% under the age of 18, 7.9% from 18 to 24, 25.3% from 25 to 44, 22.6% from 45 to 64, 22.4% who were 65 years of age or older. The median age was 42 years. For every 100 females, there were 81.3 males. For every 100 females age 18 and over, there were 73.4 males. The median income for a household in the village was $27,969, the median income for a family was $37,697. Males had a median income of $26,542 versus $19,828 for females; the per capita income for the village was $15,446. About 9.9% of families and 14.1% of the population were below the poverty line, including 18.9% of those under age 18 and 11.2% of those age 65 or over.
The Vermont Wild of the Federal Hockey League played out of Morrisville's Green Mountain Arena, starting in the 2011-12 season, they suspended operations after 2 weeks. The Wild were the first professional hockey team. Morrisville historical society Morrisville Depot Morrisville Elementary School People's Academy Middle Level Peoples Academy High School Bishop Marshall School—A private Catholic school accepting families of all faiths Community College of Vermont Chris Andrews, IT pioneer Dewey K. Hickok, inventor of washing machine Alban J. Parker, Vermont Attorney General Clifton G. Parker George M. Powers, Chief Justice of the Vermont Supreme Court H. Henry Powers, United States Congressman Maria von Trapp, inspiration for The Sound of Music. According to the Köppen Climate Classification system, Morrisville has a humid continental climate, abbreviated "Dfb" on climate maps
John Michael Hayes
John Michael Hayes was an American screenwriter, who scripted four of Alfred Hitchcock's films in the 1950s. Hayes was born in Massachusetts to John Michael Hayes Sr. and Ellen Mabel Hayes. Hayes Sr. was a tool and die maker but had performed as a song and dance man on the Keith-Orpheum vaudeville circuit earlier in life. As a child, Hayes missed much of his school career from second grade through fifth grade due to ear infections. During that time away from school, he discovered a love of reading. In junior high school, he became a staff writer on The Spectator, the school newspaper, at age 16, he wrote for the high school yearbook as well as editing a Boy Scout weekly, The Eagle Trail, his work brought him to the attention of Worcester's Evening Gazette, Hayes began penning articles about Boy Scout activities for the paper. Stints with the Worcester Telegram and a profile in The Christian Science Monitor led to a job with the Associated Press. Working diligently, Hayes managed to amass enough money to attend Massachusetts State College.
At college, Hayes became interested in radio and won a contest to write radio stories for Crosley Corporation in Cincinnati, Ohio. Following a period in the US Army during World War II, Hayes moved to California and resumed his radio career. In California, Hayes scripted for various radio comedies and dramas, including The Adventures of Sam Spade, Alias Jane Doe, Inner Sanctum Mysteries, My Favorite Husband and March, Twelve Players and Yours Truly, Johnny Dollar, his success in radio led to an invitation from Universal-International Pictures to write screenplays. His first screen credit was for Redball Express in 1952. Much of Hayes's career was spent writing screenplays for glossy, big-budget melodramas like Torch Song with Joan Crawford, BUtterfield 8 with Elizabeth Taylor, The Carpetbaggers with Carroll Baker, Where Love Has Gone with Susan Hayward and Bette Davis, his adaptation of Grace Metalious's steamy bestseller, Peyton Place, earned him an Academy Award nomination. Hayes collaborated with director Alfred Hitchcock on four films: Rear Window, To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much.
Their first collaboration, Rear Window, is considered by many critics to be one of Hitchcock's best and most thrilling pictures. The Man Who Knew Too Much, a remake of Hitchcock's 1934 film of the same name, became one of the most financially successful films of its year of release. After several years of retirement, Hayes resurfaced to co-write director Charles Haid's family adventure drama Iron Will, starring Kevin Spacey, in 1994, he taught film writing at Dartmouth College until he retired in 2000. In 2001, Hayes's collaboration with Alfred Hitchcock was the subject of the book Writing with Hitchcock by Steven DeRosa, which gave a full account of Hayes's four film collaboration with the director. In 2004, Hayes was the recipient of the Writers Guild of America's highest honor, the Screen Laurel Award. Hayes died of natural causes on November 19, 2008, in New Hampshire. A movie based upon Writing with Hitchcock is in development and a new edition was published in 2011 containing additional material.
Thunder Bay Torch Song Rear Window To Catch a Thief The Trouble with Harry The Man Who Knew Too Much Peyton Place The Matchmaker But Not for Me BUtterfield 8 The Children's Hour The Chalk Garden Harlow Nevada Smith Judith Winter Kill Pancho Barnes Iron Will John Michael Hayes on IMDb