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Author and journalist Tom Wolfe discusses his new book, "In Our Time," which focuses on the ever-changing culture and ethics of America. Drawing examples from his cartoons he discusses how the counterculture of the 1960s, TV evangelists, politicians, and actors are challenging mores and values of the American people.
Actor and director Sidney Poitier offers his reflections about his autobiographical memoir, "This Life". Poitier explains how he never had ambitions to be an actor and yet he stumbled into acting when looking through the clasisfied ads. There's a story about his agent trying to settle a negotiation on Poitier's behalf. Poitier's agent told the others involved that Poitier was offered a film in Hollywood. Believing it was a cheap ploy, the agent was told to tell Poitier to go onto Hollywood, and the rest is history for Sidney Poitier.
In the play, "The Value of Names," Shelley Berman plays Benny Silverman, a role which he says is him, an actor from the Hollywood black list. Berman said being in Chicago, acting the role and working with the cast has been THE best experience of his life and when the show closes, it will be the saddest day of his life. The director of the play, Sandy Shinner, said she knew of the Hollywood black list but didn't know about all the personal stories. There is an excerpt of Vic Navasky.
Robert Vaughn takes time out from his Drury Lane appearance in "Tender Trap" to discuss his new book "Only Victims" with Studs Terkel. The discussion spans the years 1938 when Martin Dies became the first House Committee on Unamerican Activities (HUAC) chairman to Vice President Spiro Agnew's condemnation of the "New York Times" and "Washington Post". Vaughn created the title of his book "Only Victims" from a Dalton Trumbo speech that reflected back on the era of HUAC as being one where there were no heroes, no villains, only victims.
Angelou discusses her book "I Know Why the Caged Bird Sings" and recites "When I Think About Myself." She talks about growing up in Stamps, Arkansas, and her family. Copyrighted material has been removed.
Discussing the book "Front and center" with the author John Houseman.
Discussing the production of "I'd rather be right" by Kaufman and Hart with Frank Farrell and Sheldon Patinkin.
Discussing the one man show as Charles Dickens at North Light Repertory Theatre with the actor Emlyn Williams.
Discussing the play "A solo song for Doc" by James Allan MacPherson and interviewing cast members of City Lit, Joseph Moore, Chuck Smith and Ernest Perry.
Discussing Samuel Beckett's "Waiting for Godot" and the Beckett Project with director Alan Schneider.
Studs interview with Hildegard Knef, actress and writer. They discuss her life in Nazi Germany during the war and her experience as an actress when she came to America. Studs and Hildegard read together from her book, "The Gift Horse." Knef describes her family, Nazi Germany, survival, and her experience as a German in American post WWII. Her husband, David Anthony Palastanga, also reads an excerpt from her book.
Theater director Douglas Turner Ward talks with Studs Terkel about the play "The River Niger." Further discussion is had about the play's writer, Joseph Walker, as well as the story and characters, and the play's connection to the African-American community.
Author Dorothy Gilliam joins Studs Terkel to discuss her biography of singer, actor, social activist and lawyer Paul Robeson. Gilliam chronicles Robeson’s life in “Paul Robeson, All-American,” describing his early years as a football player, and then lawyer, his introduction into theater, and his exposure to other cultures abroad.
They discuss Mr. Cavett's life and his work as a talk show host. The interview ends with "Reverend Eli Jenkins' Prayer," a poem by Dylan Thomas sung by Osian Ellis, a Welsh singer, and harpist. These have been removed from the broadcast due to copyright.
Both David Mamet and Studs Terkel read through lines of Pierre Laville' s "The Red River." The first scene the men read through is that of Laville presenting or auditioning his play to Stanislavski. Mamet also spoke of being involved in the theatre since the age of 13.