10-10ers

Now an award-winning film composer of orchestral, electronic and world music and a renowned expert on the Australian didjeridu, Randin started his artistic career as a self-taught electronic musician and guitarist in Del Mar, California. His formal study began at the California State Summer School for the Arts in 1991, followed by a B.A. cum laude in music composition from the prominent "new music" program at the University of California at San Diego. While there, he began his passionate study of world music. From 1996 to 2003, he focused on his own label, Ginger Root Records, while also composing, arranging and providing voices for children's educational website starfall.com and continuing to be involved in theatre and the occasional film project.

In 2003, Randin was awarded a Fulbright Fellowship to travel to Australia and undertake a master's degree, working with traditional masters of the yidaki, or didgeridoo, in a remote Aboriginal community called Yirrkala. He stayed for five years and launched the Mulka Project Aboriginal multimedia archive and training centre. Managing Mulka gave him experience in all areas of short film production, and he produced and scored several of the centre's short films. 'Gatapangawuy Dhawu (2008)' was part of an installation that won the 3D Work Award at the 2008 Telstra National Aboriginal and Torres Strait Islander Art Awards and Two Brothers at Galarra (2008) received the 2010 Park City Film Music Festival Director's Choice Gold Medal for Excellence in Performance/Experimental Films.

On his return to the USA in 2009, Randin dedicated himself full time to film music, scoring films from all over the country and beyond from his home studio and full scoring stage. Since then, he has scored nine independent features, more than 70 shorts and webisodes, and many corporate projects, including promotional videos for Amazon.com. His work has received awards and nominations from the Action on Film International Film Festival, the Park City Film Music Festival, The Art Institute of Salt Lake City, the 48 Hour Film Project, the Salty Horror International Film Festival, the UAE Arab Film Studio, and the Filmed in Utah Awards.

Michael Giacchino is an American composer of music for films, television and video games.

Giacchino composed the scores to the television series Lost, Alias and Fringe, the video game series Medal of Honor and Call of Duty and many films such as The Incredibles (2004), Star Trek (2009), Up (2009), Dawn of the Planet of the Apes (2014), Jurassic World (2015), Inside Out (2015), Spider-Man: Homecoming (2017), War for the Planet of the Apes (2017) and Coco (2017).

For his work on Up he earned an Academy Award for Best Original Score.

Bradley Whitford's credits in film, television and theater include work with some of the most noted writers, directors and playwrights in the arts, and constitute a career worthy of a Juilliard-trained actor -- which he is. But stardom is something else altogether, and it remained elusive, at least until 1999 and his appearance on NBC's acclaimed political drama, The West Wing (1999).

Bradley Whitford was born in Madison, Wisconsin, to Genevieve Smith Whitford, a poet and writer, and George Van Norman Whitford. He studied theater and English literature at Wesleyan University and earned a master's degree in theater from the prestigious Juilliard Theater Center. Whitford's first professional performance was in the off-Broadway production of "Curse of the Starving Class," with Kathy Bates. He also starred in the Broadway production of "The West Wing" creator Aaron Sorkin's "A Few Good Men." His additional theater credits include "Three Days of Rain" at the Manhattan Theatre Club, "Measure for Measure" at the Lincoln Center, and the title role in "Coriolanus" at the Folger Shakespeare Theatre in Washington, D.C.

Some of Whitford's most memorable performances include roles in such films as The Muse (1999) with Albert Brooks and Bicentennial Man (1999) with Robin Williams. He has also appeared in Scent of a Woman (1992), A Perfect World (1993), Philadelphia (1993), The Client (1994), My Life (1993), Red Corner (1997), Presumed Innocent (1990), and My Fellow Americans (1996). He also had a prominent supporting part in the horror thriller Get Out (2017), as a suspicious suburban father.

Bai Ling is recognized for unbridled freedom and creativity, Bai Ling has become undoubtedly one of the world's most diverse and captivating actresses! Born in the city of Cheng Du in southern China, Bai Ling began her career at age of 14. She enlisted In the Chinese People's Liberation Army, where she spent three years in a performance troupe entertaining soldiers stationed in Tibet. She first gained the attention of audiences and critics alike when she won the coveted lead role opposite Richard Gere in Jon Avnet's Red Corner (1997). She received numerous accolades including the prestigious Breakthrough Performance Award from the National Board of Review. She also garnered the Discovery Star awarded by the Hollywood Women's Press Club for their Golden Apple Awards. While developing her remarkable facility with the English language, she has worked with such prestigious filmmakers as Oliver Stone in Nixon (1995), George Lucas in Star Wars: Episode III - Revenge of the Sith (2005), Barry Sonnenfeld in Wild Wild West (1999), Spike Lee in She Hate Me (2004), Andy Tennant in Anna and the King (1999), Ang Lee in The Wedding Banquet (1993), Alex Proyas in The Crow (1994) and Luc Besson' in )Taxi 3 (2003)_, in which she spoke French. She also starred in Terrence Malick's Broadway production of "Sansho the Bailiff". She dazzled audiences with her portrayal of the sexy, mysterious Achara in the hit TV series Lost (2004), and intrigued viewers with her seductive yet exhilarating role in HBO's Entourage (2004).

Bai Ling was awarded the Asian Oscar for her brilliant performance in her first Hong Kong film Three... Extremes (2004). It also earned her an additional three major awards in the Far East. She received the Spirit Diversity Award by The Hollywood Motion Picture Association. Her film Southland Tales (2006), directed by Richard Kelly was in competition at the Cannes Film Festival.

Bai starred in and executive-produced Shanghai Baby (2007). She has worked with Taylor Hackford in Love Ranch (2010), co-starring with Helen Mirren and Joe Pesci, and had a leading role in the Jason Statham action comedy Crank: High Voltage (2009) with costar with Jason Statham.

Charles Dance is an English actor, screenwriter, and film director. Dance typically plays assertive bureaucrats or villains. Some of his most high-profile roles are Tywin Lannister in HBO's Game of Thrones (2011), Guy Perron in The Jewel in the Crown (1984), Sardo Numspa in The Golden Child (1986), Dr. Jonathan Clemens in Alien³ (1992), Benedict in Last Action Hero (1993), the Master Vampire in Dracula Untold (2014), Lord Havelock Vetinari in Terry Pratchett's Going Postal (2010), Alastair Denniston in The Imitation Game (2014) and William Randolph Hearst in Mank (2020).

He played the role of Tywin Lannister in HBO's Game of Thrones (2011), based on the Song of Ice and Fire novels by George R. R. Martin.

In 1989, he played Bond creator Ian Fleming in Anglia Television's drama biography.

Peter Coyote was born in Manhattan, New York City, New York, USA as Robert Peter Cohon to Ruth (Fidler) and Morris Cohon, an investment banker. He is an actor, known for Bitter Moon (1992), Sphere (1998) and Patch Adams (1998). Coyote was previously married to Stefanie Pleet and Marilyn McCann.

Benevolent, sweet-faced, actress and comedienne Julia (Anne) Sweeney, who was born on October 10, 1959 in Spokane, Washington, is normally identified with one single, highly unappetizing androgynous character. This sniveling, chunky-framed, springy-haired, plaid shirt-wearing, grotesque-looking character named Pat was the basis of many hilarious sketches that toyed with revealing his/her true gender.

Julia, the oldest of five children born to an Irish-Catholic federal prosecutor, demonstrated an early talent for mimicry but downplayed any interest in performing for serious college studies. With a prep school education, she first came into contact with the show business arena following graduation. Behind the scenes she worked for five years as an accountant for Columbia Studios in Los Angeles.

Finally developing the courage to realize her dream, she started taking classes on a whim at the famed Groundlings Theater. After fine-tuning her skills in improv, character development and sketch-writing, Julia was escalated to the big time appearing on such TV shows as "Brothers," "Hard Time on Planet Earth" and "Not Necessarily the News, she hit an early peak when she was selected to join Saturday Night Live (1975) in 1990 as a featured player.

Though she became a regular cast member the following season and found an instant audience rapport with her creepy Pat character, the comic gifts were vastly underused, which seemed to be the case for many of its distaff team at the time. "Pat" would outshine practically everything else she did on the show, including her timid wallflower type named "Mea Culpa," whose character became the basis of a stage show co-written by Julia and actor/writer/husband Stephen Hibbert called "Mea's Big Apology" in 1992. During her SNL stay, she managed some outside work with small roles in the comedy Honey, I Blew Up the Kid (1992) the SNL related feature film Coneheads (1993) and the drama Pulp Fiction (1994).

Highly discouraged, Julia parted ways with SNL in 1994 and worked up a feature film version of It's Pat: The Movie (1994) while her irons in the fire were hot. She co-wrote the script with Hibbert and co-starred with Dave Foley who played Pat's equally androgynous partner "Chris." The feature film did not generate great buzz, however, as it was basically a one-joke premise stretched to the limit.

Life turned extremely dark for Julia at this point. Divorced from Hibbert, brother Michael developed lymphoma. She and her family vainly tried to nurse him back to health. Following his death, Julia herself was forced to fight a life-threatening illness -- cervical cancer. The whole process triggered an outpouring of writing which evolved into a hit one-woman stage show entitled, "God Said, Ha!" Applauded for its candor, wit and humorous handling of such painful subjects, the monologue debuted in San Francisco in 1995, and was playing Broadway by November of the following year.

Eventually Julia contributed a few character cameos in such films as Stuart Saves His Family (1995) starring SNL alumni Al Franken; the Rodney Dangerfield slapstick vehicle Meet Wally Sparks (1997); and former SNL Chevy Chase's lampoon entry Vegas Vacation (1997). Preserving her applauded stage work on film, she wrote and directed God Said, 'Ha!' (1998), with Quentin Tarantino in the producer's chair. While embracing this second career-defining moment, Julia won an Audience Award at the New York Comedy Festival in 1998 for her efforts, and earned a Grammy nomination for the CD version.

Following work on such popular TV sitcoms as "Hope and Gloria," "3rd Rock from the Sun," "George & Leo" (recurring) and "Suddenly Susan," Julia went on to complete a trilogy of personal sojourns on stage into the millennium. "In the Family Way" (2003) recounted her experience adopting a daughter as a single parent, and "Letting Go of God" (2004) traced her religious roots from devout Catholic to atheist.

Other comedy film roles have included her Mom role as Beth Newton in Beethoven's 3rd (2000) and Beethoven's 4th (2001), Clockstoppers (2002) and a voice in the animated feature Monsters University (2013). On TV, she had another Mom role in the TV high school comedy series Maybe It's Me (2001) and appeared in guest parts in "According to Jim," "Frasier" and "Sex and the City," plus recurring roles on Shrill (2019) and Work in Progress (2019).

Hacks are nothing new in Hollywood. Since the beginning of the film industry at the turn of the 20th century, thousands of untalented people have come to Los Angeles from all over America and abroad to try to make it big (as writers, producers, directors, actors, talent agents, singers, composers, musicians, artists, etc.) but who end up using, scamming and exploiting other people for money as well as using their creative ability (either self-taught or professional training), leading to the production of dull, bland, mediocre, unimaginative, inferior, trite work in the forlorn hope of attaining commercial success. Had Edward D. Wood, Jr. been born a decade or two earlier, it's easy to imagine him working for some Poverty Row outfit in Gower Gulch, competing with the likes of no-talent and no-taste producers and directors--such as Victor Adamson, Robert J. Horner and Dwain Esper--for the title of all-time hack. He would have fit in nicely working at Weiss Brothers-Artclass Pictures in the early 1930s in directing low budget Western-themed serials, or directing low budget film noir crime drama features at PRC (Producers Releasing Corporation) in the following decade from 1940 to 1946. Ed Wood is the probably the most well known of all the Hollywood hacks because he is imprisoned in his own time, and in the 1950s, Ed Wood simply had no competition. He was ignored throughout his spectacularly unsuccessful film making career and died a penniless alcoholic, only to be "rediscovered" when promoters in the early 1980s tagged him "The Worst Director of All Time" (mostly thanks to the Medveds' hilarious book, "Golden Turkey Awards") and he was given the singular honor of a full-length biopic by Tim Burton (Ed Wood (1994)). This post-mortem celebrity has made him infinitely more famous today than he ever was during his lifetime.

Wood was an exceedingly complex person. He was born on October 10, 1924, in Poughkeepsie, NY, where he lived most of his childhood. He joined the US Marine Corps in 1943 at the height of World War II and was, by all accounts, an exemplary marine, wounded in ferocious combat in the Pacific theater (a transgender, he claimed to have been wearing a bra and panties under his uniform while storming ashore during the bloody beachhead landing at Tarawa in November 1943). He was habitually optimistic, even in the face of the bleak realities that would later consume him. His personality bonded him with a small clique of outcasts who eked out life on the far edges of the Hollywood fringe.

After settling in Los Angeles in the late 1940s, Wood attempted to break into the film industry, initially without success, but in 1952 he landed the chance to direct a film based on the real-life Christine Jorgensen sex-change story, then a hot topic. The result, Glen or Glenda (1953), gave a fascinating insight into Wood's own personality and shed light on his transgender identity (an almost unthinkable subject for an early 1950s mainstream feature). Although devoutly heterosexual, Wood was an enthusiastic cross-dresser, with a particular fondness for angora. On the debit side, though, the film revealed the almost complete lack of talent that would mar all his subsequent films, his tendency to resort to stock footage of lightning during dramatic moments, laughable set design and a near-incomprehensible performance by Bela Lugosi as a mad doctor whose presence is never adequately explained. The film deservedly flopped miserably but Wood, always upbeat, pressed ahead.

Wood's main problem was that he saw himself as a producer-writer-director, when in fact he was spectacularly incompetent in all three capacities. Friends who knew Wood have described him as an eccentric, oddball hack who was far more interested in the work required in cobbling a film project together than in ever learning the craft of film making itself or in any type of realism. In an alternate universe, Wood might have been a competent producer if he had better industry connections and an even remotely competent director. Wood, however, likened himself to his idol, Orson Welles, and became a triple threat: bad producer, poor screenwriter and God-awful director. All of his films exhibit illogical continuity, bizarre narratives and give the distinct impression that a director's job was simply to expose the least amount of film possible due to crushing budget constraints. His magnum opus, Plan 9 from Outer Space (1957), features visible wires connected to pie-pan UFOs, actors knocking over cardboard "headstones", cars changing models and years during chase sequences, scenes exhibiting a disturbing lack of handgun safety and the ingenious use of shower curtains in airplane cockpits that have virtually no equipment are just a few of the trademarks of that Edward D. Wood Jr. production. When criticized for their innumerable flaws, Wood would cheerfully explain his interpretation of the suspension of disbelief. It's not so much that he made movies so badly without regard to realism--the amazing part is that he managed to get them made at all.

His previous film with Lugosi, Bride of the Monster (1955), was no better (unbelievably, it somehow managed to earn a small profit during its original release, undoubtedly more of a testament to how cheaply it was produced than its value as entertainment), and Wood only shot a few seconds of silent footage of Lugosi (doped and dazed, wandering around the front yard of his house) for "Plan 9" before the actor died in August 1956. What few reviews the film received were brutal. Typically undaunted, Wood soldiered on despite incoherent material and a microscopic budget, peopling it with his regular band of mostly inept actors. Given the level of dialog, budget and Wood's dismal directorial abilities, it's unlikely that better actors would have made much of a difference (lead actor Gregory Walcott made his debut in this film and went on to have a very respectable career as a character actor, but was always embarrassed by his participation in this film)--in fact, it's the film's semi-official status as arguably the Worst Film Ever Made that gives it its substantial cult following. The film, financed by a local Baptist congregation led by Wood's landlord, reaches a plateau of ineptitude that tends to leave viewers open-mouthed, wondering what is it they just saw. "Plan 9" became, whether Wood realized it or not, his singular enduring legacy. Ironically, the rights to the film were retained by the church and it is unlikely that Wood ever received a dime from it; his epic bombed upon release in 1959 and remained largely forgotten for years to come.

After this career "peak," Wood went into, relatively speaking, a decline. Always an "enthusiastic"--for lack of a better word--drinker, his alcohol addiction worsened in the 1960s due to his depression of not achieving the worldwide fame he had always sought. He began to draw away from film directing and focused most of his time on another profession: writing. Beginning in the early 1960s up until his death, Wood wrote at least 80 lurid crime and sex paperback novels in addition to hundreds of short stories and non-fiction pieces for magazines and daily newspapers. Thirty-two stories known to be written by Wood (he sometimes wrote under pseudonyms such as "Ann Gora" and "Dr. T.K. Peters") are collected in 'Blood Splatters Quickly', published by OR Books in 2014. Novels include Black Lace Drag (1963) (reissued in 1965 as Killer in Drag), Orgy of the Dead (1965), Devil Girls (1967), Death of a Transvestite (1967), The Sexecutives (1968), The Photographer (1969), Take It Out in Trade (1970), The Only House in Town (1970), Necromania (1971), The Undergraduate (1972), A Study of Fetishes and Fantasies (1973) and Fugitive Girls (1974).

In 1965, Wood wrote the quasi-memoir 'Hollywood Rat Race', which was eventually published in 1998. In it, Wood advises new writers to "just keep on writing. Even if your story gets worse, you'll get better", and also recounts tales of dubious authenticity, such as how he and Bela Lugosi entered the world of nightclub cabaret.

In the 1970s, Wood directed a number of undistinguished softcore and later hardcore adult porno films under various aliases, one of which is the name "Akdov Telmig" ("vodka gimlet" spelled backwards; it helps to imagine that you're a boozy dyslexic, as Ed Wood was). His final years were spent largely drunk in his apartment and occasionally being rolled stumbling out of a local liquor store. Three days before his death, Wood and his wife Kathy were evicted from their Hollywood apartment due to failure to pay the rent and moved into a friend's apartment shortly before his death on the afternoon of December 10, 1978, at age 54. He had a heart attack and died while drinking in bed.

Due to his recent resurgence in popularity, many of his equally interesting transgender - themed sex novels have been republished. The gravitational pull of Planet Angora remains quite strong.

Few entertainers today are as accomplished or versatile as Ben Vereen. His legendary performances transcend time and have been woven into the fabric of this country's artistic legacy. His first love and passion is and always will be the stage. "The theater was my first training ground. It taught me discipline, dedication and appreciation of hard work and values that will stay with me a lifetime. The stage sharpens the creative instrument and encourages you to go deeper inside and try new things," states Ben.

On Broadway, Ben Vereen has appeared in Wicked, Fosse, I'm Not Rappaport, Hair, Jesus Christ Superstar, Pippin,Grind, Jelly's Last Jam and A Christmas Carol. His role in Pippin garnered him both the prestigious Tony Award and the Drama Desk Award for "Best Actor in a Musical."

For over 40 years, Ben has showcased his versatility and creativity, performing countless one-man shows not only in the United States, but also Europe, Asia and the Caribbean. He was the first simultaneous winner of the "Entertainer of the Year," "Rising Star," and "Song and Dance Star" awards from the American Guild of Variety Artists (AGVA). He also earned a coveted spot in the Casino Legends Hall of Fame. Ben and his band are currently touring his one man shows, "Ben Sings a Tribute to Sammy Davis Jr. featuring the music of Sammy Davis Jr." and "Brooklyn to Broadway" at top performing arts centres. He also performs with symphonies around the country.

While performing worldwide, Ben's acting credits continue to give us memorable roles that stand the test of time such as the unforgettable Chicken George in Roots and Louis Armstrong in Louis Armstrong - Chicago Style.Ben's television guest appearances include How I Met Your Mother, Grey's Anatomy, for which he won the Prism Award, House of Payne, Law and Order: Criminal Intent, OZ, Touched By An Angel, Second Noah, New York Undercover, The Nanny, Star Trek - The Next Generation, The Jamie Fox Show, The Promised Land, and Fresh Prince of Bel-Air as well as recurring roles on Silk Stalkings, Webster, J.J. Starbuck and Booker. For Nickelodeon, Ben provided voice-overs on the show Wonder Pets! Additional credits include: Anne Rice's Feast of All Saints(Showtime), Intruders They Are Among Us (Emmy nomination), Zoobilee Zoo, Faerie Tale Theatre's Puss N' Bootswith Gregory Hines, The Jesse Owens Story, Ellis Island (Golden Globe Nomination), Lost in London, and Salute to Liberty Special. His own network television shows are Ben Vereen: His Roots (Seven Emmy Awards), Tenspeed and Brownshoe and You Write the Songs. In the early 90's, he released a number of well-received children's Sing-Along musical videos.

Ben was nominated for an NAACP Image Award for his performance in the Hallmark movie An Accidental Friendship. He appears in two soon to be released features, 21 and a Wake-Up starring Faye Dunaway andMama, I Want to Sing! in which Ben co-starred opposite Ciara and Patti LaBelle. While filming Idlewild with the award winning group Outkast, Ben also served as the acting coach for both Andre 3000 and Big Boy. In addition, Ben has been coaching the singing sensation Usher both as an entertainer and an actor. Ben was featured in the movie, On The One - Preaching to the Choir directed by Charles Randolph-Wright. Other film credits include Sweet Charity, All That Jazz, Funny Lady (Golden Globe nomination), Why Do Fools Fall in Love,And Then Came Love starring Vanessa Williams, the animated movie Once Upon a Forest, Christmas in Washingtonand The Painting which premiered at the Cannes Film Festival. In 2004, Ben was nominated for a "Career Achievement Award" by the Le Prix International Film Star Awards Organization.

The lecture circuit has become an integral part of Ben's career, as he has become one of the Nations' most requested speakers among audiences of all ages. His strong sense of social consciousness has enabled him to reach out to his audiences and convey to them a deep feeling of understanding. His topics range from overcoming adversity, arts in education, Black history, motivational topics, recovery through physical and occupational therapy and the importance of continuing education - to name a few.

Ben's gift of time has benefited many organizations. He has served on Ballet Florida's Board of Directors, the American Red Cross and Sudden Infant Death Syndrome Association. In addition, he has served as chairman of several renowned organizations including the American Heart Association and the Sudden Infant Death Syndrome Association. In 1989, he spearheaded his own organization, "Celebrities for a Drug Free America," which raised more than $300,000 for drug rehabilitation centres, educational programs and inner city community-based projects. The Community Mental Health Council awarded Ben with their 2004 Lifeline Celebration Achievement Award. For his humanitarian contributions, he has received a number of awards including Israel's Cultural and Humanitarian Awards, three NAACP Image Awards, an Eleanor Roosevelt Humanitarian Award and a Victory Award. He has received honorary doctorates from the University of Arizona, Emerson College, St. Francis College, and Columbia College in Chicago. In 2001, Medgar Evers College created the Ben Vereen Scholarship for the Performing Arts, and in 2004, he received an Achievement in Excellence Award from his alma mater, the High School of the Performing Arts.

Ben celebrated Eartha Kitt's 80th birthday in concert at Carnegie Hall to multiple standing ovations and in front of the Armed Forces for those men and women who have served in Iraq, truly a major highlight of his career. In 2009, he performed at the Inaugural Ball and entertained at the reopening of the Ford Theatre in Washington, D.C., which was attended by President Obama. Last year Ben entertained at the Friar's Club gala honouring CBS president Leslie Moonves. Ben is leading an ongoing diabetes awareness campaign called "S.T.A.N.D." in partnership with sanofi-aventis pharmaceuticals. Ben recently starred in the world premier of Fetch Clay, Make Man directed by Des McAnuff (Jersey Boys) at the McCarter Theatre. Below are some of Ben's reviews from the show:

"A seething resentment can be sensed underneath the wary cool with which Fetchit negotiates with Fox. In brief snippets from the routines that made Fetchit famous (and infamous), Mr. Vereen also reveals the glowing pride of an entertainer whose gifts sometimes managed to transcend the offensive uses to which they were put." -New York Times

"The dramatic center is Ben Vereen's role as Lincoln Perry,the vaudeville performer who made his fortune in silent films and Depression-era talkies playing screen persona Stepin Fetchit, the quintessential negative stereotype of the shuffling, smiling, work-shirking Negro...Tapping all the undiminished charisma and limber body language of a veteran song-and-dance man, Vereen effortlessly sells the now-reviled representation of the black flunky while slyly asserting the cultured, savvy negotiator beneath; it's a performance of enormous charm and intelligence." -Variety

"As Fetchit, Ben Vereen creates a man who comports himself with dignity in hopes of negating all that he did before. In one scene, after Fetchit has been forced to acknowledge what he'd been, Vereen blinks three times, and actually manages to make a statement with each blink: The first acknowledges the charge, the second shows his pain at being reminded, and the third hopes to push away the memory." -The Star-Ledger

Additionally, Ben has a recurring role on the CBS comedy How I Met Your Mother, playing Wayne Brady's father. In February of 2011, he released his CD Steppin' Out Live with Ben Vereen and staged a triumphant return to Broadway with his concert "BEN VEREEN ON BROADWAY AT TOWN HALL" . One review from Ben's show is featured below:

"Ben Vereen's performance at The Town Hall on February 18th was a lesson in performance energy.....a tour de force ....Without a single synthesizer, with no voice tuner, with only an acoustic band, Vereen displayed shocking innovation."....." He flirted with off notes and inventive runs during classics such as "My Funny Valentine." This is always a dangerous idea, because it risks alientating the audience who wants to hear the melody of a familiar tune, but Vereen not only pulled it off, he left the audience wanting him to do more...The lasting impression was of a man who loves life, wants you to love life, and has mastered both his medium and his message. At age 65, he is the youngest man performing today. - The Newark Examiner

Ben remains the consummate actor, singer, and all around entertainer with a storied and legendary career.

Harold Pinter, the 2005 Nobel Laureate for Literature, was born October 10, 1930, in London's working-class Hackney district to Hyman and Frances Pinter, Eastern European Jews who had immigrated to the United Kingdom from Portugal. Hyman (known as "Jack") was a tailor specializing in women's clothing and Frances was a homemaker. The Pinters, whose families hailed from Odessa and Poland in the Russian Empire, were part of a wave of Jewish emigration to the UK at the turn of the last century. It was a community that revered learning and culture. The Pinter family was close, and young Harold was traumatized when, at the outbreak of World War II, he was evacuated from London to Cornwall with other London children for a year to avoid becoming casualties of German aerial bombing.

Pinter has said that his encounter with anti-Semitism while growing up was the fuse that ignited the organic process leading him to becoming a playwright. As the Nobel Prize citation attests, Pinter developed into the greatest English dramatist of the post-World War II era. The young Pinter studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama. In 1950 he published several poems and began working as a professional actor. Under the stage name David Baron, he toured the Republic of Ireland with Anew McMaster's Shakespearean repertory company in 1951-52. Significantly for Pinter's future, 1951 not only marked the debut of his career as a professional actor but also marked the first performance of future Nobel Literature Laureate Samuel Beckett's absurdist masterpiece "Waiting for Godot." He next appeared with Sir Donald Wolfit's theatrical company at the King's Theatre, Hammersmith, for the 1953- 54 season before becoming a player with various provincial repertory companies, including the Birmingham Rep, until he gave himself over full-time to playwriting in 1959.

Two significant events that would change Great Britain forever occurred during his apprenticeship in provincial rep: (1) the Suez Crisis of 1955 that shattered the UK's pretensions to empire in a post-colonial world and doomed the imperial generations represented by Prime Minister Anthony Eden and his mentor Winston Churchill, and (2) the 1956 premiere of John Osborne's play "Look Back in Anger." The shattering of the United Kingdom's complacency over imperialism meant that many successful people of Pinter's generation, who normally would have become Tories upon achieving some modicum of success, were disillusioned and drifted towards Labour and the left. No longer would a working- class person, if he so chose, have to be ashamed or stymied if \eschewing becoming middle-class or bourgeois. Osborne's play was the seminal work of the "kitchen-sink" school of drama that would dominate English theater for a decade, in which working-class life and struggles were dramatized. The hegemony of this school of theater was such that for the first time, a working-class or provincial accent became something treasured, something to be proud of, as the former world was set firmly upon its head. Even the great Laurence Olivier turned his back on the commercial theater to assay Osbourne's Archie Rice, a down-at-the-heels music hall performer, in "The Entertainer" (1957).

The kitchen-sink drama was a movement that Pinter would not be a part of, though it did open the doors for working-class writers who, unlike the working class-born Noël Coward, had no interest in becoming bourgeois. The other major element in the cultural milieu that forged Pinter was the Cold War, the absurdity of facing doomsday everyday under the threat of The Bomb (the USSR had acquired the means to produce a bomb through its atomic spy ring and exploded its first A-bomb in 1949, thus ending the US monopoly on nuclear weapons and making the Korean war, the suppression of an East Berlin uprising and the squashing of the Hungarian Revolution practical, if not possible). The Cold War gave legitimacy to the rise of the police state, not in totalitarian countries but in the use of police-state tactics in the western industrial democracies. To quote American poet' Charles Bukowski', this was an era marked by "War All The Time," not between two superpower behemoths but in everyday human relations, poisoned as they were by the Cold War climate of absurdity, paranoia and imminent holocaust.

In 1953 the accused "atomic spies" Julius Rosenberg and Ethel Rosenberg were executed in the United States when President Dwight D. Eisenhower, the man who had overseen the liberation of Europe as Supreme Allied Commander fighting the Nazi totalitarian menace, had refused clemency for even Ethel, the mother of two small boys. It was a domestic drama -- a woman's loyalty to her husband, her loss of not only her life but the Issac-like evocative sacrifice of any normal life for her two children when Eisenhower-Jehovah refused to stay the executioner's hand -- that had combined with the felicities of affairs of state and world power politics. The question of whether they were guilty or innocent--not proven beyond a doubt in 1951, when they had been convicted in a trial that was compared by many to the Stalinist show-trials that had occurred in the Soviet Union and still occurred in the satellite countries of the Warsaw Pact after World War II - gave rise to an overwhelming fundamental question: What is real? Reality, as Hannah Arendt had put it in "The Human Condition," is socially defined; that is a given. But how about when that reality no longer makes sense, when the individual cannot partake of the consensus demanded of him in the 1950s, whether conservative, middle-class, haute bourgeoisie or radical left as dictated by some flaming Red party boss - a person struggling with his own life? How does he answer the question: What is real? It is a question that Pinter took upon himself to answer, and answered by showing us there is no answer. In this quest, a genius arrived on the world stage in the form of a player who decided to craft his own words, for himself and his post-Holocaust, pre-Holocaust audience. When life stops making sense, as it did in the 1940s when the global war against fascism left 50 million dead and the modern industrial state was tasked with the exigencies of mass- murder, and as it did in the 1950s when, under the aegis of combating another totalitarian system a domestic fascism in kind if not degree arose in the Anglo-Saxon countries with their great gravital pull towards conformity within a shell of consumerism, it still behooves a human being to try to understand the human condition.

In 1957 Bristol University staged Pinter's first play "The Room." He had told a friend who worked in Bristol University's drama department an idea he had for a play. The friend was so enamored of the idea that he commissioned the work, with the proviso that a script be ready within a week. Though he didn't believe he could meet his friend's demands, Pinter wrote the one-act play in four days. "The Room" had all the hallmarks of what would become known as "Pinteresque," in that it had a mundane situation that gradually filled with menace and mystery through the author's deliberate omission of an explanation or motivation for the action on stage. It is ironic perhaps that an actor would rid his script of motivation as "motivation" is the Holy Grail of inwardly-directed actors such as those tutored in "The Method" in America, but it was emblematic of the times that stated motivations frequently masked other, starker, more id-like drives in people or in nation-states that were beyond human comprehension in terms of being rational. Modern society had become irrational, and motivations post-Freud could be understood as a manifestation of Thanatos, the Death Instinct. Imminent violence and power plays would become other leitmotifs of Pinter's oeuvre.

Pinter wrote a second one-act play in 1957, "The Dumb Waiter," an absurdist drama concerning two hit men employed by a secret organization to kill an unknown victim. It was with this play that Pinter added an element of black comedy, mostly through his brilliant use of dialog, which not only elucidated the killers' growing anxiety but underscored the very absurdity of their situation. The play would not be performed until 1960, after the staging of his first two full-length plays, one a flop, and one a hit. His first full-length play, "The Birthday Party," debuted at the Arts Theatre in Cambridge in 1958. In the play the apathetic Stanley, the denizen of a dilapidated boarding house, is visited by two men. The audience never learns their motivation, but knows that Stanley is terrified of them. They organize a birthday party for Stanley, who insists that it is not his birthday. Pinter is following in the footsteps of the great absurdist Samuel Beckett in that he steadfastly refuses to give clear motivations to his characters, or rational explanations for the sake of his audience (Pinter and Beckett became friends). The play, now considered a masterpiece, flopped on its initial London run after being savaged by critics. It was revived after Pinter's second full-length play, 1960's "The Caretaker," established him as a major force in the English-language theater.

His early plays were rooted in the absurdism that became the major theatrical paradigm on the European stage in the third quarter of the 20th century, after the horrors of the war and the Holocaust. The early plays that made his reputation such as "The Homecoming" (1964) and his middle-period work such as "No Man's Land" (1976) have been called "comedies of menace." Typically, they use what at first seems like an innocent situation and develop it into an absurd and threatening environment through actions that usually are inexplicable to the audience and sometimes even to the other characters in the play. A Pinter drama is dark and claustrophobic. His language is full of menacing pauses. The lives of Pinter's characters usually are revealed to be stunted by guilt and horror. The duality and absurdity of Pinter's theatrical world-view gave rise to the adjective "Pinteresque," which took its place next to "Kafkaesque," a product of the horrors of the first quarter of the century (Pinter would write the screenplay for an adaption of Franz Kafka's "The Trial".)

Beginning in the 1960s, Pinter further enhanced his reputation as a writer with his screenplays, particular his work with Joseph Losey in The Servant (1963) and Accident (1967) (Losey planned an adaptation of Marcel Proust's "Le Temps Retrouve" and commissioned Pinter to write the screenplay. The film was never made by Losey, but Pinter's screenplay was subsequently published to great acclaim). His later screenplays, including his last produced work with Losey, The Go-Between (1971), are, ironically, noted for their clarity. He was twice nominated for the Academy Award as a screenwriter, for his adaptation of John Fowles' labyrinthine novel into the film The French Lieutenant's Woman (1981) and for Betrayal (1983), his adaptation of his own play. Such was the respect that Pinter was held that Elia Kazan, one of the great film directors, complained in his autobiography "A Life" (1988) that The Last Tycoon (1976) producer Sam Spiegel had such reverence for Pinter that he would not let Kazan change his script.

After the great plays of his early and mid-period, Pinter became more overtly political. His later plays, which generally are shorter than the plays from the period in which he made his reputation, typically address political subjects and often are allegories on oppression. In the late 1970s Pinter became more outspoken on political issues and is decidedly of the left. He is passionately committed to human rights and is not shy about bringing examples of oppression from client states sponsored by the Anglo-Saxon democracies to the public's attention. In 2002 Pinter experienced what he described as a "personal nightmare" when he had to undergo chemotherapy to treat a case of cancer of the esophagus. The ordeal, which has been ongoing for three years, triggered a personal metamorphosis in the man. "I've been through the valley of the shadow of death," Pinter explained about his quickening. "While in many respects I have certain characteristics that I had, I'm also a very changed man."

In early 2005 Pinter declared in a radio interview that he was retiring as a dramatist in favor of writing poetry: "I think I've stopped writing plays now, but I haven't stopped writing poems. I've written 29 plays. Isn't that enough?" Pinter has become an outspoken critic of war. He was a bitter critic of the US-led intervention against Slobodan Milosevic's Serbia during President Bill Clinton's administration and an even harsher critic of the US-led war in Iraq. The fiercely anti- war Pinter has accused President George W. Bush of being a "mass-murderer" and has called British Prime Minister Tony Blair a "deluded idiot" for supporting US foreign policy. Pinter claimed immediately after the 9/11 attacks on New York City and the Pentagon that they were a requited revenge for the destruction wrought on Afghanistan and Iraq by US imperialism and its anti-Taliban policies and sanctions on Iraq. He has publicly denounced the retaliatory U.S. invasion of Afghanistan and the unprovoked 2003 invasion of Iraq. Pinter likens the Bush administration and Bush's America to Adolf Hitler and Nazi Germany, claiming the US is bent on world hegemony. Controversially, he has declared that the only difference between Nazi Germany and the Stalinist Soviet Union is that the US is more hypocritical and has better public relations.

One cannot fault Pinter, in the political ring, for being inconsistent or for jumping on a bandwagon. The man, as well as the artist, is a person that sticks to his convictions. The award of the Nobel Prize for Literature to Pinter just after he celebrated his 75th birthday was completely unexpected by pundits handicapping the award. Turkish writer Orhan Pamuk and Syrian poet Adonis were considered the front-runners, as European writers recently had dominated the award (Pinter's Nobel Prize makes it nine out of ten times in the past ten years that a European writer has won, and the second time in the past five years an English writer has banged the gong), and it was felt the Academy would recognize a writer from another continent, particularly one from Asia Minor. Thus, the award can be seen as a not-so-veiled criticism of the United States in general and President George W. Bush in particular by the Swedish Academy. Because of Pinter's renouncing of the form of which he was a master and his anointment of himself as a poet, in light of his volume of poetry, "War" (2003) that denounces the Iraq War frequently in vulgar, raw and unrythmic poetry that poses no threat to William Butler Yeats or W.H. Auden or Robert Frost or Stevens, one must consider that the Swedish Academy was giving the world's highest prize for literature at least in part to a poet whose latest work was fiercely anti-American and anti-imperialist.

Despite being highly controversial, Pinter -- who was appointed a Commander of the British Empire in 1966 (one step down from a knighthood, an honor he subsequently turned down) -- was named a Companion of Honour in 2002, an honor that does not carry a title. In addition to writing poetry, acting and directing in the theater, Pinter serves as the chairman of the Gaieties Cricket Club, an affiliate of he Club Cricket Conference. He also is active in the Cuba Solidarity Campaign, an organization that supports Fidel Castro, who remains the #1 bugaboo of the United States after Islamic terrorists, just slightly ahead of fellow hemispheric boogeyman Hugo Chávez, a recent arriviste on the world stage. He also is a member of the International Committee to Defend Slobodan Milosevic, an organization that appeals for the freedom of Slobodan Milosevic on the grounds that NATO's war against Milosevic's Yugoslavia was unjustified under international law.

David Lee Roth was born in Bloomington Indiana in 1954. A few years later, his father Nathan, a doctor, moved the family to sunny California. The move proved to be a good one because while attending Pasadena Community College, David teamed up with the Van Halen brothers and Michael Anthony to form the Mighty Van Halen hard rock band. Their debut album was in 1978, the self titled album "Van Halen". Their biggest success was the song "Jump" in 1984 - the song reached No. 1 on the Billboard charts. In 1985, Dave decided to branch out on his own and leave the popular Van Halen. Dave's EP "Crazy From The Heat" was a hit and his solo career was on its way. As years passed, Dave's solo career faded. In 1996, Van Halen and Dave reconvened (due to the departure of Dave's replacement, Sammy Hagar) for two new songs on the band's greatest hits CD. Their reunion was short lived as the Van Halen brothers chose a another singer (Gary Cherone formerly of Extreme) over Dave. In 1997, he wrote and released his autobiography book titled "Crazy From The Heat". These days, he still tours as a solo artist.

Giuseppe Verdi was born Giuseppe Fortunino Francesco Verdi on October 10, 1813, in Le Roncole di Busseto, Parma, Italy. His parents were landowners and innkeepers. Young Verdi received his first organ lessons at the age of 7. He studied composition privately with Ferdinando Provesi in Busseto. At age 20 he moved to Milan to continue his studies, but the Conservatory of Music rejected him. Verdi took private lessons and associated with Milan's cultural milieu in his pursuit of a musical career. He was patronized by Antonio Barezzi, a merchant, whose daughter, Margherita, was Verdi's student and later became his wife.

His first opera, Oberto (1839), was a successful production by Milan's Theatro La Scala. While Verdi continued working on his second opera, his wife and two children died. The second opera failed, and he suffered a depression and vowed to quit musical career. La Scala impresario, Merelli, persuaded him to write a third opera. Nabucco (1842) made Verdi famous. He followed the Bel Canto style of Gaetano Donizetti and Vincenzo Bellini. Verdi's best operas were based on plays by Victor Hugo, such as 'Ernani' (1844) and 'Rigoletto' (1851). In 1853 Verdi 's masterpiece 'La Traviata' was produced in Venice. It was based on 'The Lady of the Camelias', a play by Alexandre Dumas, fils. At that time Verdi became familiar with the music of Russian composer Mikhail Glinka who was popularized in Europe by Franz Liszt. The music of Mikhail Glinka had certain influence on Verdi's later operas.

In 1861 Verdi wrote 'La forza del destino' commissioned by the Imperial Theatre in St. Petersburg, Russia, upon the recommendations by Aleksandr Borodin. It was performed with great success in 1862, and became part of a standard operatic repertoire ever since. His grand-opera 'Aida' (1871) was premiered in Cairo as part of the celebrations of the opening of the Suez Canal, and became an instant success. In his later operas Verdi turned from the style of Bel Canto to more expressive music and orchestration, like in 'Otello' (1887), based on the eponymous play by Shakespeare. Verdi's last and musically most brilliant, rich and expressive opera, 'Falstaff' (1893), was based on the Shakespeare's play "The Merry Wives of Windsor" in the adaptation of Victor Hugo.

Verdi's musical success coincided with the political events of Italian unification during the Austrian occupation. The 'Chorus of the Hebrew Slaves' from his opera 'Nabucco' (1842), became a popular song among supporters of Italian unification. Many of his opera performances were used by the supporters of Victor Emmanuel to shout "Viva Verdi" as a code name for a secret unification message. The name Verdi was used as acronym for "Vittorio Emanuele Re D'Italia" - Victor Emmanuel, King of Italy. Such a code enabled clandestine partisans of Victor Emmanuel, then the King of Sardinia, to gain more supporters in Milan which eventually led to the unification of Italy. Verdi was aware that his popular operas and his name was used as a political tool. Austrian censorship was powerless.

In 1861 Victor Emmanuel became the King of Italy in Turin. From 1861-1865 Giuseppe Verdi was elected representative of Busseto in the newly formed Italian parliament. After Garibaldi's military campaign the capital was moved to Florence, then to Rome, and Verdi returned from politics to music. He lived in Milan during the last years of his life. He was revered and honoured all over the world, and was much visited by his admirers. He died on January 27, 1901, in Milan, and was laid to rest at the Casa di Riposo, a retirement home for elderly musicians that was established by Verdi himself.

Verdi's music was used in hundreds of film scores. His operas has been the staples of operatic repertoire. His canzonas "La donna è mobile" from opera 'Rigoletto' (1851) and "Libiamo ne'lieti calici" (Drinking song) from 'La Traviata' (1853) has been popular concert numbers in performances by the three tenors: Luciano Pavarotti, Plácido Domingo and José Carreras.

English songwriter and singer Kristy MacColl had hits with such albums as "Kite" (1989), "Titanic Days" (1994) and "Tropical Brainstorm" (2000). Her first hit as a songwriter was "They Don't Know" for Tracey Ullman in 1983. Her trademark style is a sharp wit allied to strong melodies. Her work combines these with Cuban and Brazilian rhythms, creating her most upbeat collection yet. She has written and performed theme songs for three British TV series. Surprisingly for such a gifted writer, her biggest single hits have been cover versions, notably "Days" by Ray Davies, Billy Bragg's "New England" and of course "Fairytale of New York" with The Pogues.

Thelonious Monk was born on 10 October 1917 in Rocky Mount, North Carolina, USA. He was a composer and actor, known for The Omega Man (1971), La La Land (2016) and Die Hard with a Vengeance (1995). He was married to Nellie Monk. He died on 17 February 1982 in Englewood, New Jersey, USA.

Andrea Morricone was born on 10 October 1964 in Rome, Lazio, Italy. He is a composer and actor, known for Cinema Paradiso (1988), In the Line of Fire (1993) and The Holiday (2006).

Robert Gould Shaw was born on 10 October 1837 in Boston, Massachusetts, USA. Robert Gould was a writer, known for Glory (1989). Robert Gould was married to Annie Haggerty. Robert Gould died on 18 July 1863 in Charleston, South Carolina, USA.

Dave Nilson is known for The Life of Jesus Christ (2011), Mantuition (2012) and Justice (2012).

From the adorably quirky "Ann" in State and Main (2000) to a sister seeking justice in The Winslow Boy (1999) to the tightly wound risk-taker and hidden co-conspirator "Susan" in The Spanish Prisoner (1997), Rebecca Pidgeon has portrayed a wide range of multifaceted characters in both film, television and on the stage.

Pidgeon was born in Cambridge, Massachusetts, to British parents, Elaine (nee Simpson), a yoga teacher, and Carl R. Pidgeon, a professor then teaching at MIT. She spent much of her childhood in Edinburgh, Scotland. Her paternal grandmother's sister was visual artist Olga Lehmann, and Rebecca's ancestry is English, as well as Scottish, German, and French.

She appeared alongside Helen Mirren, Bruce Willis and Morgan Freeman in RED (2010) for director Robert Schwentke. Her television credits include Phil Spector (2013) (for HBO opposite Al Pacino), and Jesse Stone: Sea Change (2007) (for CBS opposite Tom Selleck). She had recurring roles on the hit series The Unit (2006) for CBS and The Shield (2002) for F/X, and had a regular role on In Justice (2006) for ABC.

She did memorable turns in Uncle Vanya for The BBC and in Samuel Beckett's Catastrophe, opposite Sir John Gielgud and Harold Pinter for Channel 4. Pidgeon played "Deeny" in The Old Neighborhood on Broadway and "Claire" in Boston Marriage at The Geffen Playhouse. She originated the role of "Carol" in Oleanna which had its world premiere at the Orpheum Theatre, off-Broadway. The character was described by one critic as "Mamet's most fully realized female character...a mousy, confused cipher". As a member of the Royal National Theatre in London, she received stellar notices for her work in Speed-the-Plow and The Changeling.

A member of The Atlantic Theatre Company, where she starred in Dangerous Corner, Pidgeon is a graduate of London's prestigious Royal Academy of Dramatic Art. In addition to her accomplished career as an actress, Pidgeon is a singer/songwriter, whose latest album Slingshot was nominated for a Grammy Award.

Pidgeon is married to playwright/director David Mamet. Her children are Noah and Clara Mamet, an actress, and actress Zosia Mamet is her stepdaughter. She is a convert to Judaism.

Lucy Griffiths (10 October 1986) is an English actress and was born in Brighton, England. Griffiths was educated at Roedean School, Windlesham House School, Dorothy Stringer High School and Varndean College. She is a former member of the National Youth Music Theatre. She first appeared on television in Sea of Souls and then Sugar Rush, and on stage in The White Devil. She was most famous for her role as Marian in the BBC drama Robin Hood and Ruth in the TV series The Little House. Her most recent notable performance was her appearance as Nora, Eric Northman's "sister", in the HBO series True Blood.

Aimeé Richelle Teegarden, is an American actress, model, director and producer. She starred as Julie Taylor in the NBC drama Friday Night Lights (2006) from 2006 to 2011. In 2011, she co-starred with Dennis Quaid in Martin Guigui's thriller Beneath the Darkness (2011). Later she plays Jenny Randall in the horror film Scream 4 (2011) and as Nova Prescott in the Disney film Prom (2011). In 2014, she starred as Emery Whitehill in The CW's short-lived science fiction romantic drama Star-Crossed (2014), and in 2017, she had a role in the horror sequel Rings (2017).

Joelle Carter can be seen in such feature cult favorites as High Fidelity (2000) and American Pie 2 (2001), and indies Swimming (2000) and Lisa Picard Is Famous (2000). In addition, Carter has starred in numerous television projects, including the controversial series Wonderland (2000), created by Peter Berg (Friday Night Lights (2004)). Furthermore, she is very proud of the documentary Altered by Elvis (2006), which she co-produced. Carter also co-produced and starred in the short A Girl and a Gun (2008), which won Best Original Short at the 2008 Washougal International Film Festival. She was thrilled to attend the 2008 Cannes Film Festival with the film Jumping In (2008), in which she starred. Carter recently attended the Boston Film Festival, where her latest film, To Be Friends (2010) (directed by Jim Eckhart, executive-produced by Aaron Eckhart, and co-starring Todd Stashwick), was honored and opened the festival.

Carter's upcoming features include "City of Jerks" (directed by Phedon Papamichael) and Eyes to See (2010), both set to release in 2011.

Naike Rivelli was born on 10 October 1974 in Munich, Bavaria, Germany. She is an actress and composer, known for Casanova (2005), Nayked: N-Zoid (2011) and Welcome to the South (2010). She was previously married to Manou Lubowski.

Craig Kingsbury was born on 10 October 1912 in South Orange, New Jersey, USA. He was an actor, known for Jaws (1975), E! True Hollywood Story (1996) and Jaws: The 25th Anniversary Documentary (2015). He died on 30 August 2002 in Oak Bluffs, Massachusetts, USA.

Being just a "regular guy" and partying with his friends are two things that Dale Earnhardt, Jr., driver of the #8 Budweiser, likes to do when he has time off from his NASCAR racing schedule.

Outgoing and fond of being out in public, another of his favorite things to do is to hang out with his friends at the local Wal-Mart store. Doing these types of things, the up and coming star of the NASCAR Winston Cup Circuit can relax and feel like just a normal every day type person for awhile.

Dale Jr. (also affectionately called "Little E") has his own Club House of sorts where he and his friends can get together and can party down. Their place is called "Club E" and it's located in the basement of Junior's house, which incidentally is located on his dad's property in the state of North Carolina. Dale claims that it's the only place to be and that "Club E" is decked to the hilt with a big screen television, speakers as high as the ceiling and plenty of refrigeration for the main ingredient of any Dale Jr. party - the beer!

Though it would seem that because of who his daddy is, Dale Jr. would have been popular in high school, that wasn't how it was. He hung out with a small group of friends who pretty much hung tight and away from the so called "in crowd". Needless to say, his popularity status has since changed and all of the recognition he now gets, still catches him off-guard at times. Though he has many fans, he doesn't see himself as anyone "special" though he doesn't mind all the attention he gets from the girls now!

Being the son of the infamous driver of the #3 Goodwrench Chevy, one might think that that Little E would have had an advantage when it come to pursuing a career in NASCAR Racing. Instead of having things handed to him, he got there by starting at the bottom and proving himself all the way up through the ranks to the Winston Cup Circuit.

After high school Dale Earnhardt Jr. went to college and earned a two year automotive degree, after which he was hired to work as a mechanic in his father's Chevy dealership where he made only a little over $15,000 a year. At the age of 17, Dale Jr. began racing in the street stock division at Concord Speedway. It was two seasons later that he moved up into the NASCAR Late Model Stock Division, where he would compete for three seasons. Proving himself by capturing 12 Bud poles in the Late Model Stock Division, Dale Earnhardt Jr. showed himself and everyone else that he was ready to go to the NASCAR Busch Grand Nationals, which he did in 1996. By the start of the 2000 season Dale Jr. was ready to move up to the NASCAR Winston Cup Series and to pursue the title of Rookie of the Year.

Little E is a force to be reckoned with on the racetrack and he has showed that he has what it takes to be a winner. Though his father is a seven time Winston Cup Champion, Dale Jr. has done twice what his father has never done, and that is to win the Busch title!

Fun loving and a party animal off the track, when he straps himself into his race car on Sundays, Dale Earnhardt, Jr. is all business. Though unlike his father in a lot of ways, when it comes to racing, Dale Jr. shows that he can be every bit as aggressive of a driver as his dad is.

Before he was the face of NASCAR's new generation, Dale Earnhardt Jr. was very proud of his skills as an oil changer at his father's car dealership in North Carolina.

His career began meekly, as he and brother Kerry sold a go-kart for $500 so that they could buy an old Monte Carlo racecar for $200. Legend has it that Junior later sold that car to current Busch Series driver Hank Parker Jr.

Earnhardt Jr. took his first green flag at the Concord Speedway in the street stock division at the age of 17. He garnered three feature victories from 1994-96.

Just two years later, Earnhardt Jr. dominated the Busch Series, winning 13 races and two series championships in 1998-99. His first title in 1998 made him the first third-generation NASCAR champion, joining father Dale Sr. and grandfather Ralph. His maternal grandfather, Robert Gee, was a well-known NASCAR fabricator and mechanic.

Junior wasted no time making an impact in NASCAR's elite series when he entered in 2000. He won at Texas in his 12th career start and at Richmond in his 16th start. He also became the first rookie to win NASCAR's all-star race at Lowe's Motor Speedway.

It also didn't take long for Junior to become the unofficial poster boy of the sport. He's appeared on countless magazine covers, numerous television talk shows and was the focus of two MTV documentaries: "Cribs" and "True Life, I'm a Race Car Driver."

Junior is also a co-owner of "Chance 2 Motorsports," a Busch Series race team.

Jean-Antoine Watteau was born on 10 October 1684 in Valenciennes, Flanders, Kingdom of France [now Nord, France]. Jean-Antoine is known for Sister Wendy at the Norton Simon Museum (2002). Jean-Antoine died on 18 July 1721 in Nogent, Île-de-France, Kingdom of France [now Nogent-sur-Marne, Val-de-Marne, France].